During his residency at the Camargo Foundation, Bishupal Limbu continued working on his book, provisionally entitled Beyond Flight and Stasis: Refugees, Human Rights, and Literary Narrative , which examines the representational conventions that surround and shape the figure of the refugee. Although recent events have refocused public attention on refugees and migrants, forced displacement is not a new phenomenon. In the twentieth century alone, the Second World War, the formation of India and Pakistan, the establishment of Israel, the Vietnam War, and other similar upheavals pushed millions of people across borders and onto boats. Current scholarship on refugees often situate them in the larger context of human rights and humanitarianism, noting that humanitarian practices transform refugees into citizens of humanity but that humanity itself is a fictive and suspicious identity that humanitarian practices produce in the essentialized form of a suffering or victimized other. Building upon this framework, Limbu’s book investigates how contemporary literature and film can create and disseminate alternative notions about refugees that go beyond the common tropes of wounded victim or undeserving profiteer. At Camargo, Limbu researched and wrote a chapter that explores the nature and characteristics of refugee narratives by analyzing Dheepan, Jacques Audiard’s award-winning film on Sri Lankan refugees in France, alongside literary fiction by two diasporic Sri Lankan writers. What is a refugee narrative? How is it framed by humanitarian expectations and concerns? How do certain narratives thematize, evade, or interrupt this framing? This chapter argues that the most politically productive and theoretically astute narratives involving refugees are often the ones that are embedded in interesting and unexpected formal and aesthetic choices. Dheepan , for instance, mobilizes genre (most notably the banlieue film) and stages time in a particular way to recount a refugee tale whose spatial and temporal dimensions exceed and unsettle the conventional boundaries of refugee experience. The chapter develops these ideas while simultaneously engaging with the critically important notions of asylum, hospitality, and the everyday. While at Camargo, Limbu also organized regular screenings and discussions of recent films about refugees with the participation of the other fellows in residence.