User Reviews

It's really hard to watch, as a privileged European. Being that comfortable, in a movie theatre, knowing that everything you see is true and is happening right now to people that was just born on the other side of our common sea, makes your stomach sick.

I loved it, and yet I don't know if I could see it again. Makes you feel helpless.

On the bad side (yes the other one was the good sire), it is too fast on some parts, you feel like they are skipping a lot. The story was probably just too long to be told in 2h. Some characters are not developed enough, they lack depth. I also felt like the true story was a little sweetned, to make it easier to watch.

An emotional rollercoaster of a film charting the journey of two young Senegalese cousins as they cross the Sahara and the Mediterranean to find their fortune in Europe. It gives the lie to those who demonise, to advance their political ambitions, such migrants. Technically, the film is astonishing, especially notable for Paolo Carnera's superb cinematography and. Marco Spoletini's sensitive editing. Everyone in the large, mainly non-professional, cast is superb, with a massive shout-out to Seydou Sarr, who finds himself as the eponymous captain. Director and co-writer Matteo Garrone, a great filmmaker, has delivered another masterwork.

People are always drawn to the idea of a better life, and all too many of them are fooled (or fool themselves) into believing that all they have to do is to find their way to America or Australia or (as here) Europe, and they will have found paradise. Many thousands of people set out on these journeys of hope every year. What proportion of them make it? No-one knows, but it's unlikely to be that high. What proportion of those that make it think it was worthwhile? No-one knows that either.

Seydou and Moussa are teenaged cousins from Senegal who have come to believe in the dream. They've saved what they think is enough money, and set out without telling their families.

Then they face reality. Their journey leads from Senegal to Mali; to Niger; to Libya; and then across the Mediterranean to Italy. Or so they hope. What they soon realise is that the the people-traffickers through whose hands they pass are simply after their money. If some poor souls die along they way, who cares? The least brutal encounter is with a border guard who says "I recognise a fake passport when I see one. Fifty dollars to ignore it." The most brutal is very brutal indeed.

At one point the cousins are separated, and the film follows Seydou. He makes it to the shores of Libya via a stroke of luck that strikes the viewer as a bit too convenient. He is then reunited with his cousin via another all-too-convenient stroke of luck.

The last act of the film is the crossing of the Mediterranean, with Seydou tricked into skippering a boat that looks as though it's already been scrapped twice (hence the title, Io Capitano which means I am the Captain. Most of the cast speak a dialect which it took me a while even to recognise as a sort of Pidgin French).

The film is beautifully shot and the cast (largely non-professional as far as I could make out) are superb throughout. I do, however, have a problem with the ending. It's too optimistic, too upbeat. The mass migration of so many desperate people (and their ruthless exploitation) is the great crisis of our age. I'm not going to pretend I have an answer, other than the fact that the necessary first step is for as many people as possible to know what's going on. To this end, I would've thought a more brutal - even depressing - ending would've driven the necessary message home more effectively.

Still, this is a first-class film, which will live long in the memory.

This marvellous film is a real piece of art, beautiful and terribly painful at once. I left the theatre shivering and I could not think about much else for days.

This is the realistic story of a couple of young Senegalese boys, who want to go after their dreams and leave their homeland to get to Europe, mistakenly perceived as the land where dreams come true. Unfortunately their decision leads them to an ordeal, a hellish journey in which survival is all they are left with.

What hurts terribly is the fact that what you see on screen is what actually happens in reality, in a world which is falling apart more and more and in which humanity has lost every sense of being human.

We always think that the devil is an entity hidden in an outer dimension, but in my opinion it is actually in human beings themselves...

Nevertheless the most beautiful and moving aspect of this incredible movie is that the protagonists don't lose their humanity, their compassion and their love, they are not turned into the devils that captured them. This is exactly the point where we should all start from...

This is one of the most outstanding movies that I've seen in recent years, and one that should be compulsory viewing for all.

Illuminating, heart-breaking but ultimately uplifting, LO CAPITANO casts an unflinching eye upon the gruelling journey that so many illegal immigrants undertake in the hope of a better life.

The two innocents at the heart of the story are captivating in their naivety which is quickly crushed by the brutality of the heartless opportunists who exploit them at every step.

Yet, it also conveys a message of hope and triumph of the spirit. A superb film that's not to be missed. If I could rate it 11 out of 10, I would.

At times this is a really quite harrowing film to watch as we follow two cousins "Seydou" (Seydou Sarr) and "Moussa" (Moustapha Fall) on one hell of a journey. They are still going to school in Dakar, but have secretly dreamed of heading to Europe. The work hard in their spare time, and try to keep their mother's in the dark until the time comes to start their journey. Getting from their homeland is comparatively easy - they get a bus, but once they begin their travels in earnest, that's when they (and we) encounter the appalling people traffickers who try to get them across the Sahara to Libya where even worse awaits them. The venality of the human spirit is writ hugely here as people are beaten, tortured, imprisoned and sold and with the boys briefly separated, we now focus on the tribulations of the determined and strong-willed "Seydou" who must get his friend to an hospital - even if that means driving a boat full of fellow migrants himself across the Mediterranean to Sicily! The two boys are super here, there's a chemistry between them that shows well their stoicism, perseverance and loyalty to each other - in the face of some fairly eye-watering ghastliness. It's not without it's humour and the effectiveness of their facial expressions isn't wasted on the camera on these occasions. These two are engaging and I felt as invested in their success as I felt disgusted by man's gross inhumanity to those so apparently vulnerable that they barely had the clothes they (sort of) stood up in. If you saw "Flee" (2021) then you'll have an idea what you are in for, only this time we have some stunning real photography of this planet when it's at is most arid, hostile and unforgiving. I can't think this will ever get too general a cinema release, but if you do get a chance then it's well worth catching.

Seydou and Moussa from Senegal have saved some money to make their dream come true - go to Europe and hopefully become famous. We see a bit of their life in Dakar, and then their journey to Sicily, through the desert partly on foot, abandoned by traffickers who had promised to bring them to Libya, and then they cross the Mediterranean Sea with a rotting ship without any sailor who'd know how to steer it. The film makes you live the experience; this was what I came to see, and this is what I got. It is based on the experiences of at least one of the main actors (don't know for sure about others). The film has grim and sad moments, some suspense, some despicable behaviour, greedy and ruthless, but also some poetic dream sequences, heartwarming humanity, and even some inspiring optimism. It is a very tough and dangerous undertaking and nobody should be forced to put themselves through it. The acting was great and we get some impressive scenery and photography as well even though the protagonists are not there to enjoy it. Highly recommended, best film I saw this summer.

One aspect that made me think is that in the beginning the life of the two cousins in Dakar doesn't look all too gloomy, and furthermore some people give them very realistic warnings about what they are going to go through. They decide to leave their families and take on the "adventure" anyway, which can be seen as rather stupid or at least naive really, but given they are 16 years old and have some drive to distance themselves from their childhood, this has some credibility. Still already in the beginning we can think that even if they reach Europe, chances are their life there will be no better, and there will be a point at which they will regret this. Although the film conveys a lot of sympathy for them, and for what the refugees have to go through generally, it could also be used to argue that Europe should close borders more strictly and do what it can to stop people being attracted to Europe based on unrealistic hopes. Certainly the film makes no attempt to convince the spectators that the two protagonists suffer real hardship in their home country and need to go away to have a bearable life. Certainly there will be refugees like this, but is it a majority? I'd still imagine many of those who go have stronger reasons than these two. No criticism of the film as it is certainly credible, still I think we are better off having clearly in mind that not all of these stories are like this one.

The odyssey of two young Senegalese on their way to Europe in search of a better future. A raw look at immigration and a sociopolitical reality with intense scenes where the journey feels like a true hell.

'Io Capitano' is one of those movies that will keep you on the edge of your seat. Most of us, a lot of times, are unaware of the hardships people who leave their countries go through in order to fulfill their dreams or at least have a chance to live a better life themselves or with their loved ones. The fact that the movie invests the first thirty or so minutes showing how our protagonists live is reason enough to understand the choice they make and to sympathize with them. The movie does an excellent job at it because in many scenes it feels like you experience the same predicaments the protagonists are going through, as well as to desire for them to succeed and achieve their goals. And that precisely makes the journey worth having.

Movies about the flood of new immigrants into Europe from Africa and the Middle East have been growing in number in recent years. Depictions of the many hardships these individuals face (sometimes graphic and disturbing in nature) have been making their way into the cinematic community, showing exactly what these desperate freedom seekers are up against. And this latest offering in this genre does just that in telling the story of two Senegalese teens as they make the perilous attempt to find their way to a new life in Italy. Writer-director Matteo Garrone tells the harrowing tale of cousins Seydou (Seydou Sarr) and Moussa (Moustapha Fall) as they wrestle with the challenges of the environment, unrepentant scammers, forced detention and torture by authorities and criminals, and the harsh conditions of crossing the Mediterranean. However, while the film features fine performances, cinematography and location settings, it all seems a little too familiar, a tale with a hole-filled plot and a series of cliffhangers that seem to have all-too-convenient solutions to them. It's also overlong, filled with a variety of sequences that could have been easily pared back without losing anything meaningful. Nevertheless, these shortcomings are countered, to a certain extent, by an intriguing mystical and surreal subtext, which is actually the picture's strongest (though most woefully underdeveloped) aspect. In light of the foregoing, then, I must admit that I'm somewhat mystified how this release managed to secure so many accolades, including Oscar and Golden Globe nominations for best international film, especially given how many other better offerings were available. "Io Capitano" is one of those movies that makes a good instructional picture for those who'd like to know more about the plight of this new wave of immigrants, but its hype seems a bit inflated in the face of previous releases on this subject and other foreign language offerings more deserving of the praise.

This movie will inspire and haunt me for the rest of my life. I had the privilege of seeing it at the Palm Springs Film Festival. The director, the two main cast members, Seydou Sarr and Moustapha Fall plus the survivor whose life inspired the story were there. They told us more about the harrowing journey of two young boys from Senegal to Italy and the making of Io Capitano.

Director, Matteo Garrone said he wanted the production aspect of Io Capitano to be invisible. It was. The courage of refugees and migrants everywhere is inspiring but we rarely learn about their actual journeys. Io Capitano leaves us with the burning question, how come some people can move about the globe freely while others cannot? It is impossible to overlook the fact that those who travel freely are usually white and those who cannot without a lot of money or facing extreme danger. Are not.

I hope this riveting film has a social impact as strong as the impact it had on us in the audience.

It's a Senegal-to-Italy refugee drama set in modern times from Dakar, Senegal, through Mali, Niger, and Libya to Sicily, Italy. It follows two 16-year-old cousins, Seydou (Seydou Sarr) and Moussa (Moustapha Fall), who have planned for six months to leave Senegal and to go Europe to find a better life as they see on television and to be able to help their financially fraught families. Initially, Moussa is the aggressive cousin, convincing Seydou to leave despite the fierce opposition of his mother (Khady Sy).

The film then follows their experiences on the journey as they encounter exploitative guides, corrupt police, and evil gangsters. Seydou and Moussa are separated for a time, but an older African man, Martin (Issaka Sawadogo), helps Seydou escape a dangerous situation. Eventually, Seydou becomes "The Captain" of the small, overloaded boat crossing the Mediterranean from Libya to Italy.

"Oi Capitano" is beautifully filmed. Some of the scenes in the Sahara Desert and the Mediterranean are stunning. There are brief scenes of torture, but generally, the movie exudes the need for goodwill and cooperation. The story is told from the refugee perspective, but European filmmakers made the movie. So, a certain "feel good" tinge feels misplaced. It's a fine story; the script could have been sharper and extended some ambivalence into the European experience.

A film that allows you to evaluate a socio-political theme, strongly felt in Italy, from the perspective of the victims, first introducing the Senegalese culture and then following the migratory odyssey of two young boys towards an unknown Europe.

The journey from Dakar to Sicily, through the desert and sea, is inspired by real events lived by interviewed migrants.

The hardness and ruthlessness of these events is sweetened by dreamlike, magical, even mythological inserts, as if the told realities reached a level of incredibility such as to take the form of a fairy tale.

The choices of photography, screenplay and soundtracks are excellent and sometimes they elevate the raw scenes to a poetic level.

"Io Capitano" (2023) offers a harrowing and brutally honest portrayal of the ongoing refugee crisis from Africa to Europe. Set against the backdrop of real events, the film provides a starkly realistic depiction of the perilous journey faced by countless individuals seeking economical refuge.

From the outset, "Io Capitano" presents a hopeful adventure as the characters embark on their journey, but this optimism is gradually shattered by the harsh realities they encounter along the way. The film skillfully navigates the transition from hope to despair, leaving viewers shocked by the stark contrast between their initial aspirations and the nightmare they find themselves in.

What sets "Io Capitano" apart is its unflinching portrayal of the grim realities of the refugee experience. Through its raw and honest depiction, the film sheds light on the profound struggles and sacrifices faced by those fleeing conflict and persecution.

Based on a blend of real events and fictional characters from Senegal, the film offers a compelling narrative that is both deeply personal and universally relevant. As the characters journey from Senegal through Africa to Tripoli and ultimately to Europe, with Italy as their final destination, audiences are taken on a poignant and unforgettable odyssey.

"Io Capitano" is a powerful and thought-provoking film that sheds light on one of the most pressing humanitarian crises of our time. Its stark realism and unflinching honesty make it a must-watch for anyone seeking to gain a deeper understanding of the human cost of migration and human trafficking.

If you've watched enough movies or series, it's the same story over and over again, so you rather focus on how they express the topic and do not pay attention to the core, the topic itself. However, 'Io Capitano' presents a whole new level of the story that I never even thought about. I mean, of course, I read the news and watch documentaries, but those are not enough to live vicariously through refugees. 'Io Capitano' provides a closer and more personal look at their journey from Africa to Europe. Some parts are hard to watch, reminding me of modern slavery. I'm shocked that there is no civilization out there, that only the law of the jungle applies, that only physical violence decides the superiority of a human being, and that all aspects of humanity are taken away.

Authenticity of the movie is unreal. I feel as if I have been following Seydou and Moussa's journey right behind the camera for about a month. When they leave Senegal, it starts cheerful, and I'm also excited for the new adventure. However, the sudden turn of events is horrifying. It's slowly coming but sudden at the same time. When Seydou manages to drive the boat safely to Italy, I am relieved as heck and scream with him in my seat. Especially, when the close-up of faces changes into a wide shot of the Sahara Desert, looking the same everywhere, hopelessness and lostness hit me so hard.

'Io Capitano' does the most important thing a film can do, heralding or experiencing prevalent and relevant social issues that are not dealt with frequently enough because of how uncomfortable it is. It has been a valuable lesson for me, bringing more awareness to refugees' hardship.

Matteo Garrone's 2008 "Gomorrah" was an unflinching look at Naples' nihilistic underworld, and in particular at the lives of youngsters who are swept up into it. It had the advantage of being based on the reporting and a related novel of Roberto Saviano (who also was credited as a co-screenwriter), and it offered little in the way consolatory bits of good-news optimism - it was this unwillingness to sugar coat a human disaster, but rather to portray it in all its relentless horror, that gave that film its strength.

In "Io Capitano", Matteo Garrone takes as his subject the calvary of African clandestine migration toward Europe, a journey that -- like the parallel journey toward the southern border of the U. S. (only more perilous, as it involves sea crossings) -- leads to appalling suffering and, too frequently, to horrible and wasteful deaths. That many do make it and manage to grab on to mostly marginal existences in Europe should not divert our concern from the tens of thousands who die somewhere along the way, or from the gratuitous suffering of all who attempt the journey, something that rational and more generous formal immigration policies could instantly alleviate.

Yet Garrone in this case turns his back on "Gommorah"'s rigorous realism and gives us instead an over-esthetized, gorgeously portrayed Issue film that takes us through the stages of the journey from Sahelian Africa to Libya and beyond as we know them from the many accounts that reach us through the news media, packages them, and presents them as boxes to be checked, interspersed with sudden (and generally implausible) feel-good plot twists. Some of the episodes (in particular the crossing of the Sahara from Mali to Libya) are indeed portrayed as harrowing, but the beauty of the imagery and some of the fantasy devices that Garrone uses (very lovely in their way) soften the reality.

And much of the tale is downright inaccurate, based on what we know. To begin with, these days most would-be clandestine migrants from Senegal don't travel via North Africa, but instead sail off into the Atlantic in small boats, heading toward the Spanish Canary Islands. This crossing is even more dangerous than that of the Mediterranean, but at least you don't have to run the gauntlet of the gangs of kidnappers, extorters and enslavers who line the Sahara-North Africa route and who are depicted here in cursory (and often barely plausible) segments that give way to longer, more heart-warming episodes. And were the film's climactic sequence to occur in real life as it is depicted here, with the protagonist triumphantly raising his fist and crying out "I am the Captain!", he would most likely be arrested on the spot by the Italian authorities and charged with human trafficking, as many in exactly his situation have been in Italy and more recently in the UK.

There is much to admire in purely cinematic terms, starting with the gorgeous, color-saturated photography (as opposed to the appropriately grim, washed-out look of "Gomorrrah") and the lovely depictions of family life in Dakar (along with an admirable refusal to show it as an unrelenting misery that the protagonists have no choice but to flee), and, above all, wonderful performances by the two teenage boys who are those protagonists, whose bond is central to the plot and touching in its affectionate naturalness. Seydou Sarr and Moustapha Fall are hugely talented and I hope to see more of them soon.

For all my reservations, I'd welcome a sequel that picks things up from where they leave off here - there is, inevitably, a whole further chapter to be written.

So by all means go to see "Io Capitano" for all this very good stuff. But know that this film is about as credible a depiction of modern migration from Africa as "The Boy in the Striped Pajamas" is of the Holocaust. The topic deserves something more uncompromising - the equivalent of "Gomorrah", for example.

Taking on an almost Homer-like approach to narrate the odyssey of two young Senegalese boys who decide to leave behind the comforts and familiarities of their home and go through some of the present day's most hellish experiences in hopes of reaching the mythical land of Europe where dreams are fulfilled, Matteo Garrone's "Io Capitano" is a visual spectacle that's not for the faint of heart.

Based on testimonies of African migrants in Europe, the movie visualizes the brutality of humanity's darkest corners; where practices of kidnapping, torture, rape, and slavery are as normalized as one could think up. The only glimmers of hope are the moments of empathy that shine through the very few sane enough to not trade in their humanity in even the roughest of places. It's brutally devastating and for a subject matter so sensitive, never preachy.

The movie's greatest strength is its cast who play a key role in making the movie come across as authentic as could be. It is a gorgeously shot, perfectly directed movie that meets its lofty ambitions through its precision in vision and scope. It's one definitely worth recommending.

Nominated for Best International Feature Film at the upcoming Academy Awards, Io Capitano is a heartbreaking odyssey that captures the African immigrant experience through the harrowing journey of two Senegalese teenagers. The story does take a while to get going and gets more n more disturbing as it progresses but the performances are so powerful, arresting & convincing that we as viewers are thoroughly invested in their plight & predicament. The ending however is a mixed bag, for the director is unwilling to tackle the harsh realities of the African immigration to Europe crisis, thus rendering the whole picture gripping in its portrait yet toothless in its impression.

"Io Capitano," an Italian film directed by Matteo Garrone, presents a poignant and visceral portrayal of the journey of innocent teenagers from Dakar to Sicilia. This film is not just a story of migration; it's a deep dive into the tumultuous sea of human emotions, hopes, and harsh realities.

The narrative is anchored in the life of its protagonist, a 16-year-old boy whose journey is marked by the vivid backdrop of African mysticism. This element of mysticism, albeit random, is a necessary interlude, offering the audience brief respites from the film's intense emotional landscape. It's a clever storytelling device that balances the narrative's darker elements with moments of spiritual calm.

What sets "Io Capitano" apart is its unflinching portrayal of corruption and the mistreatment of immigrants. Each scene is crafted to keep viewers on the edge of their seats, as the film exposes the raw and often brutal reality faced by its characters. The crudity of some visuals is heart-wrenching, yet it serves a purpose - to showcase the unvarnished truth of the protagonist's journey.

Sarr, the lead actor, delivers a spellbinding performance, steering the film with remarkable authenticity and depth. His portrayal of a naive yet hopeful teenager forced to mature rapidly is both compelling and heartrending. The character's unwavering belief in the goodness of people, despite the adversities he faces, is a testament to the resilience of the human spirit.

However, the film doesn't shy away from the bitter truth. As the narrative progresses, the protagonist's journey becomes a metaphor for the loss of innocence and the harsh realities of life as an immigrant. The film's ending, which clings to a sliver of hope, might seem unrealistic to some. It highlights that even if the protagonist reaches Italy, a new set of daunting challenges awaits him.

"Io Capitano" is a cinematic masterpiece that captures the essence of hope, despair, and the indomitable human spirit. Its realistic portrayal of the immigrant experience, combined with the magnetic performance of its lead actor, makes it a mesmerizing watch. The film skillfully navigates between idealism and stark reality, leaving the audience reflecting on the profound journey long after the credits roll.

"Io Capitano" (2023) grips you from the start and doesn't let go. This intense film trails Seydou and his cousin Moussa as they leave their home in Dakar, Senegal, driven by the dream of a better life in Europe. What unfolds is a distressing yet visually striking journey that brings to life the dangerous paths many West Africans navigate in search of hope. The duo's trek across deserts, the horrifying stays in Libyan detention centers, and the perilous sea crossings are depicted with raw power by director Michele Cinque. The performances are incredibly authentic, capturing the fear, hope, and sheer determination of Seydou and Moussa.

Watching "Io Capitano" is a profound experience. It dives deep into the ugly realities of corruption and exploitation that shadow the migration routes known as 'the back way' to Europe. The film confronts the stark truth behind the idiom "the grass is always greener," portraying the harsh disconnect between the dreams of a better life and the brutal reality. It's a challenging watch, but undeniably necessary, laying bare the human costs of such perilous journeys. With its unflinching honesty and exceptional filmmaking, "Io Capitano" not only earns its accolades but also demands global attention as a crucial piece of contemporary cinema.

Io Capitano

This was a simple story about 2 cousins from Senegal who wanted to come to Europe for an adventure. For some this was uncomfortable viewing because the director made is clear from the start, they were not fleeing anything, not war, famine, or anything religious or political and certainly not a brutal dictatorship. In fact their home in Senegal could have been a holiday destination.

Secondly the impetus for leaving Senegal was threefold. Firstly they wanted a cousins adventure together. Secondly many of their friends had also left to seek an adventure and thirdly you could see the two young boys playing on TikTok imagining they had all the things that were presented there. It is only when the mother, challenges Seydou he makes up a story that the house is falling down and he wants to do something for his sisters he wants to contribute, but this was merely said to placate his mother.

The age of the boys being just 16 underpins the naivety of their folly and explains why most economic migrants are young men aged between 18 and 25.

They were clearly economic migrants hoping to make it big in Europe and to a great extent primarily influenced by the internet.

The two boys instigated their own destiny by just placing their trust in different gangs of crooks along the way.

The movie was well done the script tight, great camerawork and the relationship between Moussa and Seydou was brilliantly believable. I'm giving this a firm 7 out of 10.

I would add that the minute these guys arrived in Italy. I would deport them back to Senegal. This is their home and this is where they belong.

The movie is mediocre at best. The motivation of the main characters at the beginning is totally unexplainable. Their family lives a life that is shown as really satisfying for them so what is the boys' drive to take this perilous journey, for which they were warned from the very beginning, is beyond understanding. They just want to come to Europe and become famous "so white people can ask them for autographs". This is laughable as a motivation and should make a normal viewer unsympathetic to their motivation. One gets the feeling that the whole movie is a device just to achieve this - the two actors to become "famous" instead of really telling about the tragedy of those who really need to escape their country for economic or political reasons. Because there are immigrants with a thousand times more relatable and understandable motivations, including from those countries shown in the movie. Then these 16 yrs old kids work something as a side hustle, just laying some bricks, after school and before the family fiesta, unknown to the mother of the first one. And they are able to save something like 1000 USD just from this so they can leave for the journey! A normal viewer cannot help but wonder once again why do they need to leave for Europe if they can win so much money for a couple of hours of work... And then they start the joutney but all the misfortunes that happen to them seem exaggerated and yet they simply overcome them so when the next one comes you just know that it is going to be ok for them. Perhaps the fact that their motivation for undertaking this perilous trip was not explained well in the beginning contributes to the lack of emotional attachment to their troubles as well. At the end the two main characters haven't learned anything, they just think they are heroes. If it wasn't for the theme this movie tries to tackle (quite unsuccessfully), which is very trendy nowadays, it would have never been nominated for an Oscar.

There is something about cinema that stays in each and every one of us. Like the sun accompanies every footprint in the desert, like the loneliness of the sea endures on every impossible journey. There is something why not even the strongest winds can separate an eternal friendship.

All that and more is Io Capitano. A struggle that does not cease between the spirit and necessity. Between sadness and hope. The beautiful and contradictory portrait of a terrible journey narrated in a sublime way, of a future that does not exist and only circumstances, courage and bravery end up forging it. A work of art that will take your soul along paths you can not imagine, to places where only the joy of living can defeat to the invincible cruelty. Where the human being and his faith are bigger than anything, bigger than his luck.