The film is also rescued from its more precious and sentimental excesses by the power and complexity of Sarr’s central performance.

This is a film that, for all its brutal horrors, keeps a kernel of hope and faith in the inherent decency of humankind (or some of it at least).

The film makes brilliant if often harrowing cinema. But Garrone’s boldest strokes are also subtle.

Overall, it feels like the film plays it too safe to please its mostly Western audience who can sit comfortably in their cinemas and watch Io Capitano without having to feel guilty about the actions of their own countries.