Successfully vanquishing global ills like environmental degradation, economic inequality, insufficient health care and armed conflict in order to purposely create an earthly paradise is undeniably an ambitious and virtuous goal. And, thanks to the adoption of the principles outlined in the Universal Constitution of Human Rights and Responsibilities, the world of the near future has managed to make this dream a reality. Humanity’s deliberate abandonment of its suffocatingly toxic ways and their devastating impact on the planet has enabled the establishment of an existence based on fairness, equality, sustainability and the guaranteed fulfillment of basic needs. But there’s a trade-off for this new way of life – individuals must willingly agree to live only to age 50, at which time they undergo an EoL (End of Life) ceremony of their choosing. It’s a rite of passage that evokes mixed reactions: many might seem reconciled to it outwardly, but is that how they truly feel about it on the inside? Indeed, is turning in one’s life while still in its prime an acceptably conscionable practice? On top of this, to ensure compliance with this universally sanctioned policy, authorities have established official protocols for transitioning individuals to follow, including agreeing to the presence of designated EoL witnesses to artistically document their passage, a type of work similar to that of courtroom sketch artists. But is the establishment of such a seemingly utopian reality ultimately worth it given the cost involved? One might argue that social dogma like the kind depicted here is simply too high a price to pay for what amounts to a truncated life in exchange for a few years of idyllic bliss. As a result, competing themes related to social stewardship and personal sovereignty come into discreet conflict. These notions are primarily explored through the experiences of a talented and sensitive apprentice EoL documenter, Kiah (Keira Jang), who’s learning the ropes of her job while wrestling with her feelings about it under the mentorship of her witnessing partner, Daniel (Joel Oulette), a consummate, albeit detached practitioner who goes about his tasks with perfunctory efficiency, never questioning the validity of this policy or his suitability for his calling. Kiah soon finds herself questioning the nature of the EoL protocol, both in principle and personally, given that her mother, Ellie (Sandra Oh), a onetime EoL witness herself, is approaching her own 50th birthday. Under conditions like these, will convention prevail? Writer-director Ann Marie Fleming’s insightful, intriguing offering gives viewers much to contemplate from both sides of a loaded coin minted from decidedly conflicting viewpoints, some of which arguably could be seen as heretical in the face of outlooks typically looked upon as unquestionably noble and incontestably honorable. But are they really? Indeed, for example, would most 49-year-old idealists honestly live up to the personal magnanimity they profess to embrace when confronted with circumstances like these? The film examines these themes through a captivating, deftly nuanced narrative that explores its subjects from a variety of angles, clothed in a stunningly gorgeous, skillfully blended palette of vibrant cinematography and inventive complementary animation. And this package is topped off with a fine ensemble headlined by yet another stellar performance from Sandra Oh. Admittedly, a few sequences are a little stretched out, and some viewers might find the ending a tad abrupt. But, considering everything this release has to say – particularly in its willingness to quietly but courageously raise issues that are seldom discussed on screen – “Can I Get a Witness?” thoughtfully covers ample ground rarely seen, matters that we might all have to face on multiple fronts one way or another someday.