Melanie, in a relationship with her boyfriend Veselin, meets a Polish girl and forms an instant connection, prompting her to question her sexuality in Simona Rose and Miroslav Petkov’s drama The Foreigner.

Opening in Bulgaria, The Foreigner introduces us to Melanie (Simona Rose) and her boyfriend, Veselin (Miroslav Petkov), they have been living together for about a year and in a relationship a little bit longer and although they share a life together, it is one marked by emotional seclusion. Veselin, absorbed in his work, leaves Melanie to her own devices and Melanie with little to do is left to sit or wander around town. The film wastes no time establishing Melanie’s dissatisfaction with her life; showing her yearning for connection and meaning in a world that feels alien to her. An emotional space that is soon filled by a chance encounter with Kelly (Elitza Zlateva), a Polish woman who, like Melanie, is an outsider in this land.
From this point, The Foreigner takes us on a journey of discovery, as Melanie and Kelly develop a deep and complex friendship; that gives us a delicate portrayal of the ways in which people reach out to each other in times of need and the unexpectedness that arises when these connections are tested. Kelly becomes the confidante Melanie desperately needs, and the growing bond between the two women provides the emotional core of the film.

Petkov also acts as the cinematographer, and he does a remarkable job of shifting the tone of the film as the story progresses. He shows the couple’s apartment as a metaphor for their relationship, the colours are dim and pale leaving the flat feeling cold and uninviting, a stark contrast to when Melanie and Kelly are together as they often meet in places of excitement or vibrant colour. The framing often emphasizes Melanie’s isolation, even in the midst of a bustling city, and the way Petkov uses light and shadow enhances the emotional weight of the story.
There are some downsides to The Foreigner with the film’s reliance on clunky exposition and the forced backstory lessening the power. But this can be easily forgiven due to this being a Bulgarian film made in English. While the positives of the script from our co-writers (Rose and Petkov) are allowing its characters to speak through their actions, silences, and the tension that gradually builds between them. Initially lighthearted, the narrative slowly reveals the underlying tensions in Melanie’s relationship with Veselin. The first indication that something is wrong comes early in this 15-minute short when Veselin, during casual conversation, recounts the downfall of a colleague’s marriage, caused by jealousy and possessiveness, foreshadowing what is to come between the two later. Simona Rose delivers a compelling performance as Melanie, her vulnerability and strength coming through in equal measure, while Miroslav Petkov, in his role as Veselin, gives a performance that captures a man whose love is buried under frustration and misunderstanding.

The Foreigner is a film that touches on themes of love, loneliness, and self-discovery, becoming a nicely crafted indie drama that offers an exploration of human relationships that gives us a quiet, reflective, viewing experience.
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