Documenting the everyday life and activities of a few people within the Turkana-Ngaremara community in Northern Kenya as they contend with a long drought, “Between the Rains” keeps a respectful distance, observing but never commenting. Directors Andrew H. Brown (who also shot and co-edited the film) and Moses Thuranira (who hails from a nearby community) keep the narration to a minimum, allowing the actions of the people they studied for approximately four years to tell the story. The film, which topped the documentary competition at this year’s Tribeca Film Festival (where it also won cinematography honors), explores the ravaging effects of climate change on an almost extinct ancient community, without intrusion into their lives. The film follows two brothers. Younger sibling Kole is a teenage shepherd questioning the role he was assigned within his community while dealing with the pressures of proving his manhood. At only 20 years of age, Patrick is already the patriarch of the family and a respected and heard voice with their tribe. While the film doesn’t actually show conflict between the brothers, as the story unfolds, the hidden tensions and expectations each has for the other become apparent. They are dealing with not just the drought but also their positions within the community, as well as the weight of many years of tradition. A natural consequence of dwindling resources for both people and animals is violence. As the drought lingers on, conflict arises between the different communities trying to graze the drying land and grow food. Here another intriguing figure appears. Josephine, a peacemaker trying to convince the people around her to stop the violence. With her ever-present cell phone, she makes for a rather modern figure, moreso than the others the film follows. Though the film never shows what the community thinks of her, audiences can tell that attitudes fall somewhere between respect and resentment, hinting at gender roles. Brown’s camera captures not just the vistas of the landscape and the terrain but also the animals and the faces of the people, in vivid detail. The cinematography enhances the viewing experience by alternately showing the vastness of the land and the smallest flickers of emotion on everyone’s faces. That distant, observational style does not extend to the soundtrack. The music acts as an intrusive element trying to guide the audience’s feelings when what’s transpiring is moving enough. The filmmakers’ style is most effective when following the Turkana’s traditions. They believe in offering sacrifices of their livestock to the gods, which they call the Spirit of Nature. The camera allows no judgment even as it documents acts that may not be familiar to audiences not from the region. But the story the film’s telling still remains with the people. The camera might show the dry land and dying animals, but the narrative only comes full circle when Kole announces that nature remains angry with them since no rain is coming. It becomes all the more poignant when the drought leads to death and Kole has to deal with the consequences. The images show his world crumbling, while his face registers the impact this tragedy has on him and the community at large “Between the Rains” delves more into Kole’s life, showing how he’s both respectful and fearful of his people’s traditions. He’s called upon to prove his manhood by going through painful exercises, like taking out his own tooth. As the camera lingers on his face, his hesitation and fear unveils a skepticism that he cannot express lest he be labeled a coward. In telling Kole’s story, the filmmakers depict the chasm between centuries-old traditions and modern sensibilities, movingly the people caught in between. With its languid pace, “Between the Rains” affords the audience an immersive experience into a land few people know much about. In highlighting the minutiae of everyday life as well as traditional customs, the film offers a fully rendered snapshot of a community and of the climate crisis.