A stunning and thoughtful new film demolishes the preconceptions and prejudices inherent in current debates about migration.

Across the western world, there are narratives, often prosecuted by far-right governments or groups, that paint refugees as economic migrants looking for the main chance.

The strength of ‘The Story of Souleymane’ is that it reduces these narratives to the confections that they are.

The French language film tells the story of an asylum seeker whose case for sanctuary seems flimsy at first.

Souleymane is a refugee from Guinea, working as a gig bicycle delivery rider in Paris. He sleeps in a homeless shelter and is seen trying desperately to memorise the concocted story he must use to pass his imminent asylum hearing.

The opening scenes show him as Souleymane is called for his interview – and then flashes back follow him over the two days leading up to that moment.

In its final heartbreaking scene, Souleymane is inside an interview room desperately trying to convince an immigration official that he has a legitimate reason to be granted asylum.

Director Boris Lojkine, who co-wrote the film, uses a fly-on-the-wall style that follows Souleymane closely.

We see him at work pedalling laboriously through busy streets, dodging vehicles. We watch him plead with a restaurateur who has messed up an order and we are with him as runs to catch a last bus that will take him to the homeless shelter.

Half his meagre earnings are taken by the quasi-crook from whom he illicitly rents his delivery bike.

Abou Sangaré is magnificent as Souleymane is played by Abou Sangare in a stunning first-time performance that won the best newcomer Cesar last year.

Souleymane is a fighter. He is living in miserable poverty, he has left behind the woman he loves and he sometimes questions what he’s even doling in France.

The film tackles the issues of how cheap labour has become endemic in most modern economies and of how the gig economy is largely populated by migrants.

‘The Story of Souleymane’ ultimately doesn’t make a case for or against its subject being granted asylum but it makes an emotive case for him as a human being deserving of respect and dignity.

The film is in cinemas now.