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Jonas Poher Rasmussen finds remarkable means to unearth the memories of his protagonist,
Amin, congealing them into something akin to a classic suspense tale, yet one still rooted in documentary credibility. A 2020 Cannes Label selection,
Flee waited half a year to have its full premiere in the World Cinema Documentary Competition at this year’s Sundance, where it has been one of the most admired films at the whole festival, as well as at the Göteborg Film Festival.
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One of the most subtle of this film’s many great flourishes comes in the opening minutes, as Amin (a pseudonym, as with all the other main characters, to protect his anonymity) lies down on a plush couch as he prepares to narrate his grand tale to Rasmussen. Then, just as we in the audience are similarly settling down, a film clapperboard hovers in the corner of the frame; the two main characters giggle and restart the scene. And this is all rendered in han