"Io Capitano", directed by Matteo Garrone.
Matteo Garrone's "Io Capitano" (2023) is a film that will shake you to your core. The story follows Seydou and Moussa, two teenage cousins from Senegal who dream of making it big in Europe. As I watched their harrowing journey from the streets of Dakar through the Sahara Desert and into the treacherous Mediterranean Sea, I found myself needing to pause several times - not because of gratuitous violence or shock value, but because of its devastating authenticity. The film's raw depiction of the migration crisis is so painfully real that it becomes almost unbearable to watch. Yet, paradoxically, there's one crucial element of this true story that challenged my suspension of disbelief. But more on that later.
The Power of Supernatural Elements
One of the film's most striking artistic choices is its incorporation of supernatural elements. These moments, where our protagonist encounters an angel or the ghost of a woman who died in the desert, serve as powerful metaphors for the psychological coping mechanisms of those facing unimaginable hardship. These surreal scenes actually enhance the film's realism by providing insight into the mental state of someone experiencing severe trauma.
The Power of Odd Numbers in Storytelling
However, this is where we encounter an interesting lesson in storytelling craft. While these supernatural elements are powerful, their implementation reveals a common pitfall in narrative design. The film presents only two such moments, which brings us to an important principle of storytelling: the rule of odd numbers.
In narrative construction, symbolic or supernatural elements tend to work best when they appear an odd number of times - typically three, five, or seven occurrences. This isn't arbitrary; it's rooted in the psychology of how audiences process patterns and meaning. With two occurrences, elements can feel coincidental or underdeveloped. Three or more creates a clear pattern that audiences subconsciously recognize as intentional.
Think of classic storytelling examples: three wishes in fairy tales, three ghosts in "A Christmas Carol," three trials in hero's journeys. Even in modern storytelling, this principle holds true - consider Christopher Nolan's "Inception" with its three layers of dreams, or the three time periods in "The Godfather Part II."
In "Io Capitano," a third supernatural encounter could have served multiple purposes:
- Reinforcing the pattern of psychological coping mechanisms- Providing another emotional peak in the narrative- Creating a more satisfying arc for these symbolic elements- Deepening our understanding of the protagonist's mental state
For example, a third supernatural scene could have occurred during the Mediterranean crossing, perhaps showing our protagonist receiving guidance from both the angel and the ghost when he faces his greatest challenge. This would have created a perfect trinity of supernatural encounters, each marking a crucial stage in his journey: the decision to leave, the desert crossing, and the sea voyage.
The Paradox of Truth
Now, we arrive at the film's most challenging aspect - one that initially felt like a misstep but revealed a fascinating paradox about storytelling. The climactic revelation that our young protagonist would captain a boat carrying 250 people across the Mediterranean seemed, to me, completely implausible. As an audience member, I found myself questioning this plot development, feeling that it threatened to undermine the film's carefully constructed realism.
Reality That Surpasses Fiction
Then came the stunning realization that changed everything: this "unbelievable" element was absolutely true. The film follows two teenage friends from Senegal who risk everything to reach Europe, but Garrone crafted the story by combining the experiences of two real individuals: Fofana Amara, who skippered a boat across the Mediterranean at just 15 years old, and Mamadou Kouassi, whose journey through the Sahara and Libya informed the first part of the film.
The director's commitment to authenticity is evident in his decision to exclude certain real events because they were too shocking. In interviews, Garrone revealed that some of the actual experiences of migrants, including sexual violence against women and the abuse of children, were deliberately left out of the film. This artistic choice speaks volumes about the horrific reality that even this brutal film only partially depicts.
What Could Have Made It More Believable? A Director's Perspective
This brings us to an interesting observation about truth in cinema: sometimes reality needs additional context to feel authentic on screen. When dealing with extraordinary true events, the audience needs careful preparation to accept what might otherwise seem implausible. As a director who has faced similar challenges in my own work, I've learned that just because something actually happened doesn't mean the audience will believe it.
In the case of "Io Capitano," I believe several elements could have helped prepare us for its climactic revelation. Let's analyze these potential additions in detail:
1. Building Tension Around the Captain Decision While the film does show us the critical moment when our protagonist initially refuses the smugglers and is then convinced to take on this responsibility, I felt this sequence needed more development. Yes, we see his fear and reluctance in that crucial scene, but the film could have built more context around this life-changing decision. For instance, we could see him secretly observing other potential candidates being approached and refusing, or witness him overhearing conversations about previous teenage captains. We could feel the mounting pressure as the departure date approaches and no experienced captain steps forward. These additional scenes would help us understand not just the moment of decision, but the suffocating lack of alternatives that makes this choice feel inevitable. This way, when he finally accepts, it wouldn't feel like a sudden plot turn but rather the tragic culmination of a carefully constructed pressure cooker situation.
2. The Criminal Context Another crucial element that needed more emphasis was explaining to the audience why the smugglers choose migrant captains. During the existing negotiation scene, when our protagonist expresses his reluctance, the smugglers could have revealed the harsh reality of their operation. They could explain how the laws have changed, how professional captains now face decades in prison, and how this has forced them to find alternatives. This context, delivered during this pivotal moment, would not only make the situation more credible for the audience but would also add another layer to our protagonist's impossible choice. By letting the audience understand this tragic system through this tense exchange, the choice of a teenage captain would feel less like a plot contrivance and more like an inevitable product of cruel circumstances.
3. The Missing Support System One of the most jarring aspects of the boat scenes is how the other migrants behave. In the film, grown men and women run to our 17-year-old protagonist with every problem - from mechanical issues to medical emergencies. This doesn't ring true to human nature. What would have worked better is showing a organic support system emerging on the boat. Perhaps a few adults with some maritime experience could help with navigation while others assist with medical emergencies. Our young captain could then be the formal leader - the one who must ultimately make the decisions - while being supported by a realistic network of adults. This would make the power dynamics feel more natural while maintaining the core truth of his responsibility.
4. Power Dynamics on the Vessel The film shows the migrants almost as passive observers, which feels unrealistic given the life-or-death situation. In reality, people tend to self-organize in crisis situations. The film could have shown this organization process: perhaps some passengers take charge of water distribution, others handle conflicts, while others help with navigation. Our young captain could then be the focal point of these various groups, making final decisions but not carrying the entire burden alone.
5. The Scale of the Operation While I understand that the real story involved a large vessel, sometimes historical accuracy needs to be balanced against dramatic credibility. A smaller boat would have made the situation more believable for several reasons:
It would reduce the implausibility of smugglers risking such a large asset
It would make the number of passengers more manageable for our young protagonist
It would create a more intimate setting for character development
It would still maintain the core truth of the story - a teenager being forced to captain a vessel full of migrants
These suggestions aren't about changing the truth but about creating the dramatic infrastructure that helps audiences accept the truth. This is a crucial lesson I've learned in my own filmmaking: when reality presents us with extraordinary events, we must work harder to make them believable. Building proper context isn't about compromising the truth - it's about helping the audience embrace it.
Hidden Meaning
The film's deeper message explores the complex intersection of desperation, hope, and the human will to survive. Through its unflinching portrayal of the migration crisis, "Io Capitano" reveals how systematic oppression and global inequality force people into impossible situations, where even children must take on unimaginable responsibilities.
The one-line version that encapsulates this theme would be:
"When survival demands the impossible, the impossible becomes necessary."
"Io Capitano" stands as a powerful reminder that truth can sometimes be stranger than fiction. What makes this film particularly fascinating is how it challenges our preconceptions about what is and isn't believable. While certain elements of the story might strain credibility, the film's greatest achievement lies in showing us just how far we still have to go in understanding and depicting the real human cost of the global migration crisis.
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