I don’t know who Samir, the unnamed director who made this film, was, but he was able to absorb and reproduce all the cliches of Western liberal cinema. If you are advocating traditional values, then you must be prone to radical extremism. If you are a homosexual, you must be a good guy. And so on.
The Iraqis in London are probably like the Russians in Brooklyn. That is, judging from this sample of Russians is like judging the love of the theater on the national football team. But Samir tries to reproduce the cultural and religious characteristics of Iraqis in a couple of dozen characters shown. And in this sample “accidentally” stuck poet and homosexual, who identify a progressive Iraq, struggling with the legacy of decades of dictatorship and long-term Islamism. The viewer is clearly explained who the right and wrong Iraqis are, but it remains unclear what this mess in a small Baghdad has to do with the real Baghdad and the real millions of Iraqis.