Emanuel Licha’s newest work takes its name from the Haitian Creole slang term for “shark bones”—a nickname for the Toyota Land Cruiser, the vehicle popularized amongst humanitarian aid organizations in Haiti after the 2010 earthquake. A primary feature in Zo Reken, the film quietly situates itself in the back of such a 4x4. That being said, the conversations that take place in it are anything but quiet: fly-on-the-wall viewers witness Haitian passengers discussing the state of neocolonialism, the president, and the failed promises of international community, and urgently so. Muted shouts of demonstrations and clangs of barricades being erected background Zo Reken’s dialogue as the car turns corners around bumpy Port-au-Prince roads. Candid, angry, suspicious and immersive, Zo Reken navigates the aftermath of international aid by privileging the act of listening, above all. —Audrey Chan