A thrilling documentary made with a blend of animation and archive footage tells an immensely powerful tale of a gay Afghan survivor

In what’s proving to be a rather sub-par Sundance (an understandable blip given the unusual nature of this year’s virtual festival), it’s a genuine thrill to encounter a film as exciting and immediate as Flee, a much-needed jolt of energy now reverberating on laptop screens across the country. Even in a traditional year, it’s the kind of audacious and uniquely told story that would have attendees excitedly buzzing around Park City, urging others to seek out, and despite the fractured nature of this year’s edition, a swell of digital support has helped it nab a seven-figure deal with Neon (helped also perhaps by its star producers Riz Ahmed and Nikolaj Coster-Waldau), this year’s first big sale, a well-earned reward for what’s likely to be the best film of the festival.

Related: Passing review – Rebecca Hall’s elegant but inert directorial debut

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Source: The Guardian