Located deep in the heart of Eastern Europe is Moldova, the continent’s poorest country. Landlocked between Romania and Ukraine the small troubled nation
is afflicted by rampant corruption, separatist groups, and widespread unemployment. Combined, all of these unfortunate factors create the perfect
playground for criminal organizations to thrive. Particularly prominent in this part of the world are the atrocities related to human trafficking in its many
forms. Prostitution, child pornography, and organ harvesting have become profitable illegal industries due to the social decay and colluded authorities.
Cleverly taking into account all the elements that form part of the notoriously problematic state of the country, Romanian-born director Adrian Popovici ’s
latest feature All God’s Children offers an intricate look at often overlooked issues not only in Moldova but across the globe.
Following several stories that intersect via innocent Pavalas (Emergian Cazac), a young boy living in an orphanage, the film dissects the different plans the adult
characters have for him. His mother, Irina (Ina Surdu), left him behind when coerced into sexual slavery in Italy. After escaping her captors she returns to Moldova
to presumably sell the boy to whoever will adopt him and pay her pimp enough money to regain her freedom. Irina recruits her friend Tatiana (Rodica Oanta), also forced
into the prostitution business, and together they embark on a trip to Chisinau, the capital, to find Pavalas. Desperate to return to his mother, the
abandoned child takes to the streets with a picture and asks if anyone has seen her. During his search he meets warm and loving Alina (Alina Turcanu) and her Canadian
husband Peter (Michael Ironside), who immediately show interest in the boy as he reminds them of their own deceased son.
Adding to their already complex situation, the two women must cross through the communist breakaway state of Transnistria in order reach the city. There,
they accidentally get involved in the suicide of a defecting soldier, an incident that delays their trip. Meanwhile, Bruno (Paolo Seganti), their ruthless Italian
victimizer, arrives in Moldova looking to punish them. However, when Irina reveals her intentions, he exhorts her to see it through and give him his cut or
he will find other uses for the boy in the black market.
On the other hand, after growing fond of the kid, Alina and Peter decide to adopt him, but they
soon get caught up in the dishonest bureaucracy. Upon Irina’s return, Pavalas overhears his mother’s intent to give him up and decides to run way. With Peter now
being helped by Interpol and heartless Bruno deranged with greed, what ensues is a race to find him involving all parties, in which the collateral damage
will be devastating.
At the core of this denouncing drama is Pavalas, who serves as driving force for the plot, but whose destiny is in the hands of others. He has an honest
heart, and in spite of the repeated neglect he remains loyal to his mother. Played with enchanting naturalism by first-time young actor Emergian Cazac, the
character represents a state of purity that everyone is born into, but which gets contaminated by the way of the world. Depraved of better opportunities
and tormented by extreme poverty, the citizens here must identify dishonesty and bribery as survival skills to make ends meet. Therefore, this creates a vicious circle for which the impoverished people cannot be blamed, and in which the wicked criminals revel.
Even with its noticeable imperfections, the film carries a powerful emotional resonance that is impossible to ignore. In a single audiovisual work, the director
allows the viewer to see a land that has been wrongly forgotten and let to suffer by the West. It highlights the spirit of the Moldovan people while
condemning the corrupt system, subtly demanding change for a population that deserves better.
Although concerned with the horrors of human trafficking the
story revolves around the noble idea that, as the title implies, all human beings should get a chance at being happy. In a place that is incapable of
providing such opportunity, this child becomes a symbol of hope and of the innocence that must be protected. Not only is this piece Moldova’s first ever
submission for the Academy Awards, but also the country’s largest cinematic effort in its recent history. Furthermore, Popovici’s All God’s Children is an admirable and important accomplishment. Skillfully written and heartfelt, its mere existence constitutes a small