‘Colors of White Rock’ Review: Vivid Documentary Portrait of a Trucker Traveling Mongolia’s Desert of Broken Dreams
Trucks provide much of the outright color in “Colors of White Rock.” Rolling metal rectangles in pillarbox red, royal blue and bottle green, they glaringly clash with the dun khaki expanses of the Gobi Desert as they roar down its lonesome highways — the surrounding sands so vast and empty as to make the vehicles look like matchbox cars in long shot. Their route is simple and linear, as they ferry loads of Mongolian coal past the Chinese border; there’s not much possibility of getting lost. But after several years on this beat, rare female trucker Maikhuu feels adrift anyway: Separated from her family back home and largely overlooked by her male peers on the road, hers is often a spartan, solitary life, through which Khoroldorj Choijoovanchig‘s impressive documentary observes a changing national culture.
Related Stories
'Harry Potter' Movies to Air on MTV, Nickelodeon and Paramount Network for the First Time
'Dept. Q' Season 2 Adds Aisling Franciosi, Greg Wise and More to Cast as Production Starts in Scotland
A standout premiere in Tribeca’s documentary competition that has since also played at Sheffield DocFest, Choijoovanchig’s concise but expansive feature has the balance of human intimacy and environmental curiosity can power a nonfiction crowdpleaser — and should see it travel much further on the festival circuit. As far as distribution goes, one hopes that “Colors of White Rock” sees some theatrical play, if only to do justice to its director-DP’s sparsely spectacular shooting of this harsh but beautiful landscape. In certain soaring drone shots, the Gobi’s dry, greige sprawl looks like nothing so much as the surface of another planet, at least until it’s disrupted by snaking manmade infrastructure and drab light industry.
Popular on Variety
Maikhuu recalls when it was even less developed. “As a child, there were only yurts here,” she says, looking out at the desert that encircles White Rock — the small coal-mining settlement and transit hub, ironically shrouded in dark mining dust, where she lives between driving stints. Her wistfulness is tinged with guilt. She knows she’s part of the system stripping the region of precious natural resources and taking them across the border; the land cannot sustain this livelihood forever.
But trucking pays, in ways other jobs have not. A single mother, Maikhuu previously worked as a hairdresser and cab driver in Mongolia’s capital Ulaanbaatar, but couldn’t make enough to provide for herself and her children — who now live with her sister in the city. She dreams of living with her united family in a developed country where work is easier to come by, but stoically accepts her lot: “Everyone’s hopes are different, depending on their situation,” she sighs. At the wheel, she keeps her mind unsentimentally on the job, which is fraught with dangers for the inattentive: The roads are narrow, and accidents are common.
Confidently investing in her human subject as a representative of an evolving way of life for Mongolian women in particular, Choijoovanchig films her over a period of six years, darting between different phases — the COVID period, during which her work life is drastically altered, throws a clear wrench in film’s timeline, while trips home to visit her children bright contrasting light and joy to proceedings, showing a far softer side of Maikhuu. Otherwise, her tough, implacable demeanor is a professional necessity in a patriarchal sphere still hostile to female drivers, and in a culture where working women must still bear a lot of scrutiny, suspicion and stigma: Her young daughter is mortified by a rumor circulating at school that her mother is a sex worker.
Maikhuu’s frank, characterful voiceover narration gives the film a narrative consistency even as its structure zigs and zags, though not everything is shared: “Colors of White Rock” hints at an unless, less isolated off-road existence for its heroine, not least as it poignantly follows her through another pregnancy, the father unidentified. Against such seismic personal developments, the simultaneous grown and depletion of White Rock and its environs happen at a far more gradual pace, but don’t go ignored by Choijoovanchig and his patient camera. Swirling sands don’t pass through an hourglass in this film, but they mark time just the same.
Jump to Comments‘Colors of White Rock’ Review: Vivid Documentary Portrait of a Trucker Traveling Mongolia’s Desert of Broken Dreams
Reviewed at Tribeca Film Festival (Documentary Competition), June 10, 2026. Running time: 81 MIN.
- Production: (Documentary — France-Mongolia) A Petite Maison Production presentation in association with iCity Films. (World sales: MetFilm Sales, London.) Producers: Tessa Louise Salomé, Luc Sorrel. Executive producer: Chantal Perrin.
- Crew: Director, camera: Khoroldorj Choijoovanchig. Editor: Simon Le Berre. Music: Gael Rakotondrabe.
- With: (Mongolian dialogue)
-
‘Girls Like Girls’ Review: Hayley Kiyoko Makes a Warmly Assured Directorial Debut, Awash in Adolescent Melancholy and Yearning
-
‘Citizen Vigilante’ Review: Uwe Boll Does Armie Hammer No Favors With This Morally Bankrupt Thriller
-
‘The Accompanist’ Review: Susan Sarandon Shines as a Problematic Foster Parent in Zach Woods’ Unsteady Directorial Debut
-
‘Lucky Strike’ Review: Scott Eastwood Fights a One-Man Battle for Survival in Rod Davis Lurie’s World War II Thriller
-
‘Unidentified’ Review: Saudi Maverick Haifaa al-Mansour Crafts a Dull Murder Mystery
-
‘Disclosure Day’ Review: Steven Spielberg’s Invigorating Chase Thriller Taps Into the Mania for Alien Conspiracy Theory, but It Never Becomes a Close Encounter With Wonder
Badenoch blasts 'moaning' female Labour MPs over Burnham jobs 'quota'
Kemi Badenoch has told Labour women to earn a job in Andy Burnham's Cabinet instead of demanding they are handed jobs because of their gender.
The Tory leader lashed out today amid reports that female MPs are demanding the de-facto new prime minister introduce a 50:50 gender split 'quota' in his government.
Amid reports that former foreign secretary David Miliband is being lined up to return to the role, possibly with his brother Ed as Chancellor, one female minister also complained that Burnham could not have 'more Milibands than women' in the top posts.
But in a scathing article in the Times today Mrs Badenoch told them to 'stop moaning' and get chosen on merit instead of retreating into 'more of the failed identity politics that is holding back our country'.
'There are many, many reasons why you shouldn't have any Milibands in the cabinet,' she said.
'But complaining that the boys haven't given them the right jobs or that the boys are taking all the jobs, just shows that Labour's women still don't get it.'
The idea of quotas was also attacked by Baroness Jacqui Smith, Labour's Skills Minister.
Asked by Times Radio if Mr Burnham should reserve jobs for women, she said: 'No, I think what Andy Burnham should be doing is building the very best team around him to change this country.'
A letter written by the Women's Parliamentary Labour Party has called on Mr Burnham to ensure a 50:50 split between men and women in government jobs
Amid reports that former foreign secretary David Miliband (above, right, in 2010) is being lined up to return to the role, possibly with his brother Ed as Chancellor, one female minister complained that Burnham could not have 'more Milibands than women' in the top posts
But Mrs Badenoch told them to pipe down and get chosen on merit instead of retreating into 'more of the failed identity politics that is holding back our country'
A letter written by the Women's Parliamentary Labour Party and seen by the BBC has called on Mr Burnham to ensure a 50:50 split between men and women in government jobs after he succeeds Sir Keir Starmer.
'We are asking you to demonstrate this change from day one and address the toxicity and misogyny within our own party and government,' it said.
Labour has never had a female leader, while the Conservatives have had three, and Mrs Badenoch urged the government to follow its meritocratic example.
'If you run a meritocracy, then you do not have to worry about jobs for the boys,' she wrote.
'Every woman who is a Conservative MP, every woman who has ever won the leadership, has had to fight to get where she is.
'By contrast, Labour women are demanding guarantees from Burnham. But the truth is he doesn't have to give any guarantees.
'If none of Labour's women are prepared to get their hands dirty and challenge him for the leadership, their demands are toothless.'
'In fact, it's quite revealing that the women's parliamentary Labour Party has written to Burnham asking him to commit himself to at least 50 per cent female ministers.
'This has nothing to do with meritocracy. It is yet more of the failed identity politics that is holding back our country.'
Venezuela Fury and Noah Price subsidising their life by livestreaming
Venezuela Fury and her husband Noah Price look to be making their own way in the world by raking it in from their lucrative social media accounts.
The influencer daughter of Tyson and Paris Fury, 16, has become an internet sensation after tying the knot with her husband Noah, 19, earlier this year.
Since getting married and moving in together the couple have been earning thousands of pounds a month, livestreaming their life as newlyweds in their static caravan in the East Riding of Yorkshire.
And fans can't get enough of their regular life updates on TikTok and Kick, which have proved to be very profitable for the pair.
They look to be supporting themselves after Noah denied that he was given £5million by Venezuela's family as a wedding gift.
Despite his wife's huge family wealth, an estimated combined £160 million, Noah recently told his Kick followers that he 'pays for everything' for the couple.
Making light of the claims about Venezuela's millionaire financial status, Noah said: 'I actually pay for everything unfortunately. You'd expect the millionaire to pay for it wouldn't you.'
Venezuela Fury and Noah Price are earning thousands livestreaming their caravan life - after her new groom insisted he pays all the bills and denied he had £5m handout from her dad
The influencer daughter of Tyson and Paris Fury , 16, has become an internet sensation after tying the knot with her husband Noah, 19, earlier this year
Venezuela then asked their fans: 'Do you think I am a millionaire?'
Noah joked: 'She isn't a secret millionaire guys', before she broke into song and sang: 'But I live like a millionaire!'
But it seems according to estimated calculations from their social media work, Noah and Venezuela can more than afford to support themselves.
Noah has been livestreaming on platforms such as Kick and TikTok, where viewers can send paid gifts or donations.
He was previously encouraging viewers to send gifts on his honeymoon during livestreams, suggesting this is one revenue stream.
Both Noah and Venezuela have built substantial followings on Instagram and TikTok. They can potentially earn money through sponsored posts, brand collaborations, affiliate links and creator payouts.
Kick allows its creators to take home 95 per cent of the £4.99 subscription cost that fans pay.
Streamers keep 100 per cent of direct tips and donations, minus minor standard payment processing fees.
It is unclear how many subscribers Noah currently has because this information is hidden, but he does have 7,200 followers which is publicly viewable.
An industry insider has suggested Noah is making around £400 per video on TikTok, while Venezuela is likely to make £2,000 due to her following count of 1.3 million.
An industry insider has suggested Noah is making around £400 per video on TikTok, while Venezuela is likely to make £2,000 due to her following count of 1.3 million
In one video on their honeymoon, Noah asked his followers if they'd give them some more gifts now that they were married.
In a TikTok live viewed by 20,000 he said: 'Keep liking our videos people, keep sending gifts.'
After saying thank you to several of his followers he joked they should stick around on the livestream and 'watch Venezuela punch me in the mouth'.
The other half of the honeymooning couple said: 'I am, honestly!'
Noah previously confirmed that the pair don't share their finances after they were asked whether they have a shared bank account.
'She earns her money, I earn mine,' said Noah, as Venezuela joked: 'Yeah, what you gonna do about it.'
Noah went on to debunk the rumour that Tyson gave him £5million when he tied the knot with his daughter as he insisted: 'No Tyson did not give me £5million'.
Meanwhile Venezuela is being eyed up by executives for a fly on the wall TV series.
Noah went on to debunk the rumour that Tyson gave him £5million when he tied the knot with his daughter as he insisted: 'No Tyson did not give me £5million'
Boasting 1.3 million TikTok followers, Venezuela is already entertaining fans with her honest musings and candid moments, from cooking to kitting out her and Noah's static caravan home.
And following the success of the Netflix series At Home With The Furys, it is no wonder bosses are wanting to draw on the Fury popularity.
A TV insider said: 'The couple are not A-list celebrities but everyone has become obsessed with their love story.
'People are genuinely intrigued by them. Whether it’s the fact they have married so young, Venezuela’s famous family or their gypsy lifestyle, they have the ‘X factor'.
'Several TV executives think a proper fly-on-the-wall series following their lives as newlyweds in the gypsy community would be fascinating,' they told The Sun.
It is thought Netflix would be likely to produce the series due to their already established relationship with the Furys.
Venezuela's representatives told The Daily Mail: 'We have many offers on the table regarding Venezuela which we are discussing.'
