Over 7 million Venezuelans have fled their country in what is considered a monumental mass exodus, and some consider it the largest in the history of the Western Hemisphere. It’s a shocking number that is hard to conceptualize but director Diego Vicentini narrows down the millions of stories to just one in the humanitarian drama, Simón. Speaking from his own experience of fleeing Venezuela as a teenager, Vicentini paints a complicated, emotionally taxing portrait of a young asylum-seeker who faces a war of worlds, forced to decide if the safety of the United States outweighs the guilt of leaving Venezuela.

Based on a true story, Simón stars Christian McGaffney as a young political activist and freedom fighter who is facing the consequences of going against the Venezuelan regime. When we meet Simón, he has found refuge in Miami and is trying to obtain political asylum so he is not forcibly sent back home. The chaos he left in his wake would surely make for a rough return, which he needs to avoid at all costs. However, asylum status is not an easy answer to his problems. Once you receive it, you can no longer return home, and for Simón, the thought of leaving his family, fellow activists, and life in Venezuela, is not an easy decision to make.

In Miami, Simón meets Melissa (Jana Nawartschi), a pre-law student who eagerly takes Simón’s case. Their relationship eventually turns into friendship as he begins entrusting her with sensitive information about his past, including the shame and guilt he still feels about abandoning his friends. Melissa is sympathetic and determined to help Simón any way she can but as time is closing in on attaining asylum, Simón is forced to make a decision that has no easy outcome.

Interview: Diego Vicentini Knows He Can’t Go Home After Making His Protest Film

Simón is a gripping activist drama that doesn’t shy away from the ugly side of fighting for democracy.  Director Diego Vicentini, who also wrote, produced, and edited the film, pours his heart and soul into this project and the return is tenfold- the only reason why this film is so compelling is because it is told from the point of view of someone who intimately knows this struggle. The use of archival footage of chaos and protests in Venezuela drives home the message that this is not a film made for pure entertainment but rather this is a rallying cry for freedom.

The richly saturated shots give a full-bodied, lived-in feeling. Visceral flashbacks of torture, like teeth pulling, push the limits of physical torture, and knowing this violence is rooted in reality is a difficult pill to swallow. Simón also incorporates a good amount of experimental aspects, akin to Fight Club. This inventive storytelling technique amidst the sensitive subject matter is a bold and ultimately rewarding choice.

It’s been said that a camera can be an effective weapon, and Diego Vicentini is contributing to his country’s ongoing fight for democracy through this powerful weapon of choice: film. At its core, Simón is a universal story about the cost of freedom, and its urgency cannot be understated.