Rosie Ming (Sandra Oh) was raised in Vancouver by her Chinese grandparents. When she is invited to a poetry festival in Iran, she is forced to confront the Persian half of her heritage and her relationship with the father who disappeared when she was small.

There has never been anything quite like Window Horses (The Poetic Persian Epiphany of Rosie Ming). From its inexplicable, unwieldy title to stick girl (that is Rosie), it takes awhile to settle into the film. Once the story moves from Vancouver to Iran, however, the initial discomfort is forgotten. All of the disparate, seemingly random pieces come together to make a film where things that shouldn’t fit, somehow find a way to do so.

As each new element is added to the story, whether it is a different style of animation or another piece of Rosie’s identity, Window Horses builds to a climax that finds clarity in confusion and disconnect. There may be no easy answers, but the realization that multiple, conflicting narratives can all be equally true is its own kind of resolution.