By Victor Bruno

In the universe of The Immigrant – this great version of The Odyssey – there is a important desire of movement and proximity. This desire is only reached when there is contact. However, the unfolding of the action is limited by the very universe of the frame (the end of the frame equals to the limitation of the space) and, in another, much more important sense, by the emotional limitation of Ewa (Marion Cottillard). But the question remains the same: this character, who has such an intense desire of be sure of herself, of who she is – her importance in the world and whether what she is doing is right or wrong – why then does she have this emotional limitation, systematically rejecting almost every proximity to another body?