Least Among Saints

In the sun‑washed suburbs of Arizona, Anthony Papazian returns home carrying the invisible scars of a long, arduous tour. The quiet streets mask the turbulence of his mind—nightmares that bleed into daylight, a marriage that has frayed to the point of legal distance, and a sense that the world has moved on without him. The film settles into a contemplative, almost lyrical mood, allowing the viewer to feel the weight of a veteran’s daily battle with PTSD while hinting at the possibility of redemption just beyond his reach.

Across the fence, Cheryl Cook lives a life that appears ordinary until her son, Wade Leabu, appears on Anthony’s doorstep, eyes wide with a desperate hope: he believes his father is out there somewhere, waiting to be found. The boy’s earnest quest becomes the catalyst that pulls Anthony out of his isolation. Their unlikely friendship forms against a backdrop of modest homes, desert heat, and the quiet hum of a community that watches but rarely intervenes. As Anthony hesitates then chooses to help Wade, the story gently unfurls a portrait of two men from different worlds bound by a shared longing for connection.

The tone remains intimate and restrained, blending moments of quiet introspection with the subtle tension of an emotional journey that could either deepen old wounds or begin to stitch them together. Supporting figures such as Jolene San Giacomo, a social‑services worker, and George Dutton, a police officer, hover on the periphery, embodying the institutional forces that intersect with personal healing. Through the evolving dynamic between veteran and boy, the film suggests that compassion can emerge from the most unexpected places, offering a path toward hope without ever losing sight of the shadows that still linger.

Last Updated: August 10, 2025 at 06:57