davidsid-davidsid 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?

pocketapocketa 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.

David Ferguson 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.

PoppyTransfusion 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.