Mediterranea (2015) User Reviews

Survival skills

[ferguson-6 · 7/10 · 19 November 2015]

Greetings again from the darkness. Success on the film festival circuit is much deserved for this first feature film from writer/director Jonas Carpignano, as he expands his short film A Chijana (2012). It's based on the true story of a young man who migrated from Burkin Faso to the southern Italy town of Rosarno. What makes this special is that the real immigrant, Koudous Seihon, stars in the film and recreates much of what he went through.

We witness the obstacles facing those trying to leave Africa … they need money and assistance and a whole lot of luck. Mr. Seihon plays Ayiva, and he is traveling with his brother Abas (Alassane Sy). The rickety boat they pile into is one most of us wouldn't consider sea-worthy enough to cross the Mediterranean Sea (especially through a storm), but it's their only option.

They are certainly disappointed in the shanty town that becomes their new home. However, soon enough they realize sleeping on the ground in cold weather with but a thin quilt is no hardship compared to the everyday risk of violence and racism. Most of the locals are not welcoming in the least, and the hatred often escalates. It's what led to the riots of 2010, which director Carpignano touches on here.

The film has a no-frills docu-drama feel to it, and Seihon has a real screen presence. Ayiva's survival skills are enhanced by his ability to blend into his environment – he becomes what he needs to be to persevere. Unfortunately his brother rebels and lets his anger affect his actions. The real world struggles of migrants and refugees are a global issue these days, and the film brings into focus some of the struggles faced by those who see no other option.

The Migrant Experience - from Africa to Calabria, Italy

[graupepillard · 7/10 · 21 November 2015]

MEDITERRANEA written and directed by Jonas Carpignano who has been working on this film for 5 years. Initially in 2010, he intended the project to be a short documentary on the African immigrants who were mainly farm workers in the town of Rosarno in Calbria, Italy protesting against their discriminatory treatment and horrific squalid living conditions.

"… several thousand immigrants live in and around Rosarno while helping with the harvest of oranges and clementines…On the Gioia Tauro plain which encompasses Rosarno, they are collected each morning by overseers and driven into citrus groves for work that can last from dawn to dusk…"They earn €25 a day", said Father Ennio Stamile of the Roman Catholic charity Caritas. 'They have to send money to their countries to maintain their families and also live here. Not much is left for them. The economic crisis has exacerbated their situation…On the plain, there are about 2,000 African immigrants who sleep the night crowded together in a former paper mill and another large building, said Monsignor Pino de Masi, the vicar-general of the Oppido-Palmi diocese. 'If anyone from central government were to see the conditions in which they live, without sanitation, electricity, water or heating, they would not be surprised by what has happened.' " (The Guardian, John Hooper 1/2/2010)

Nights of violence between the migrants and the Italian locals led to many injuries and during the day demonstrators - marched on Town Hall to demand an end to racial intolerance. Into this highly-charged milieu, the Director Carpignano met an Aftrican migrant, Koudous Seihon from Burkina Faso whose powerful presence changed the trajectory of his original concept - from a short documentary to a full-length feature film based on the life and stories told to him by Seihon who also agreed to play the lead character, Ayiva - a beautiful, nuanced performance conveying steadiness of character with a deep longing for his homeland and the seven year old daughter he left behind, combined with an optimistic view of a future that is fraught with barriers based on color, and economic bleakness.

MEDITERRANEA follows the well worn path to "the promised land" which unknowingly is often seeded with hopelessness and despair. In this fictional dramatization of Koudous Seihon's own trek, Ayiva must first obtain the money to leave Burkina Faso and is forced to pay unscrupulous brokers high fees to get a seat on a truck filled with fellow travelers - herded together like lambs going to slaughter.

I am an artist whose focus has been on refugees and migrants for the past 14 years and the images on the screen reflected my paintings like a mirror - literally pictures moving. I wanted to cry out "hold that frame, and the next one, and the one after, etc. etc!!!!" Once on their journey to Europe the exhausted bands of wanderers have to go through many difficult and life threatening trials - all on foot - over Algiers; stumbling through the dry vast seemingly limitless Libyan desert, where bandits/ human vultures prey on the vulnerable; and the final "labor" - maneuvering a small boat without a seasoned navigator through the volatile waters of the Mediterranean Sea exposed to nature's moods - be they light-filled or threatening storms - until those that endure arrive in Calabria - the toe of Italy where the local welcome is wary and impassive and often downright aggressive and dangerous.

Wyatt Garfield's cinematography is immediate and intimate. The hand-held camera bounces along with the fleeing characters contributing to the chaotic climate and the confusion of flight - we don't know where we are; there are moments when the lens is in and out of focus, an arm, a leg an eye bounces on the screen, distance is compressed - near and far become a blur, and we in the audience experience the tension and agitation of the approaching unknown.

We follow Ayiva and his best friend Abas (Alassane Sy), a languid, narcissistic, spoiled man envisioning Europe as a huge Hollywood fantasy with a dream of sexy women responding to his "handsome charms" - who smashes up against reality filling him with anguish at the fetid and wretched circumstances he and his friend are forced to occupy, falling into depression and despondency, eventually striking back in frenzied frustration.

MEDITERRANEA is not delusional cinema - it is a heard-hitting view of displacement, contrasting cultures with moments of shared humanity. The flight from the homeland - is a painfully difficult one which requires a steeliness of will and some humor. That humor is injected by a teenaged Italian boy Pio (Pio Amato), a consummate tradesman who barters with the African immigrants and is a dead-panned comic. In contrast the immigrant women are often exploited by theItalian men, and we catch a glimpse of how they are sexually abused -barely witnessed by the camera, silhouettes in the act of fellatiobehind a dim, closing door.

The film climaxes with the immigrants' fierce uprising on the streets of the city after the destruction and collapse of their tawdry makeshift "homes" - demolished by the Italian Police - Carabinieri. The locales in the community are brutal in their response - a retelling of the original Rosarno outbreak, where Director Jonas Carpignano first met Seihon (Ayiva) who would galvanize this movie; an attempt to narrate crossing borders without any simple answers to what we see daily in the "headlines".

Unsensational take on immigration with a documentary feel

[pocketapocketa · 7/10 · 23 December 2015]

I knew nothing about this film when I sat down to it as part of a project to choose films for distribution in the Czech Republic. I took to it fast. The hand-held camera takes some getting used to, and there were times when the action was unclear due to a lack of light. The style was appropriate for the most part, however, suiting the subject and setting. The main characters are sympathetic and their stories comprehensible from the start. The brothers Ayiva and Abas we travel with from a few minutes into the film, are believably differentiated throughout. I personally understood Ayiva, whose POV the film takes, and who seemed to take a rope-a-dope stance to anything the world could throw at him, but could understand why his brother might look down on him for it.

The film is gentle. Never preachy. The acting is natural. I have come across references to the main characters having been played by non-actors, with Ayiva played by a refugee whose story resembles his character's. True or not, it feels real enough. For most of the film, the story of the refugees life here stands in relation to many other similarly-themed films as Jarhead stands to other war films: though there is action, it's low key, with much of it relating to work, to getting hands on a bargain, Skypeing home, the rituals of food. In the last third of the film, this changes somewhat, but if the pace steps up, it is never long frenetic.

In 2015, this is an important film that deserves some real success.

Stark Realism

[larrys3 · 9/10 · 24 July 2016]

Stark realism in this intense drama of the perilous journey of 2 men emigrating from their home in Burkina Faso to Libya, and ending up in Italy, as they seek better opportunities. The men ably portrayed by Kondous Seihon,as Ayiya, and Alassane Sy, as Abas, will have to survive an initial hazardous trek across the desert, that will also include facing murderous bandits, difficult weather, and a dangerous sea crossing, before being picked up by the Italian Navy.

Given 3 month temporary papers to stay in Italy, Ayiya and Abas must now face squalid living conditions, low-paying seasonal jobs, and a mostly hostile public and police force. However, they'll also encounter a tight knit African immigrant community who try and help each other, and a number of local Italians who will also try to help them. Considering the news of today, this film is certainly timely in its nature.

All in all, regardless of what side of the immigrant issue one is on, you may find this movie, impressively written and directed by first time filmmaker Jonas Carpignano, offers the viewer a vivid and realistic view of it all.

Hot topic (spoilers)

[PoppyTransfusion · 9/10 · 17 October 2015]

Never has a tale of an African migrant crossing the Mediterranean sea from Tripoli to Southern Italy been so timely. Daily reports of large numbers making the perilous journey abound and this path of migration into Europe and the EU is one of the many routes being used.

This tale looks at what happens to those African migrants who survive the journey and arrive in Italy seeking work to provide for their families back home and establish a life in their host country. This film is set in the present but it harks back to a riot in 2010 when the migrants protested their treatment by the local population in Rosarno. Rosarno is a town at the toe of the boot that is Italy on maps. This film is the biography of real life migrant Koudous Seihon, who appears in the film playing himself under the character name of Aviya. It is Aviya, a new arrival from Burkina Faso, that we follow and it is his perspective on events with which the film is concerned.

Aviya travels with his friend Abas from Burkina Faso to Algeria and then across the land border into Libya before crossing the Mediterranean. Along the way we witness Aviya being a chameleon who adapts to his situation and makes the best efforts to get ahead regardless of what is happening around him. He sells shoes to his fellow migrants for the desert crossing. He negotiates his friend's seat for the journey. He is a survivor.

There are lots of details during the journey that are not lingered on but inform the attentive viewer that surviving is a feat in itself. People are robbed and shot. People are sea sick and, when the boat's motor ceases, people cannot swim. Those who can and make it to a temporary sea refuge from which to hail for help are not strong enough to hang on. Bodies, lost lives and with them hopes and needs litter the way.

Upon arrival in Italy Aviya and Abas discover that living conditions are somewhat worse than they left in Burkina Faso. Home is a make shift hut with no insulation, a burner for wood and a thin quilt. There is no running water, rats occupy the same quarters and food is as and when. Nonetheless the migrants are not giving up; a market of sorts has emerged in the shanty town and there are locals willing to do trade. Work is not readily available and when it is, it is back breaking, potentially dangerous and low paid. Aviya sets himself to cultivating relationships with dealers, with local employers, with their families and with his other migrants. Abas rebels, angered by the way they are being treated. When one considers the challenges and traumas of their journey Abas's anger and contempt are understandable.

Tensions culminate in a spontaneous riot after two migrants were shot by police. During the riot Abas is beaten to a pulp and he seems unlikely to survive. Aviya survives and takes stock of his situation. Initially he wants to return home; emotional, tired and defeated he cannot see how to survive. Then a Skype conversation with his sister and young daughter ignites the last of his resolve and it appears he stays. The film leaves open Aviya's ultimate decision and fate but Koudous Seihon did stay. He was present at a Q/A conducted at the London Film Festival and in the company of the director, Jonas Carpignano and the actor who played Abas, Alassane Sy.

In spite of its bleak story this film is a pot-pourri of feelings: There is anger, hatred, racism, aggression and love, desire, fun, laughter, lots of humour and grief, sorrow and longing. The film was made on location in Southern Italy and Rosarno. It has the support of the residents of Rosarno and it is an important document for the European populace. The film does not attempt any answers; it shows how it was for one man. If migrants are not dissuaded from making the journeys then Europe and the wider Western world needs a better policy and response to those who survive.

Setting aside the humanitarian aspects, "Mediterranea" works great as a movie

[paul-allaer · 8/10 · 7 March 2017]

"Mediterranea" (2015 release from Italy; 110 min.) brings the story of Aviya and Abas, two guys from Burkina Faso (in central Africa). As the movie opens, we see them starting the long journey towards Tripoli (2700 mi. away), by truck and by foot, through deserts and towns. At one point, the group of about 20 is ambushed by 'desert pirates', and by the time they are to depart from Tripoli, they have nothing left but the shirts on their backs, literally. After a dangerous trek across the Mediterranean See in a Zodiac boat, they arrive in Italy, and hook up with an acquaintance already living in Rosarno, in southern Italy (just past Sicily). What will become of these guys? How will they be treated by the locals? To tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: this is the debut film of writer-director Jonas Carpignano, and what a movie this is! I cannot claim to know whether what we see here is realistic, although it certainly resembles the images that we have seen (time and again) on TV of the many migrants from Africa, in a desperate quest to make it to Europe. This movie premiered at Cannes 2015, so this was probably filmed in the Fall of 2014, if not earlier. In other words; before the trickle of migrants became a wave until it became a tidal wave. What I'm getting at is that what we see here, as tough as it is, probably was the "good era" before European countries felt besieged. It's also noteworthy that we are not given any information as to why these guys are fleeing their home country: is a civil war going on? or are they simply tired of their economic condition and want to build a better life in Europe? The director does a great job giving us the nuances of what it is like for a small town in Italy to be confronted with these uninvited migrants from Africa. I was not familiar with any of the lead performers, but the actor portraying Ayiva is nothing short of outstanding. Bottom line: this may be uncomfortable viewing for some, but, even putting aside the humanitarian aspects of these issues, I thought this movie was excellent.

As mentioned, this premiered two years ago, to critical acclaim. It never made it to the theater here, but by happenstance it played last week for one screening only at my local art-house theater here in Cincinnati. That screening, presented by the University of Cincinnati's "European Film Series", was attended very nicely, I'm happy to say. "Mediterranea" is HIGHLY RECOMMENDED!

Auspicious debut for first-time director chronicling sad experience of African migrants in Italy

[Turfseer · 8/10 · 18 January 2016]

Mediterranea is the first feature film of Jonas Carpignano who based his tale of African migrants emigrating to Italy on his own earlier short film created in 2012. Carpignano traveled to Italy after a race riot in the town of Rosarno in 2010 and decided to investigate the unfortunate plight of African migrants in European cities, specifically in Italy, where the problem is particularly vexing.

Carpignano was fortunate to find first-time actor, Koudous Seihon, who plays Ayiva from the African country of Burkina Faso. He, along with his buddy, Abas, make the perilous journey through Algeria on to Libya and then take a harrowing boat ride, where both the intrepid and foolhardy emigrants are picked up by the Italian coast guard after their flimsy boat capsizes in a storm. Carpignano highlights the horrors of the journey including scores of migrants packed into old trucks like sardines, trekking through the desert on foot and then being robbed of all their money by bandits and finally being forced to pilot a rickety motor boat without the aid of a competent navigator.

Once they arrive, Ayiva is met by an uncle who only can provide shelter for a very short time. They are guided to a shantytown by a buddy from the old country and are given a 3 month temporary residence permit by the Italian government. If they are unable to find regular "contract" work, they will be forced to return home.

Carpignano documents Ayiva's sad travails in a cinema-verité documentary style. A good deal of the plot is episodic: in an early scene, Ayiva steals a suitcase on a train in order to obtain sweaters for himself and Abas. He also negotiates the sale of an MP3 player with a young 10 year old Italian hustler. that he also pilfered while on the train,

Eventually Ayiva finds work at an orange grove—the owner, Rocco, takes a liking to him and gives him extra work. The family invites some of the workers into their home and provide them with a home-cooked meal. While Ayiva is not averse to assimilating, Abas resents the minimal wages he receives and is content to put in the least effort he can.

Carpignano manages to humanize the plight of African migrant workers by focusing on both their private lives and the social milieu they exist in. Ayiva's SKYPE conversations with his wife and young daughter back in Africa reveal that he is at heart a family man. But being separated over such a long distance leads to an unhealthy interest in his boss' precocious young daughter who at one point Ayiva expresses a desire to have sex with. Free time is sometimes spent socializing with some African women who live double lives as prostitutes.

Carpignano also highlights the backlash from local residents, particularly young Italian toughs, who are constantly seeking to provoke the Africans into a fight. One scene features a car full of rowdies almost side-swiping Ayiva and his friends as they walk innocently on a road on the outskirts of the city.

The tension between the locals and the migrants reach their apex when word is received that two blacks have been murdered. Carpignano doesn't show us the circumstances of the murders and the news is thrown at us rather abruptly. Almost immediately, the migrants begin to riot, with the crowd chanting, "don't shoot at blacks." During the mayhem, Abas is beaten by a mob and seriously injured. Ayiva is also swept up in the mob violence and ends up also as a participant where cars are firebombed, property destroyed and individuals beaten.

There are certainly no happy endings for Akiva. It looks like he's going to return home after Rocco fails to help him obtain the necessary contract work which would lead to a permanent work permit. While the plot is not necessarily thoroughly developed, Carpigano's observations about the lives of African migrants in Europe are presented in sharp and prescient relief. There are assuredly more good things to come from Mr. Carpignano, whose auspicious debut should be thoroughly applauded.

ANTI-BIASED!

[davidsid-davidsid · 9/10 · 18 February 2018]

Let's make it clear that people coming to Europe to earn a decent work place are most welcomed. The main character played his role very well and at one point I've even forgotten that it's a film and not a reality show... But all the actors did an amazing vivid job in creating this film. The story begins a bit blurry but I guess that's not uncommon in places where the actual film sets off. As we go by, I was just hoping that they won't be telling us another story about a "random" journey in the desert... Everyone living in households where there's a toilet indoors should realise how lucky we are and be fully aware of other lives struggling for every piece of bred on a daily basis. It's interesting, because normally I'm against any kind of migration BUT seeing this chap's story I could imagine that lives like his is occurring. I can also understand, however, the European reaction to this hybrid environment where your street, your park, your town doesn't look like what it used to be yesterday. The changes are dramatically and we need to separate terrorist from real migrants! Q: Is this symbiosis necessary? And if it is, couldn't it done more civilised?