Throughout the film the action keeps returning to a particular job that Jasmin is doing - one that seems to skew most closely to his natural state. He is playing the father in a piece that charts a car journey through the Croatian countryside bordering Bosnia in the early nineties. His numb expression inscrutable, it is clear that such a journey - in the same make of car, no less - was an intrinsic and deeply upsetting part of Jasmin's own flight. In various ways he attempts to rekindle former glories, particularly through recitals for other Bosnian ex-pats of the drag queen shtick that he used to be known for in his home country. Even this cannot stave off his ennui, though, and Roland Echavarria photographs him in what are often long, static takes allowing the melancholy to slowly form in the creases of his weathered face. Even when The Waiting Room seems not to be saying anything, Jasmin expresses so much - in expressing so little - as to utterly beguile.
The Toronto International Film Festival takes place from 10-20 September 2015. For more coverage, follow this link.
Ben Nicholson | @BRNicholson