Film Review: “Io Capitano”

“Io Capitano” (2023), directed by Italian filmmaker Matteo Garrone, was nominated for the 96th Academy Awards for Best International Feature Film. Although it did not secure a win, the film stands out for shedding light on an aspect of migration that is lesser seen on screens and in the media: the arduous journey before reaching Europe’s shores. “Io Capitano” delves into themes of racism, exploitation, and violence, but nevertheless leaves the viewer with an unwavering sense of hope.

The film is based on the testimonies of migrants who have made the journey from Africa to Europe, as reported by the film-maker in this interview. It is set in contemporary Dakar, Senegal, and revolves around two 16-year-old cousins and best friends, Seydou and Moussa. Their dream is to move to Europe and become famous music stars, signing autographs for white fans. Moussa starts thinking about the trip, convincing Seydou to join him. Secretly from their family, they work in construction jobs to earn the money for the journey. Although they are not wealthy, they do not live in poverty: Seydou’s widowed mother runs a market stall and takes good care of her children. They have a home and attend school.

One day, Seydou confides in his mother about his desire to go to Europe. She reacts with anger, fearing for his safety during the perilous journey. She pleads him not to risk his life and to stay in Senegal, and she reproaches Moussa for instigating his son. Seydou reassures his mother that he will not leave, but Moussa’s determination prevails. Without informing their families, the two young men embark on a journey through Mali, Niger, and Libya. Along the way, they encounter more challenges than they ever anticipated: the forging of fake passports, the payment of bribes to corrupted border officers, and deadly drives and long walks in the Sahara Desert, where death and corpses are all too real, until they are caught by the Libyan mafia. Finally, they set sail on a boat across the Mediterranean, their long-awaited voyage. Drawing from his experience in films like “Gomorrah” (a 2008 crime drama film on Italian mafia organisations in Naples), Garrone provides a realistic portrayal of the violence faced by black migrants from Africa. The film balances moments of suffering with glimpses of hope, emphasising the humanity behind the headlines and statistics.

The film “Io Capitano” is truly captivating, allowing viewers to immerse themselves in the lives of its characters. Seydou and Moussa, like typical teenagers, share a passion for music and dream a better life in another country. Their desire to leave for Europe initially appears stubborn and somewhat naive, creating a distance between the audience and the characters. When Seydou’s mother reacts with anger upon hearing his confession, viewers empathise with her. She voices what many think: “Don’t go; it’s not worth risking your life.” However, as the film unfolds, viewers inevitably grow fond of these two young men. They endure immense violence and pay a steep price for daring to chase their dreams and take control of their destiny. The film’s ultimate message is clear: Seydou and Moussa are not pitiable figures; they are resilient, resourceful agents with aspirations and planning abilities. Their journey to Europe becomes a powerful testament to determination, leaving a lasting impact on the audience.

And yet, this representation is also somewhat problematic. In my research, conducted with my colleague Dr Pierre Monforte (University of Leicester, UK), we explored the motivations to help refugees among volunteers in France and the UK and we identified two primary representations of “good migrants” (Maestri and Monforte 2020). The first is the figure of the innocent victim. Aligned with a humanitarian discourse, this representation emphasises the innocence of vulnerable and passive individuals who are forced to flee their homes due to circumstances beyond their control. The second is the resilient and proactive subject, which is rooted in a neoliberal discourse and celebrates refugees for their stoicism and determination, and their willingness to integrate into the host society. “Io Capitano” adopts the second lens and, whilst this avoids the reduction of migrants to mere voiceless victims or threatening invaders, it still presents them through a romanticised and idealised view. As observed in our research, this idealisation can, however, lead to unrealistic expectations and indirectly contributes to put pressure on migrants, who are increasingly measured against exceptional standards. An illustrative example is discussed in this article, on the case of Mamoudou Gassama, also known as the Spiderman of Paris, a formerly undocumented Malian migrant who earned French citizenship by heroically climbing a building and rescuing a toddler who risked falling from a balcony. Additionally, an excessive focus on individual agency risks overlooking the structural and systemic factors that drive migration—factors beyond migrants’ control. Research has shown that Senegalese migrants often leave their country due to economic insecurity and low income. While this underlying reality is subtly portrayed in the film, it does not explicitly drive the decisions of the two teenagers. As viewers, we are left with the impression that they embark on their journey impulsively, seemingly unaware of the imminent dangers. This narrative riskily perpetuates stereotypes depicting migrants as reckless risk-takers who underestimate the perils they face – as exemplified by this article on the EU information campaigns to disincentivise the Mediterranean crossings, which are in fact failing to deter migrants from leaving their country.

“Io Capitano” offers a fresh perspective on migration through collaboration with African migrants who made the journey and local actors from Senegal. While it romanticises some aspects, it should be praised for humanising migrants, whose lives and suffering are often obscured by impersonal numbers and statistics. My reflections are not intended as criticism but rather as an invitation to critically engage with the complexities of representation – also acknowledged by Garrone in this interview. Overall, the film is a must-watch for anyone seeking a deeper understanding of the human experience behind these journeys.

Reference

 Maestri, G., & Monforte, P. (2020). Who deserves compassion? The moral and emotional dilemmas of volunteering in the ‘refugee crisis’. Sociology, 54(5), 920-935.