A Mosquito in the Ear (Yorgos Lanthomos, 2026): United States

Reviewed by Kara Raynaud. Viewed by SBIFF.

If there were ever a story that begged to be told, it would be Mosquito in the Ear. A true-to-life drama written and directed by Nicola Rinciari, the film is based on the graphic novel Una Zanzara nell’Orecchio by Andrea Ferraris that chronicles the real-life journey of his experience alongside his wife, adopting their daughter from India.

The film stars Jake Lacy (The White Lotus) as Andrew, Nazanin Boniadi (The Lord of the Rings: The Rings of Power) as Daniela, and a remarkable newcomer, Ruhi Pal, who delivers an electric feature-film debut as Savari—a young orphan forced to leave the only family she has ever known to begin a new life in the United States.

From its opening moments, the film is deeply compelling, following the young couple as they embark on the journey of a lifetime to fulfill their long-held dream of adoption. From the outset, it is clear that their hopes and dreams have painted an unrealistic picture of what lies ahead. It’s obvious they’ve painted an illusion of grandeur within their minds, focused primarily on their own desires and expectations.  The casting is both smart and precise. Boniadi, an emotionally rich performer, brings remarkable depth to Daniela, a woman driven by a profound need to preserve lineage and fulfill a sense of familial destiny by adopting a child from her own world. Lacy portrays her husband as a fractured and quietly uncertain counterpart, and his restrained performance adds layers of vulnerability and tension to their shared pursuit. 

Upon arrival, the couple is confronted with the stark juxtaposition between the landscapes of the U.S. and India. Every nuance and distinction between these two worlds is captured with precision and care. Rinciari enriches the visual language of the story by weaving in B-roll footage shot months prior to principal photography, interlacing it like a tapestry –– dividing country, culture, and lifestyle. Shot in a cinéma vérité style, cinematographer Kai Dickson’s work is both immersive and striking. Sound functions almost as a character in itself, carrying significant emotional weight throughout the film. Production design by Manisha Khandelwal (Hotel Mumbai) is meticulous and evocative. 

From the moment the couple meets Savari, she becomes theirs—at least in their hearts. A powerful bond between Daniela and Savari is immediately apparent, yet complications quickly surface, disrupting their expectations. It becomes clear early on that Savari has already constructed a moral and emotional maze within the confines of her present home—the orphanage run by the nuns. In addition to her reluctance to bond with her new family, it’s apparent that Savari struggles to connect with Andrew, at times appearing withdrawn or resistant, adding another layer of emotional complexity to the film. This tension weighs heavily on the marriage, subtly revealing the fractures within the couple’s relationship and the unspoken truth that Daniela’s emotional allegiance increasingly lies with the child.

Daniela is not the only maternal figure competing for Savari’s heart. At just eight years old, Savari has already formed a deep emotional bond with Sister Teresa, an onsite nun played by Sanya Sagar (Article 370). Sagar delivers a stand out performance,  with minimal dialogue, her physicality alone generates a palpable, aching tension. The head nun, Sister Aruna, portrayed by Micky Singh, is rendered with a delicate, measured hand. Sparse in words yet commanding in presence, she serves as the emotional anchor of the film—guiding, and at times quietly resisting, the fragile transition between two worlds that may or may not ultimately converge. Mosquito in the Ear recalls the spirit of Italian Neorealism, where casting, cinematography, and production design merge so seamlessly that the audience feels not merely like observers, but participants in the story itself.