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The Guardian - UK
The Guardian - UK
Entertainment
Peter Bradshaw

Io Capitano review – chilling indictment of the refugee exploitation economy

All at sea … Io Capitano.
All at sea … Io Capitano. Photograph: Greta De Lazzaris

Matteo Garrone’s new film is part adventure story, part slavery drama; the slavery which did not in fact vanish with the end of the American civil war, but thrives in the globalised present day without needing to shapeshift too much, driven by the age-old forces of geopolitics and the market.

Seydou and Moussa, played by nonprofessional acting newcomers Seydou Sarr and Moustapha Fall, are 16-year-old cousins in Dakar, Senegal, dreaming of escape to the fabled land of the EU as refugees, where they expect to go viral and make a fortune as music stars like the people they’re watching on TikTok. For years they have been writing songs and secretly working on building sites while pretending to go to football practice, amassing cash savings which in the succeeding months they will hand over to various gangmasters, fixers and corrupt gun-wielding soldiers.

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