Io Capitano <img src="https://img.icons8.com/ios-glyphs/20/000000/star--v1.png"/><img src="https://img.icons8.com/ios-glyphs/20/000000/star--v1.png"/><img src="https://img.icons8.com/ios-glyphs/20/000000/star--v1.png"/>

Io Capitano

Matteo Garrone directs this migrant drama about two lads trying to make their way from Senegal to Europe. Considering the bleak shit they go through on the trek, their life in Dakar doesn't seem as grim as might be expected. Garrone and co-writers Massimo Ceccherini, Massimo Gaudioso and Andrea Tagliaferri (along with a whole swag of collaborating writers) are posing a less stereotyped position here - what if a couple of young guys simply want to follow their dream and work in Europe? Do they necessarily have to be escaping a life of hardship and/or persecution? This premise shines a light on the broken system that forces people, for many reasons, to risk their lives in pursuit of a better option. Not being sure of legal standpoints here, I did a bit of reading on Amnesty International's website. The following explains the distinction between migrants, like the guys in this film, and refugees or asylum seekers:

It is important to understand that, just because migrants do not flee persecution, they are still entitled to have all their human rights protected and respected, regardless of the status they have in the country they moved to. Governments must protect all migrants from racist and xenophobic violence, exploitation and forced labour. Migrants should never be detained or forced to return to their countries without a legitimate reason.

Sadly, this directive is NOT upheld throughout the journey. Cousins Seydou (Seydou Sarr) and Moussa (Moustapha Fall) are fantastic and it's the former that takes our focus. Sarr gives Seydou a sensitivity and a sweetness that feels natural - he's really softly spoken and genuinely helpful to others, starkly contrasting with the scummy human rights abusers at nearly every stage of the trip. I say nearly, because there are a couple of occasions that belie the rule - one fella in the market in Dakar angrily tells the boys to forget about the attempt, echoing Seydou's mother's despair when he tests the water with her.

Another highlight is Seydou's meeting with Martin in a Libyan prison. The older bloke takes the young lad under his wing and, probably realising he'd be for the chop if he were to remain in jail, enlists Seydou to help him on a work assignment (basically modern slavery). Their eventual separation is a bit of an eye-moistener. Garrone attempts to defuse the horrors of human traffic by lending the story elements of magic realism, as well as tooling a reasonably upbeat climax.

Overall, Io Capitano is a touching, humanist story which was Italy's nominee for Best International Film at the Oscars, losing out to The Zone of Interest. No shame in that.

[As a long-suffering Tottenham fan, I was chuffed to see a chink of light in the darkness. Moussa wears a Spurs strip for the Mediterranean crossing, just one of a myriad of football shirts in this film.]

Io Capitano opens Mar 28 at Luna and Palace cinemas.

See also:

Well, Garrone is also responsible for Gomorrah (2008) and Reality (2012), both fine films.

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