Fotografije ponedeljkovega večera, 13. novembra, na katerem se je Andrea Bartole pogovarjal s predstavnikom Italijanskega solidarnostnega konzorcija iz Trsta Gianfrancom Schiavonejem in Ismailom Swatijem, kulturnim mediatorjem in prevajalcem.
Pogovor je sledil projekciji dokumentarnega filma Trieste è bella di notte, čigar avtorji so Matteo Calore, Stefano Collizzolli in Andrea Segre, v izolskem Art kinu Odeon.
Organizatorja: Obalna samoupravna skupnost italijanske narodnosti in Italijansko središče Carlo Combi iz Kopra.
O beguncih, migrantih, tistih pač, ki zapustijo svoje domove in se odpravijo na dolgo pot, ki vodi v neznano, pogosto tudi nevarno, imamo ljudje, ki nam izbira o tem, ali zapustiti svojo rodno grudo ali ne, ne predstavlja eksistencialnega vprašanja, različna mnenja. Eni vneto in glasno ponavljajo, da je treba na široko odpreti vrata vsakomur, ki si je našo državo izbral za zatočišče, drugi enako ali še bolj na glas tulijo, da je treba na meje postaviti vojsko, ki bo te vsiljivce zadržala izven naše domovine, ostali, ki nam za politične točke ni mar, pa si večinoma težko predstavljamo, zakaj se cele družine, celo z dojenčki ali nosečnicami, ali skupine mladih fantov, mnogi med njimi še nepolnoletni, odločijo za pot, za katero morajo plačati nemajhne vsote denarja, se prepustiti na milost in nemilost ilegalnim prevoznikom, potovati stisnjeni med množico drugih sotrpinov, zato da bi jih na koncu skoraj dobesedno odvrgli na cilju, ki navadno ni tisti, ki so si ga predstavljali.
Na veliko, če že ne na vsa ta vprašanja odgovarja italijanski dokumentarni film Trieste é bella di notte, ki so ga letos s pomočjo neodvisnega distributerja ZaLab poslali v svet avtorji Andrea Segre, Stefano Collizzolli in Matteo Calore. Po gostovanju v Ljubljani, kjer so ga predstavili v sklopu 14. Festivala migrantskega filma, smo si po zaslugi Obalne samoupravne skupnosti italijanske narodnosti in Kulturnega središča Carlo Combi Koper dokumentarec lahko 13. novembra ogledali tudi v izolskem Art kinu Odeon.
V njem spremljamo zgodbo o migrantih, ki so se med pandemijo covid-19 odločili za pot v Italijo, kjer bi zaprosili za azil. Tako imenovano balkansko begunsko pot so večinoma prehodili, vremenske razmere in razgibane geografske značilnosti balkanskega območja pa so jim povzročale nemalo preglavic. Ozebline zaradi hudega mraza, izčrpanost zaradi pomanjkanja hrane, slabosti in bruhanje zaradi hranjenja z neužitnim listjem ali pitja vode iz luž. Na cilj so sicer prispeli, a se nato znašli v peklenskem vrtincu, saj so italijanske, hrvaške in slovenske oblasti dostop do azilnega postopka onemogočale. Še več, policija vseh treh sosednjih držav si jih je sistematično podajala, najbolj umazano delo pa so opravili hrvaški varuhi meje, ki so poskrbeli, da so se ranjeni, osramočeni in prestrašeni znova znašli v Bosni. Tam so se za nekaj časa umaknili na varno, si oskrbeli rane, nabrali moči in novih zalog poguma, da so se spet odpravili na pot … Drugih možnosti namreč niso imeli.
Sedeminsedemdeset minut se pred očmi gledalca vrtijo prizori iz različnih prostorov in časov, ki si ne sledijo v kronološkem zaporedju, temveč spremljajo pričevanja migrantov med njihovim bivanjem v begunskem centru, bosanskih hribih, med postavanjem nekje visoko nad morjem, od koder upajoče zrejo v nočni Trst, katerega lučke odsevajo na vodni gladini, in naposled le nekaj metrov pred tablo, na kateri piše Italija … Spomini na nočne more in strahove, ki so jih doživeli, ko so se odločili za »igro«, kot so poimenovali ilegalno pot, za katero so tihotapcem odšteli velike vsote denarja, so drugačne od tistih, ki smo jih gledali v poročilih. Mediji namreč niso poročali o institucionalnem nasilju, ki ga je izvajala policija nad prestrašenimi migranti, katerega cilj je bil jasen – preprečiti ponovne poskuse vstopa v državo.
Kot je v pogovoru po dokumentarcu povedal Gianfranco Schiavone, pobudnik filma in predstavnik Italijanskega konzorcija za solidarnost, so tovrstne akcije potekale nemoteno zaradi dogovora, ki so ga sklenile vse tri države. Države, članice Evropske unije, ki je za to, po besedah Shciavoneja, zagotovo vedela, storila pa ni ničesar.
Praksa nezakonitega vračanja migrantov se je dogajala na vseh zunanjih mejah EU in se še dogaja, je dejal predstavnik nevladne organizacije, ki na to početje opozarja že dolgo. Zato ta dokumentarec ne govori samo o preteklosti, temveč tudi sedanjosti in »samo upamo lahko, da to ni film tudi o prihodnosti«, je še dodal Schiavone.
Na balkanski begunski poti so se množično dogajala grozodejstva, skrita pred očmi javnosti, ki je bila prepričana, da v Evropi vlada mir. Hude opekline, sledi udarcev, sram in strah ob tem, ko so se morali sleči do golega, še večji strah, ko so jim vzeli vse, kar so imeli s seboj, jih spravili v umazan kombi in odpeljali nazaj v Bosno. Obup ob spoznanju, da kamorkoli se podajo, lahko to zanje pomeni smrt. Vrnitev v rodno domovino, kjer po njihovem pričevanju ni več ničesar, ali vnovičen poizkus igranja azilne rulete.
Najbrž bi tudi sami naredili vse, da bi sebi in svojim bližnjim zagotovili dostojno življenje. Če bi nam in njim v rodni deželi grozili smrt ali trpljenje, prijatelji, ki so uspešno emigrirali, pa bi nam govorili o državi, kjer je življenje bolje, bi se naposled morda tudi mi odločili za »igro«. V upanju, da nam nekje odprejo vrata in pomagajo začeti znova. Ker je to človeško. Ker smo vsi ljudje. Ker si vsi zaslužimo živeti v miru. Pa četudi je ta le navidezen.
Besedilo in foto: Nataša Fajon
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