FAMILY MOTEL is so-called as Ayan (a Somalian refugee) and her daughters have been evicted from their apartment and the family is now being put up by the government temporarily in a seedy motel.  Ayan struggles with her work cleaning offices while her daughters Nasrah and Leila grow restless, secluded from their friends and school.

Director Klodawsy’s documentary background shows in her film.  The strengths of the film lie in its authentic feel, especially in the film settings (at the motel; at the government agencies) but the weakness in the narrative emerges just as well.  Klodawsky does not bring her film to proper closure despite building it to a compelling climax.  One also wonders about her pessimistic depiction of government agencies, here always shown in bad light, inflexible and following rules.  Oddly enough, FAMILY MOTEL is a NFB (National Film Board) production.  One can guess that she probably had difficulty getting her film made.

The film stresses Ayan and her daughters’ present situation.  Nothing much is mentioned of the family back in Somalia (whether the husband is a loving one; how the other children are surviving; what they do with the sent money) except that they need money constantly.  The film is at its most interesting when Klodawsky displays the clash of cultures.  The audience sides and sees Ayan’s point of view when she hits her eldest daughter while the Canadian neighbours immediately summon the Children’s Aid Society.  The intercourse between Nasrah and a white teen, Gloria also holds interest.

For the short time span of five years Ayan and her daughter have spent in Canada, the three speak perfect Canadian English without a trace of a Somalian accent.  The viewer is only reminded of Ayan’s roots from her African garments.

FAMILY MOTEL is a little film, made on a modest budget with actors improverising.  One only wishes Klodawsky did not leave the audience hanging on the fate of the family after getting them (the audience) interested in the family.