QR Film Review: A Ciambra

A Ciambra is the second directorial feature from Jonas Carpignano, following his 2015 debut, Mediterranea. A Ciambra is a pseudo-sequel focusing in on the young Pio Amato featured in the peripheries of Mediterranea. Whilst a sequel of sorts, this Martin Scorsese produced film stands as its own work and acts as an interesting, if somewhat over-wrought, coming of age story which explores larger themes of brotherhood, race, and family.

Carpignano adopts a documentary frame through which to view the fictional world of young Pio and it is through this perspective the film finds its unique neo-realist style. The film focuses on Pio Amato and his underprivileged family living in the Calabria region of Italy. Pio is in a hurry to grow up and to be seen as the head of the household, idolising his small-time crook father and brother. When the pair are arrested, Pio must come to terms with the reality of growing up within this lifestyle.

The films cast is made up mainly of 'non-actors' with the numerous members of the Amato family effectively playing a version of themselves. This adds to the grounded realistic style the film seeks to emulate. The chaotic and loud family dinner scenes with each of the Amatos speaking over one another captures an endearing energy that couldn’t easily be found in a purely fictional script. The films intimate tone is only heightened by the delicate cinematography which, while fluid and at times simplistic, does not preclude the film from some beautiful shots which play with the darkness of rural Italy and against the pale lights of more urban areas.

A Ciambra relies heavily on its young lead and thankfully Pio effortlessly shoulders the burden of carrying this feature. His performance encapsulates a boy caught between the innocence of a youth he wishes to cast off and the adult criminal world he longs to be fully accepted into. However, s a whole Pio is a frustrating character. It is evident that he isn’t ready for this world but despite this he consistently casts off the perceived shackles of his position as the youngest son. This culminates with an emotional climax to Pio’s internal conflict. Pio is truly in need of an older brother figure after his brother is arrested – he seeks this in Ayiva – the protagonist from Carpignano’s refugee drama Mediterranea.

Ayiva (Koudos Seihon) is the other cornerstone of the film, his brother’s best friend and later Pio’s fence. Ayiva and Pio’s relationship develops into a more fraternal, caring one. It is through this relationship we truly understand the nature of Pio’s character. Pio tries to present himself to Ayiva as a hardened criminal but regularly lets his guard down and, in one instance, refuses to come into a party due to his embarrassment at the girls present. It is through this relationship Pio later learns of the true nature of the world he wants to be a part of and what family and friendship mean in that context.

Koudos and Pio both deliver excellent performances that perfectly serve both the story being told and the grounded realist style of the feature. This can’t be praised enough and their understated genuine chemistry acts as fascinating counterpoint to the boisterous atmosphere of the Amato home. Although the film could stand to develop their relationship further especially when placed in the context of the film’s racial themes.

Beyond the ideas around family and growing up the film also deals with themes of race and minorities, in particular the tragedy of disenfranchised minority groups holding other minority groups down. The Amato clan are disrespected and disregarded by the Italians they work for due to their Roma heritage and this same disrespect is replicated in the Amato’s treatment of the African refugee community which has arrived in their area, of which Ayiva is a member. The parallels between the rowdy chat in the Amato household and the community Pio witnesses in the refugee camp shows the opposing communities have more in common than they know looking past their prejudices. This kind of quiet tragedy is at the core of A Ciambra.

As previously touched on, the film’s style and tone is something to be admired. Carpignano develops the hyper-realist style from his directorial debut and never gets bogged down like many other filmmakers would in trying to evoke such a style. The films adopts a polished subdued style which quietly follows Pio throughout his day to day life. However, the issue comes in the pacing and development of the story. The rushed third act is very busy and creates an overall product which feels imbalanced. The meticulously handled previous 70 minutes establishing the world and characters are hindered slightly by a third act which includes a glossed over moral dilemma which could have been heart-breaking and a sexual awakening of sorts which seems included as an afterthought simply to suit the idea of a coming of age story. An argument could be made this is done to reflect the hormonal thoughts of Pio being pulled this way and that, but it never feels anywhere near that deliberate. The subtle sorrow of the cycles and world the two communities find themselves in as well as young Pio’s dilemma struggle to reach a truly fitting emotional climax given this rushed finale. In a way, it appears Carpignano struggled against his own stylistic and tonal choices and the run time to tell the story how he fully would have wanted.

This is not to say A Ciambra is a bad film, on the contrary, it is more than worthy of its Cannes’ successes. It is an endearing tale of young boy trying to find himself in the world he is now trapped in and what this means for his family, community and his heritage. The film for the most part is a dignified tragedy of minority communities forced into cycles of crime, violence and prejudice of which there is no escape. Nowhere is this emphasis more evident than in the mournful monologue of Pio’s aging grandfather lamenting how his people have given up their former freedoms. These instances, along with Carpignano’s unique style work hand in hand to present a film full of little moments and big characters which truly bring this world to life. While the latter parts of the film may undo some of the work of earlier scenes this is still a hugely engaging and endearing story of Pio who is in just too much of a hurry to grow up.

3.5/5

By Sean Hughes