Inheritance, Imagined and Real

MOVIE REVIEWS
Paradise
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Genre: Drama
Year Released: 2026
Runtime: 1h 30m
Director(s): Jérémy Comte
Writer(s): Jérémy Comte, Will Niava
Cast: Daniel Atsu Hukporti, Joey Boivin-Desmeules, Evelyne de la Chenelière
Where to Watch: shown at the 2026 Berlin International Film Festival

RAVING REVIEW: What do we inherit when the person we’re supposed to become is missing? PARADISE begins with the presence of absence, and not as a mystery to be solved, but as a situation to be endured. Jérémy Comte's first feature-length film explores two narratives set across the ocean from each other, and while the plots have little in common, they are linked by their emotional importance.

Kojo (Daniel Atsu Hukporti) grows up in the midst of two conflicting realities in Ghana. On the one hand, he’s drawn to the freedom of the streets of Accra. On the other hand, he’s caught up in the tradition of his father’s life as a fisherman. When his father disappears at sea during a storm, Kojo's world breaks apart. Not only does grief arrive, but also financial hardship. The film then follows Kojo's slide into the streets as he is forced to join a gang for money. Kojo's ascent through the gang's ranks is portrayed as driven by momentum rather than ambition. Standing still is no longer an option.

At the same time, Tony (Joey Boivin-Desmeules) struggles with a different type of uncertainty in Quebec. He lives with his mother, Chantal, who is in a long-distance relationship with a cargo ship captain. Tony has a hunch that this man may be his father, whom he has never met. Unlike the discovery of the identity of Kojo's father, the question of whether Tony's father is the captain of the cargo ship isn’t presented as a mystery that needs to be resolved, but as a possibility that Tony cannot quite put into words.

The film builds its narrative around the parallel stories of Kojo and Tony and resists the urge to connect them in a meaningful way. The film is more interested in finding echoes in the narratives than in points of intersection. Both are searching for something that they can’t confirm. Both are reacting to absence by giving meaning to bits and pieces of information. The symmetry of this theme is clear and well constructed, although the narrative itself is deliberately understated.

The strength of PARADISE lies in its ability to evoke the right atmosphere and to maintain control over its narrative. Comte's background in short-form storytelling is evident in the film's confidence of restraint. The scenes are allowed to unfold. The silence carries weight. The film trusts the audience to sit with the ambiguities rather than resolve them.

The film's atmospheric and visual elements are carried out in a similar fashion. Olivier Gossot's cinematography focuses on textures and spaces such as water, streets, and interiors. It reinforces the notion that the physical environment influences emotional responses before those responses can be articulated.

In certain instances, the film is so focused on maintaining an equal distance between the two narratives that it borders on creating a disconnect from the audience's emotions. While the film is focused on its observations, it is much less generous in providing access to the narratives.

Evelyne De La Chenelière's portrayal of Chantal provides needed grounding to the Quebec story. Her portrayal of motherhood isn’t as a source of comfort, but as a form of compromise. The relationship between Chantal and the captain is largely absent from the film, yet its impact is evident throughout Tony's actions. The film avoids demonizing Chantal's choices and presents them as part of a larger pattern of adults making imperfect choices that children are left to interpret.

The film explores inheritance in all its forms, be it genetic, cultural, or emotional. Kojo inherits the responsibilities without the preparation. Tony inherits uncertainty without context. Both are influenced by systems beyond their experiences, such as economics, migration, labor, globalization, and geographical distance. The film touches on these systems without delving too deeply, keeping its focus at the individual level.

PARADISE is self-assured, with the parallel structure being powerful. There’s an impression that the film is working towards something it chooses not to reveal, and that decision will elicit different reactions in viewers. There’s an integrity to this decision. PARADISE doesn’t want to create false connections nor manufacture conclusions. It understands that some distances are permanent and that some questions remain unanswered. The title isn’t ironic, but is more aspirational, a suggestion rather than a statement.

Comte proves he has a distinct voice and a firm grip on tone, even when the film feels just shy of being complete. PARADISE is reflective, deliberate, and visually convincing, but its emotional reach isn’t always consistent with its conceptual clarity. What remains is a film that lingers in mood more than in memory. This is a measured debut, showing a lot of promise; even if some in the audience will wish it had taken one more step forward rather than held back.

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[photo courtesy of ENTRACT STUDIOS, EMA FILMS, CONSTELLATION PRODUCTIONS, I60 PRODUCTIONS, GLOBAL CONSTELLATION, THE PR FACTORY]

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