Wednesday 11th November – Thessaloniki International Film Festival – 11 am – Three French European volunteers reach to the press office. Big bags on their back, and their sunglasses pulled up on their head, they look like tourists, but no. Everything is not what it seems: They ask to have their ten free places and the film festival program as journalists. Close to the end, they have to make a judicious selection in order to watch the most interesting movies they don’t want to miss. Only helped by the movie trailers and their summaries, the surprise in front of the screen could be unexpected… The three volunteer journalists did not know yet they will have feelings about their both first movies.
First, “Babai” by Visar Morina (2015). “Mediterranea” by Jonas Carpignano (2015) for the second. Both are about the migrant crisis, the first dramatize a father and his son living in a contested Balkan country, Kosovo, while the second concerns African men from Burkina Faso.
First, “Babai” by Visar Morina (2015). “Mediterranea” by Jonas Carpignano (2015) for the second. Both are about the migrant crisis, the first dramatize a father and his son living in a contested Balkan country, Kosovo, while the second concerns African men from Burkina Faso.
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Across the movies, we understand the migrants’ motivations and we learn the sad reality when these people arrive in our country. Indeed, in our global economic context, the modern social model is exported and seems to be the paradise for people around the world. In both movies, the characters want to leave their country to live the “Occidental dream” - as we can say the American Dream. By this representation, we promise them a better life, with a better job, more security, equality, and material comfort. In “Mediterranea”, Ayiva (Koudous Seihon), one of the principal character, has a contact in Italy who promises him a good compensated job. His friend, who comes with him to Italy, is more interested by the social and free life showed by social networks. They decide to leave their country, letting behind their daughters, sisters, friends and customs for the “modern” life.
Unfortunately, the Occidental countries and their shinning symbol blind everybody, as well the people who want to come than the people inside this countries. Actually, the migrants’ integration isn’t acquired. And the stages to have a stable life are long and exhausting. “Babai” gives an overview on the situation of asylum seekers. In “Mediterranea”, we see how the migrants are utilized by the economic system to have a cheap workforce. In these countries, where the money is essential to exist and because of the difficulty to have serious job, the characters are forced to find unreasonable solutions – Stealing, prostitution, illegal selling.
We are shocked to understand how misery and money cause violence and inhumanity. And we are miserable to become aware of this situation without way-out, almost inevitable.
In “Babai”, we follow ten-year old Nori, who is determinate to join his father already left to Germany. A determination which will cost him a head fracture, punches, and a macabre crossing... The movie finishes with an unpleasant scene which demonstrates an interminable escape. In “Mediterranea”, we believe on the Ayiva’s wishes and on his success but his migrant status prevent him to become what he hoped. One of the last scene is unexpected but get us understanding about the revolt’s behavior.
10pm – Cinema John Cassavettes – The three French volunteers – and journalists for the Praxis association and Rodon fm Radio – leave the venue, the brain shacked and the feeling to drop everything in order to act for these causes. Make something in our European countries to help this kind of people. Alright. But. Above all. Stop the European propaganda make on the social modern model. Stop the morbid exploitation. Think every countries, every societies, and every riches.
Unfortunately, the Occidental countries and their shinning symbol blind everybody, as well the people who want to come than the people inside this countries. Actually, the migrants’ integration isn’t acquired. And the stages to have a stable life are long and exhausting. “Babai” gives an overview on the situation of asylum seekers. In “Mediterranea”, we see how the migrants are utilized by the economic system to have a cheap workforce. In these countries, where the money is essential to exist and because of the difficulty to have serious job, the characters are forced to find unreasonable solutions – Stealing, prostitution, illegal selling.
We are shocked to understand how misery and money cause violence and inhumanity. And we are miserable to become aware of this situation without way-out, almost inevitable.
In “Babai”, we follow ten-year old Nori, who is determinate to join his father already left to Germany. A determination which will cost him a head fracture, punches, and a macabre crossing... The movie finishes with an unpleasant scene which demonstrates an interminable escape. In “Mediterranea”, we believe on the Ayiva’s wishes and on his success but his migrant status prevent him to become what he hoped. One of the last scene is unexpected but get us understanding about the revolt’s behavior.
10pm – Cinema John Cassavettes – The three French volunteers – and journalists for the Praxis association and Rodon fm Radio – leave the venue, the brain shacked and the feeling to drop everything in order to act for these causes. Make something in our European countries to help this kind of people. Alright. But. Above all. Stop the European propaganda make on the social modern model. Stop the morbid exploitation. Think every countries, every societies, and every riches.
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