In Ben Sharrock’s second feature “Limbo,” the compositions
are frequently flat. Miraculously, though, the characters contained within them
are anything but. The neatly coiffed geometry of Nick Cooke’s
photography immediately jumps out, recalling masters of the tableau like Elia
Suleiman or Aki Kaurismäki. As the camera stilly observes a seated
crowd of refugees uninspired by a cultural immersion seminar, Sharrock’s offbeat
perspective announces itself. This is not going to be typical trauma porn.