Regret, longing, and overcoming are what drive the somber aura of Two Gods, a deeply personal slice-of-life film set in working-class Newark, New Jersey. It follows an eccentric Muslim casket maker, Hanif, who takes two struggling boys under his wing to mentor while reconciling with his own haunted past. Furquan, an enthusiastic 12-year-old, grew up with abusive parents and now lives with a grandmother, and Naz, 17 years old, is trying to stay out of the criminal justice system. Throughout, Hanif helps Furquan and Naz figure out who they are and guides them through the day-to-day rhythms of casket making, body washing, and Islamic funeral rites.

Shot in black-and-white, director Zeshawn Ali dives into the dualities of grief, regret, and death, as represented by Hanif, with longing and growing up, as exemplified by Furquan and Naz. These two tonalities present a picture of a wider community struggling to keep their young on the right path in face of the institutional barriers that loom over them.

Those profiled are extraordinarily compelling. Hanif carries himself with a resilient swagger, complete with an infectious laughter, frequently checking up on Naz and Furquan and speaking to them as equals, never quite pontificating or didactic. Naz’s story is particularly troubling and relevant. He struggles with a sense of belonging, finding escape in the crowds he chooses to be a part of, which eventually leads him back into the criminal justice system. In one particularly telling scene, Naz recounts the difficulty of learning in school when one is constantly scheduled with probation officers and court orders. Meanwhile, Furquan has to deal with an increasingly difficult home life.

With all the potentials for sensationalizing or focusing too much on the “gritty” nature of their lives, Ali never quite goes there. Instead, he chooses to paint a more delicate portrait, one that emphasizes the calmness of spirituality as a means to escape a hardened past—the meticulous close-up ritual shots of Hanif performing body washing is strangely serene, a cool respite from the economic hardships to which he and the boys face.

Overall, it is clear that Ali has chosen a story deeply personal to him, and the film’s use of the passage of time is effective and powerful. Although its scope could’ve been extended, it is understandable why Ali chose to keep the focus narrow; his film aims to remain intimate and on the ground, so viewers are never reeled back to onscreen explanations or cold statistics. This is real cinema vérité, one that authentically gives say to those who often remain voiceless.

Two Gods will be streaming via the Hot Docs online, from May 28 to June 6. (Ontario only)