IO CAPITANO
Italy, 2023, 121 minutes, Colour.
Seydou Sarr, Moustapha Fall, Issaka Sawadogo.
Directed by Matteo Garrone.
A film that needs to be seen.
Audiences all around the world have experienced refugees, asylum seekers, trying to come to their country, especially refugees at the mercy of people smugglers. For years there have been images of boats capsising in the Mediterranean, journeys from Libya, hopes for reaching Italy. And, during the 2010s, the many stories, in fact, the many films, featuring the refugees from Afghanistan, Syria, again reaching the Mediterranean, attempts to reach Greece, difficult treks through Europe, borders barriers, hostile reception, racism.
But, there have not been so many films about the refugees and their journey through the countries of North Africa to get to Libya, to make that journey across the Mediterranean.
The two central characters, cousins, age 16, at school, doing odd jobs to get money for their passage to Europe, Seydou and Moustapha, using their actual names never having acted before (which makes their performances all the more credible and persuasive), have dreams of life in Europe, in Italy. The mother does not want them to go but they go to get a passport, from the people smugglers, and a perilous journey begins.
The early part of the film does show life in Senegal, school, family, hard work, and the desire for something better. But, the central part of the film shows the journey – and it is definitely not better. The hopeful refugees are bundled into vehicles, crammed, at one stage on the back of a truck bouncing on the dunes, someone falling off, the convoy driving off, the falling man abandoned. At times, the desert is no place for any vehicle and the group have to trek for days, a relentless guide leading them, some collapsing, especially a woman whom Seydou tries to help, but the group has to go on (and, revealing his character, a dream fantasy where he goes back to rescue the woman and she is able to fly to safety).
The trek takes them inland from the Senegalese coast to the border with Niger, payments to corrupt officials, through the desert then to the Libyan border. But the Libyan border has been a false hope. By this stage, the group is weary, even the two young men. And, as we have travelled with them, we are weary, upset, concerned for them. And worse is to come,
Again the border guards are corrupt, checking passports (with full state two years earlier but the guards noting that the boys are wearing the same clothes now as in the passport), demanding money, Moustapha arrested and taken away. Then over the operations of the Libyan Mafia. Seydou is also taken, imprisoned, tortured because he has no money. But, a saving grace, an order refugee, Martin, encouraging Seydou, tending his wounds, volunteering when builders are asked for and nominating Seydou.
Some respite as the couple build a wall, the commission to build a fountain in the grounds of the desert mansion, and freedom to leave. There is more to come, Seydou doing jobs but searching for Moustapha, finding him, approaching the people smugglers and their still dreaming of life in Italy.
One aspect of the story of the boats on the Mediterranean is the smugglers getting the youngsters to steer the boats, perhaps more tolerance of the boats by the Italian Coast Guard. Which means then that Seydou after brief instructions about gears and guidance, is the Captain, Io Capitano. Some exhilaration for him but also a great discovery of responsibility, passengers, pregnant woman, Moustapha and his wounded leg, passing the lights of oil rigs, and eventually the Italian coast.
The film ends. We have shared the journey. And we know the hardships that the entry into Europe will bring.
1. A topical film? The 2010 this? The 2020s? Migrants on the move around the world? From Africa to Europe?
2. The settings in darker, life in Senegal, the city, homes, families, all conditions, crowded houses, boys and labour, school, collecting money for the trip to Europe? The dream of Europe?
3. The establishing of the characters, Seydou, leadership, Moustapha, cousin, supportive? Seydou at home, asleep, his sisters, his mother, working on the building site, going to school, testing out his mother about leaving, her harsh reaction? Counting the money? Moustapha, age, enthusiasm?
4. Decision to go, the religious consultation, the rituals, the shaman, his approval? Getting the passports, the big lineup, rapidity, the photos, the money, later the lie about the date of the passports and their wearing the same clothes?
5. Leaving, the vehicles, the characters of the people smugglers, exploitation?
6. The trek, the terrain, from Senegal inland, through Mali, to the border with the Niger, the treatment, the hustling, checking, the trucks, the drive through the desert, bouncing, the man falling off the truck and abandoned, the lady who could not go on, Seydou’s return, trying to help, the dilemma, Moustapha urging him, his later dream about helping the woman to fly?
7. The Libyan border, the police, searching for money, Moustapha and his inserting his money in his body, his arrest, imprisonment?
8. The Libyan Mafia, taking the refugees prisoner, the torture and details, Seydou, the others hanging? In the cell, the crowds, Seydou and his exhaustion, taken pity on by Martin, Martin and his back story, the appeal for builders, Martin volunteering but taking Seydou? Into the building site, the food, some accommodation, building the wall, the manager, the issue of building the Fountain, must of freedom, the work on the Fountain, it being accepted?
9. Seydou, Martin, in Tripoli, Martin having to leave, going to Italy? Seydou’s gratitude, his saving his life? Seydou, work, continuing to search for Moustapha, eventually finding him, Moustapha having been shot, the doctor and the injection, the barber and his drugs? The doctor advising that they needed to go to Italy?
10. Seydou, the people smugglers, not enough money, the smuggler and his suggestion that Seydou guide the boat, the boat itself, the explanation about the gears of the engine, Seydou and his diffidence, yet wanting to help, time for Moustapha? The crowds on the boat, discovering the men in the engine room, the pregnant woman, the crowds, water, atmosphere?
11. Seydou, guiding the boat, high hopes, Moustapha assisting him, the oil rig, the lights, continuing on, Seydou and the crisis, controlling the people, the birth of the child? At the wheel, declaring that he was the captain, that it was saving people? Sighting land, the helicopter, the birds flying?
12. Seydou, the achievement, the long close-up on his face, the Captain?
13. The film of contemporary issues, Italian directors and his perspectives, the stories he had heard, his career, the cast and their first films, convincing, struggle, humanity, venturing into the unknown, naivete, the future?
