In overlapping frames, one emerging from a point of view links two worlds, two views. On one side is portrait and myth: the fictionalized story of Yassmine Flowers, a transgender migrant from Morocco who, in Tsang and Flowers’s collaborative retelling, becomes a woman scorned by her family, poisoned by a king, revivified by a goat, then finally settling at the bottom of the sea. On the other is landscape and documentary: the farmers, fishermen, and the rugged coast of Lesbos where migrants have sought refuge, often tragically. In an early shot, goats hesitate before jumping over a shallow creek. Many don’t quite make it, and splash awkwardly before regaining their footing. One emerging from a point of view exists in the space of such leaps, both in the hope of crossing, and in the ethereal beauty that comes from these momentarily blended realms