Terraferma

"Terraferma" has an awful lot of things going on in it. Set on the isle of Sicily off of Italy's southern coast, there's a generational battle going on between a grandfather, his son and a grandson over the family fishing boat and business. There's a battle going on between the grandson and his mother over his future. There's a battle going on between the business/tourism faction of the island and the problem of illegal immigration. There's a battle between the Italian Coast Guard and the older generation of fishermen over the practice of the traditional "Law of the Sea." There's a battle between the local police force (the carabinieri) and the fishermen.

All these battles come together one fateful night when the grandfather adheres to tradition and refuses to leave African emmigrants in the water to drown. The ramifications of this act reverberate through all members of his family, even more so when he refuses to turn a pregnant woman over to the police and gives her shelter.

The film focuses on the character of Filippo, the grandson torn between the generations. Respectful and almost adoring of his grandfather, his belief in him (and his grandfather's beliefs) is challenged in the film's most disturbing scene. He is given the chance to uphold the "Law of the Sea" - and fails.

It sounds hackneyed to call "Terraferma" a 'coming of age' story. The difference here is that Filippo is not the only one coming of age. The grandfather, the son, the grandson, the mother and the nation itself are all coming of age - a new, global age with a whole new set of challenges. How do traditions survive in this age? With great difficulty, but by one person at a time.

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Terraferma is without doubt the best film by the Sicilian director Crialese, whose earlier works include Respiro and Nuovomondo. It is a powerful, often disturbing and strongly emotional film (which some viewers and critics, mainly from the English-speaking world, seem to have difficulty with)that deals with one of the most urgent issues facing Italy, and Western Europe, the influx of desperately poor immigrants/refugees from Africa. The film is set on the Sicilian island of Lampedusa, which in recent years has received so many of these people that their "centri di accoglienza" can barely accommodate them. The harsh Bossi-Fini law, and an agreement worked out between Berlusconi's and Khaddafi's government, resulted in many immigrants who'd made it to Italy via Libya being sent back to Libya, where many were horribly mistreated. The elderly fisherman Ernesto, who rescues at sea an African mother and her son, represents an older, humane ethos, a Christian ethic in the best sense and the code of seafarers that demands one never abandons anyone lost at sea. Strong performances all around from the professional actors, including the wonderful Donatella Finocchiaro, who has appeared in the films of the Palermo-based director Roberta Torre, and the casting of actual local fishermen (there's a marvelous scene where they plot to get back at the oppressive and heartless carabineri)imparts a vivid authenticity. Terraferma also is visually stunning; Crialese loves the Mediterranean and he imbues "the wine-dark sea" with both mystical and socio-political import, as its shores embrace various yet similar civilizations. A beautiful, engrossing film with heart, soul, humor, and a powerful humanistic vision.

A KVIFF screening of TERRAFERMA, last year Oscar's Best Foreign Language Film entry from Italy. The Mediterranean island scenery no wonder captures a feel good cheerfulness since the very first shots of blue sea, a consistent locale as in director Emanuele Crialese's previous island-focused films GOLDEN DOOR 2006 and RESPIRO 2002, but the film has challenged on a more contentious topic, the illegal immigrants coming from the African land, since the island in the film is the very first ground they can set foot on, and subsequently their unexpected arrival will predictably prompts the life of local islanders, with a considerable foil of mainland tourists, the film has acquired quite doable folders.

The film is a decent crowd-pleaser, and the narrative is entangled with substantial emotions from its characters (notably the interplay between Donatella Finocciaro and Timnit T.), another spreading branch is our wide-eyed protagonist's growth pain (Flippo Pucillo is well-chosen in his first leading role, whose innocent appearance and sympathetic personality are typically Italian and radiates great credibility on screen), but unfortunately, both the film and the cast barely miss my 2011 Top 10 list, the competition is tougher and tougher since my accumulated filmography).

The film sets an open ending in the wake of the thorny issue it tackles with, which is a lesser achievement since it somewhat sidesteps a trapped tragic denouement, which reminds me of Matteo Garrone's REALITY (2012, 8/10), out of the realistic mire, both films opt a lightly- surrealistic way to put on some thematic impetus, but the difference is quite evident, in REALITY, the final shot is a sublimation to accent the pathologic society, while in TERRAFERMA, it seems to me is a have-to approach to at least culminate the film in its running time, quite an evasive strategy, or maybe it just opens its way to a sequel? Which I doubt the necessity.

Another Liberal take on how allowing foreigners to invade your country, water down your society, take your land, take your women and destroy your traditions is somehow the "Human" thing to do. Read history to find out what the "Human" thing to do is when people invade your country, it's alot bloodier than the Hippy vision of a communist society where everyone gets along and all cultures disappear and we have only 1 people left in the world to sell McDonalds to. That is the future this movie tries too sell and ignores the fact that "Diversity" in the world s allowing people to exist in their own country. When I travel to Italy I want to be greated by Italians, Africa, Africans, America, Americans, etc etc. This new vision of "diversity" is nothing but every race/creed/culture lumped together in one country to the point that there IS no diversity and we all become 1 indistinct race that the News and Big Business can sell their products too easier because we've become 1 demographic. No thank you that is not human that is the opposite of human that is turning humanity into a herd of sheep and is NOT a future that I look forward to or would in any way condone.

Emanuele Crialese's "Terraferma" at once draws attention to refugees from Africa trying to enter Europe across the Mediterranean Sea, braving all manner of dangerous conditions. This has intensified in the past few years, as people flee violence not only in Africa, but also in the Middle East. Millions saw the photo of the Syrian man crying over his dead son on the shore. There can be no doubt that military actions led to increased terrorism, further inflaming these regions. It was especially ironic in Libya, since longtime strongman Moammar Qaddafi had been a bete noire for the US for ages, but then became a US ally in the so-called War on Terrorism (no kidding; he and Condoleezza Rice became good friends), only to see the US overthrow him in 2011.

But the other thing is the current treatment of Latin American refugees in the US. We've seen the footage of children getting torn away from their parents and put in detention cages near the border. Not much different from what Italy's authorities do in this movie.

But anyway, to not get moved by this movie is to not have a soul. The blue expanse of the Mediterranean is as much a character as any of the actors. I wholeheartedly recommend it.