Diversity as a Slogan
by Pierandrea Villa
Overview
March 29, 2018
103′
Antonio Albanese
Antonio Albanese, Andrea Salerno, Stefano Bises with the participation of Makkox
Fandango, Rai Cinema, with the support of Regione Lazio
Roberto Forza
Claudio Cormio
Pasquale Catalano
Antonio Albanese, Alex Fondja, Aude Legastelois, Daniela Piperno, David Anzalone, Lorenza Indovina, Federigo Ceci, Anis Gharbi, Claude Jan, Valentina Pace, Morena Salvino, Guendalina Tavassi, Luigi Campisi, Massimo Cavallaro
01 Distribution
Gallery
Poster
Trailer
Pressbook
Representation strategies, rhetorics and stereotypes
Narrative & characters
Mario, a man in his fifties with a passion for gardening, is set in his ways and holds xenophobic views. He runs the sock shop he inherited from his father. One day, he decides to get rid of Oba, a street vendor selling socks, convinced that he is damaging the family business. Mario drugs him, kidnaps him and is determined to take him back to Africa himself. As events unfold, Oba’s sister Dalida joins the journey, and Mario soon becomes infatuated with her. What the protagonist is unaware of is that Oba and Dalida are secretly lovers who are exploiting his bizarre idea to get him to take them to Senegal, where they intend to celebrate their wedding. Back Home shows Mario’s redemptive journey from being an outspoken racist to becoming a universalist benefactor who decides to stay in Senegal, to help the inhabitants of Oba and Dalida’s home village with agriculture. Although his new subjectivity and belief system is gradually acquired over the course of his journey, the contrast between Mario’s old and new identities is, at the very least, quite remarkable. The new Mario retains nothing of his old self; there are no interactions or overlaps between the protagonist’s previous ideological perspective and his new life choices. From this perspective, Oba and Dalida, despite having their own narrative arcs, are mostly instrumental elements in the protagonist’s evolution. In this sense, Back Home applies a dynamic common in much cinema dealing with diversity to Mario’s story: it uses the portrayal of otherness to expose the attitudes and moral positions of white, heterosexual, and cisgender characters, categorising them distinctly as either positive or negative.However, the film’s portrayal of Oba and Dalida avoids victimising depictions that present the Other as entirely harmless and lacking autonomy. The deception orchestrated by the two against Mario unveils two nuanced characters who do not conform to the dualism represented by the two stages of Mario’s identity. By addressing the representation of diversity, Albanese opts for an original point of view and chooses to recount the difficulties faced by immigrants, focusing on the perpetrators rather than the victims. The portrayal of what could be defined as the “first” Mario serves to define a prototype of a racist and provides a description of xenophobia as the combined result of resistance to change and frustration with an unsatisfactory personal life. Concerning the first issue, it is worth noting that the protagonist’s resistance to change is portrayed as neurotic rather than ideological. This could be seen as an absolutory reading of the character, contributing to his complete redemption in the finale. However, there are some interesting aspects of this characterisation that challenge the ultimate “good-guy” rhetoric. One example is the sequence of Oba’s kidnapping, which shows the aggressiveness of xenophobia, shifting it from the realm of ideas to that of actions. Similarly, the process of redemption, initiated by Mario’s infatuation with Dalida, reveals the ambiguity of a person who accepts the Other’s body only when it arouses his desire. The depiction of the female character, which highlights her body in aesthetic and sensual terms – further emphasized by the director’s and cinematographer’s choices in framing and lighting – aligns with a trend in Italian cinema to portray immigrant women as provocative figures, thereby resulting in an underdeveloped character. This lack of depth in Back Home culminates in the finale, where the protagonist’s sudden acceptance and integration into the African village feels unrealistic – perhaps due to the sequence’s short running time – and it merely serves to justify the complete transformation of his personality. Furthermore, although Mario’s voiceover conveys a moral and pedagogical conclusion – emphasising the importance of embracing change and cultural exchange as essential elements of a just and complex society – the image of a white man single-handedly resolving the challenges of a Senegalese village through agricultural innovations evokes colonial imagery and the rhetoric of the white man’s burden.
Stereotypes & strategies of inclusion
An almost well-executed ad about disability.
The film explores diversity not only by depicting the relationship between immigrants and Italians, but also by addressing the issue of disability. This occurs in the few brief scenes dedicated to Umberto, who embodies the film’s educational and awareness-raising aims. The encounter with Umberto begins with the line “you know, disability isn’t contagious”, which fits into the film’s narrative as an awareness-raising slogan. Nonetheless, the character is crafted to avoid any pietistic distortions. Umberto is portrayed as an adult man with his own desires and sex life, even if this element is rendered in a stereotypical and heteronormative fashion. However, the most interesting aspect of this character’s construction lies in the way it rejects a rhetoric depicting disabled people as completely harmless and lacking in autonomy – even though this takes place in a film that is essentially steeped in rhetoric. In this sense, Umberto’s characterisation follows the same anti-rhetorical elements that underpin the writing of Oba and Dalida’s characters: likewise, his entire character is based on the principle of subversion. Firstly, he exploits the moralist pity of the social context surrounding him to his own advantage, by mocking that same context as a form of revenge. This principle emerges clearly when Umberto decides to urinate on a sports car parked at a service station in front of its owners, who do not dare to openly condemn his gesture, and then exclaims “some folks can”. Moreover, in his brief interaction with Mario, the character challenges the principles of both pity and normality. He immediately asserts that he does not view the protagonist as a normal person and expresses compassion for him.
However, this anti-rhetorical representation of disability loses its effectiveness when considered within the film’s economy. The scene appears disconnected and isolated, built on an episodic nature and therefore resembling a public service announcement that interrupts the film. In this sense, despite his non-stereotypical characterisation, Umberto ends up being an instrumental token within the film’s political and ideological positioning.
Conversations
The director describes the film, focusing on the urge to address the theme of immigration from an ironic and light-hearted perspective. The lead actress recounts her experience on set ( FilmIsNowItalia, March 24, 2018).
The director recounts how the film was conceived, focusing on the risks associated with the approach he decided to take. The lead actress discusses her relationship with the character (SpettacoloCheSpettacolo, March 24, 2018).
Full episode of the Corriere Live Show programme dedicated to Back Home. In studio, Stefania Ulivi and Alessandra Arachi discuss the film with the director (March 30, 2018).
At the Italian Film Festival Berlin, the director presents the film, highlighting how politics exploit the immigration issue (November 9, 2018).
“Antonio Albanese: ‘I go against the grain. I talk about immigrants with irony’”. In La Stampa, March 24, 2018. Interview with Antonio Albanese by Fulvia Caprara.
«I don’t give advice, I simply describe the relationships between different people. What scares me the most is hearing about walls, separations that generate anger, revenge and resentment that are difficult to eradicate».
“Contromano, Antonio Albanese: ‘Immigration my way’”. In Ciak, April 4, 2018. Interview with Antonio Albanese by Elisa Grando.
«What were the pitfalls to avoid in the screenplay?” “False do-goodism or somewhat stereotypical malice. It’s not easy to offer the public a subject that has been so covered and mistreated».
“Albanese, my immigration against the grain”. Via Ansa, March 24, 2018. Interview with Antonio Albanese by Francesca Pierleoni.
«Contromano stems from a social desire, as a spectator, to tell such a compelling topic in a different way, with grace and lightness – which is not a dirty word – starting from a paradoxical and ironic idea».
‘Albanese travelling the wrong way: “From Europe to Africa with a migrant to discover how petty we are”’. In La Repubblica, March 6, 2018. Interview with Antonio Albanese by Anna Bandettini.
«Concerning migrants, I have heard certain politicians express horrifying thoughts, words about race that even Cetto Qualunque would never have dreamed of. That’s why I selected a story that would bring us all back to a sense of normality and humanity».
Business strategies and communication rhetorics
Strategies
The film was made with the support of Regione Lazio – Regional Fund for Cinema and Audiovisual Media.
As a comedy – a genre that typically performs well at the Italian box office – and a film written by a well-known figure, Back Home underwent a straightforward production process, analogous to that of mainstream Italian cinema. The concept for the film was conceived during a dinner between Abanese and screenwriter Andrea Salerno, where they began to develop the story around the paradox of Mario’s kidnapping of Oba and his bizarre and personal notion of repatriation. From conception to completion, the film took two years to complete. In terms of production, one of the biggest challenges was finding locations and filming on site, as Back Home is a road movie that crosses Tuscany, Terracina, Naples, Genoa and Tangeri before reaching a village south of Marrakech near the border with Mauritania. Another challenge described by the director was choosing actors who were difficult to find in Italy and were instead auditioned in France. This statement reflects a production system that struggles to integrate African-descendant workers and artists at all levels, despite their availability in the Italian labor market within the entertainment sector.
Communication rhetorics
The film was distributed in Italy by 01 Distribution. Abroad, distribution is handled by TLN Media Group (Canada), Jetsen Huashi (China), Odeon – Rosebud.21 (Greece), and Morandini Film Distribution (Switzerland). The global distribution rights for reproduction on air transport are held by Encore Inflight.
Thanks to the popularity of the comedy genre and the established fame of director and star Antonio Albanese, Back Home benefited from a privileged position in the national audiovisual market. This encouraged the development of a promotional campaign based on an integrated communication strategy, curated by Vertigo, which involved multiple channels and tools to maximise the film’s visibility. This strategy included a social media campaign through which exclusive content, behind-the-scenes footage, and interviews with the cast were shared. Additionally, it involved creating visual quotes – namely stills from the film or photos of the lead actors featuring a quote from the film. In addition, on the days leading up to the film’s release, a series of clips showing some of the film’s best gags was posted on the official YouTube channels of Fandango and 01 Distribution. As usual, the press campaign – consisting mainly of interviews with the director and actors conducted prior to the film’s release – also helped to position Back Home within the distribution market. In this respect, the film benefited from substantial coverage in the press, as well as online video interviews and radio. During these conversations, there was a consistent emphasis on Albanese’s urge to address an important issue, immigration, from an ironic and thus atypical perspective in Italian cinema.Another theme explored in the interviews was Albanese’s relationship with the phenomenon of immigration, given his background as the son of Sicilians who relocated to northern Italy. However, it was often noted – though not in every interview – that these are entirely distinct phenomena. Among the video interviews, it is worth mentioning the episode of Corriere Live TV on the Corriere della Sera website, entirely dedicated to the film. The trailer and behind-the-scenes footage of the film were also featured in national widespread newspapers and magazines such as La Repubblica, GQ, and TV Sorrisi e Canzoni.
Circulation and audience responses
Circulation patterns
Compared with the general trend of Italian films on the subject, Back Home shows an opposite pattern in terms of distribution and visibility. The film had a limited presence at national festivals and a very limited presence at international festivals (with the exception of events such as Los Angeles – Italia 2019: Italian Cinema Today, ICFF Italian Contemporary Film Festival 2018 and Italian Film Festival Berlin 2018). The film did not receive any awards during any of the events. However, the film did secure a widespread distribution in cinemas and on television. For the former, Back Home was screen for two weeks in over 400 cinemas, reduced to 200 cinemas the following week, grossing almost two million euros. The light-hearted tone and popularity of the director/lead actor also guaranteed a second run of summer screenings at open-air cinema events. The film also enjoyed much visibility on television: Back Home was broadcast on Rai channels during prime time on three occasions and was included in heavy rotation on Sky Cinema channels between March and July 2022. The film’s limited circulation at international festivals likely compromised its presence in European streaming platform catalogues (10 libraries distributed across 4 countries). However, in Italy, the title is available on Raiplay, YouTube Films, Apple TV, Rakuten Amazon Prime Video, and Now TV.
Festival presence
- Il Cinema in Ludoteca: Storie di Qui e di Altrove Panorama 2020
- Johannesburg Italian Film Festival Panorama 2019
- Portofranco SummerNight Panorama 2019
- Stagione Estiva – Piemonte Cinema Network Panorama 2019
- Un’Estate al Cinema Panorama 2019
- Los Angeles, Italia, Film, Fashion and Art Festival Panorama 2019
- Tuscia Film Fest a Berlino – Italian Film Festival Berlin Concorso 2018
- Regie Positive Panorama 2018
- 35mm Il Club Panorama 2018
- CortoLovere Omaggio ad Antonio Albanese 2018
- Il Vento del Nord Italia Sotto le Stelle 2018
- Rassegna Cinematografica “D’Autore d’Estate” Cinema d’Essai 2018
- Capalbio Movie – Cinema e Altro Panorama 2018
- Cinema d’Estate a Bra Panorama 2018
- CinemArt Panorama 2018
- Ischia Global Film & Music Fest Panorama 2018
- Rocca Cinema Imola Panorama 2018
- Arene di Marte Panorama 2018
- Bagnacavallo al Cinema Panorama 2018
- Cinema in Castello Panorama 2018
- Cinema intorno al Vesuvio Panorama 2018
- E per Tetto un Cielo di Stelle – Il Cinema all’Aperto di Osnago Panorama 2018
- Esterno Notte Panorama 2018
- ICFF Italian Contemporary Film Festival Feature 2018
- Il Cinema all’Aperto Panorama 2018
- Castiglione Cinema – RdC Incontra Panorama 2018
Reception
The critical reception of Back Home has been ambivalent: on the one hand, Albanese is credited with his ability to tackle a divisive issue from an unusual perspective; on the other, it has been pointed out that the film remains superficial, foregoing greater narrative and stylistic complexity. Some critics have recognised Albanese’s merit not only in avoiding didactic moralisation, but also in opting for a reassuring narrative that blends comedy, sentimentality, and tragedy. However, many reviewers pointed out that the film suffers from weak writing: the initial idea, which is strong and original, gradually loses traction, turning into a linear plot that sacrifices comic potential in favour of a message steeped in rhetoric. From this point of view, the harshest reviews described Cotromano as an example of a film in which moral positioning penalises the mise-en-scène, resulting in a rhetorical and undecided film. Moreover, the female character has been criticised for being too weak and unfocused and unable to effectively support the film’s romantic subplot.
The critics’ lukewarm reception of the film is similarly reflected in the audience’s opinions: on IMDb, it scores 5.7/10, while on MyMovies, it scores 2.58/5, and on Letterbox 3.0/5.
Italian and foreign press
Italian Press
Claudio Trionfera, “Contromano, the reverse fairy tale of Albanese the African”, Panorama, March 30, 2018.
«Gently, almost whispering, Antonio Albanese glides over immigration […] He is Mario Cavallaro from Milan, the protagonist of Contromano (in cinemas from 29 March, 102 minutes), a delicately social film entirely dedicated to the concept of ‘opposites’ – including the reversal of roles and paths – which nevertheless excludes antagonism and irreconcilability»
Davide Turrini, ‘Dear Antonio Albanese, Contromano is a film that doesn’t work, and we’ll explain why,’ Il Fatto Quotidiano, March 28, 2018.
«Consider that in the finale, Mario even provides concrete assistance in their home country, but it has a vague hint of do-gooder colonialism»
Daria Pomponio, “Quo Vado?”, Quinlan, March 27, 2018.
«As for Mario, the character’s journey ends with a flash of post-colonial paternalism that transforms ‘let’s take them back home’ into an equally disturbing ‘let’s help them at home’»
Aurelio Vindigni Ricca, “Contromano, review: Antonio Albanese against the grain”, Everyeye, March 29, 2018.
«Beyond the fact that migrants are portrayed as ambiguous individuals, even prepared to defraud others, albeit in a story where Italians behave even worse, it is the narrative itself that becomes flat and linear as the minutes pass»
Maurizio Cabona, “Albanese’s omelette without cruelty”, Il messaggero, March 29, 2018.
«Walking on the eggshells of political correctness, Albanese does not want to break them»
Alessandra Levantesi Kezich, ‘Contromano” fragile favola on the road’, La Stampa, March 28, 2018.
«On paper, the paradox of the “respectable racist” who, taking on the task of bringing the unwanted guest home, falls in love with his supposed sister, seemed promising»
Silvio Danese, “Albanese as Sordi”, Quotidiano Nazionale, March 29, 2018.
«Comedy built around the slogan ‘let’s help them at home’»