Terraferma

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.

All the characters in Emanuele Crialese's Terraferma are in search of the solid ground, for safety, for the certainty of tomorrow. And yet, nothing seems to be solid in their destinies. The story happens on a small island near the bigger island of Sicily, an area of earthquakes and volcanic eruptions. The local community sees its traditional economy based on fishing threatened, its mode of life based on honor and the rough justice of the sea threatened by everything around - decaying fishing crops, invading tourists, the dissolution of the moral fabric of the local society. And then an apparently bigger threat comes as desperate African boat immigrants start showing up at the shores, after having risked their lives in the stormy seas, flying in despair the devastated continent of their birth.

I am not sure if the programming of this film together with the French 'Intouchables' was a coincidence. Both films deal with the problem of the African refugees seen as a symbol of the different people of different cultures trying to enter the Old Continent, same as repeated waves of immigration have stormed its gates all along the history. The same thing happens today in my country, and there are no easy responses, not on what concerns the clash of cultures and mentalities, not on the political or economic planes, and not on the human one. The shared message of the two films with their very different stories told in very different registers is that human beings can find their resources and show solidarity at moments of maximal crisis.

Despite the story line which is a little too expected and simplistic 'Terraferma' succeeds to create emotion, with a few direct and well directed scenes. The story is a coming to age and an Italian family drama in the good Italian tradition to the same extent that it is an immigrant drama. The film is beautifully filmed, the director and the cameraman obviously love the sea and the landscape of the Mediterranean and make the best of these in a few sequences to remember. With good acting and a message that is fundamentally optimistic in its trust of the capacity of men staying human in the most adverse situations the rather anonymous 'Terraferma' did not fall much behind the 'Intouchables' which was one of the most successful films in the history of the French cinema.

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.

The theme is good. Nowadays, social rules are becoming more and more rational, losing the beauty that people should have. But the script is weak, the story is fragmented, the plot is too intermittent, and the turning point is too abrupt. But the lens has a great impact on people, especially the delicate layered black beach.

"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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