“The Wild Frontier” is an impressive foray into the “jungle of Calais,” the way the migrant camp near the English Channel was popularly called. Militant filmmakers Nicolas Klotz and Elisabeth Perceval integrate themselves among the inhabitants of the “jungle” barracks aided by a portable camera, building, frame by frame, a relationship of camaraderie with some of those who endure all kinds of deprivations in the hope of living a better life in the West. The movie proves its political acuity not just thanks to this solidary gaze which it establishes at every step – a manner of talking from within the community of migrants instead of about them, that is to say always with them – but also due to the form that it takes. For if there is a “practical” lesson to this precarious mechanism of the movie, it is built in the name of an urgency to film, of a desire to accompany through the recording gesture regardless of technological limitations or – like in these splendid shots of the scorched beach – even using them to invent new thresholds of sensitivity. A burning movie which dares to believe again, with fervour, in the true political force of friendship. (Victor Morozov)