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During the prestigious cinematographic event of the Venice Film Festival, the contemporary migration crisis is thrust into the forefront, highlighting the human tragedies unfolding at Europe’s gates. Under the shadow of Venice’s magnificent architectures, the Mediterranean, this expansive blue that both separates and unites worlds, unveils its grim role as a tomb for thousands of individuals seeking exile.
Renowned filmmakers have shed light on the pressing issues of integration and xenophobia. For instance, the recent masterpiece by the Dardenne brothers, Tori and Lokita, already honored at Cannes in 2022, and the poignant The Old Oak by Ken Loach, slated for release on October 25 in France, stand as committed cinematographic testimonies.
The tension is palpable, especially in a context where Italy, governed by a far-right administration for a year, faces a surging influx of migrants, a figure that has more than doubled compared to 2022, exceeding 105,000 arrivals. According to UN data, this migratory route is the deadliest in the world, claiming over 2,000 lives since the start of the year.
In this context, Italian filmmaker Matteo Garrone presents Io, Capitano (Me, Captain), a poignant work competing for the Golden Lion. The film narrates the epic journey of Seydou and Moussa, two Senegalese teenagers, eclipsing any form of miserabilism to highlight the inhuman trials encountered by migrants, from desert crossings to modern-day slavery. Garrone, fully aware of the increasing dehumanization of migrants reduced to statistics in the media, opts for an empathetic approach, portraying the tragic journey of these hopeful young individuals through a camera fixed on African soil, aimed towards Europe.
In a similar vein, Polish director Agnieszka Holland presents Green Border, a choral film in black and white that starkly illustrates the tragic fates of migrants caught in the diplomatic games between Poland and Belarus. Through her work, Holland implores Europeans to no longer ignore the humanitarian crisis unfolding at their borders, a fervent call to consciousness and responsibility.
In a political ecosystem marked by heightened tensions, these works remind us that behind the statistics lie human trajectories, shattered dreams and torn families. Holland warns that without immediate awareness, Europe runs the risk of morphing into an impenetrable fortress, stained with the blood of those seeking refuge on its soil.
The committed filmmakers call for an awakening of conscience, using the big screen as a mirror to reflect the abyss of current inhumanity and instill a surge of compassion and understanding. In the dimly lit halls of Venice’s cinemas, a film festival unfolds and a poignant staging of current and real tragedies is presented, inviting an obligation towards remembrance and humanity.
With AFP