Two teenage boys star in Matteo Garrone’s passionate exposé of how greed, trauma and corruption drive the modern-day slave trade in would-be migrants

Matteo Garrone’s new film is part adventure story, part slavery drama; the slavery which did not in fact vanish with the end of the American civil war, but thrives in the globalised present day without needing to shapeshift too much, driven by the age-old forces of geopolitics and the market.

Seydou and Moussa, played by nonprofessional acting newcomers Seydou Sarr and Moustapha Fall, are 16-year-old cousins in Dakar, Senegal, dreaming of escape to the fabled land of the EU as refugees, where they expect to go viral and make a fortune as music stars like the people they’re watching on TikTok. For years they have been writing songs and secretly working on building sites while pretending to go to football practice, amassing cash savings which in the succeeding months they will hand over to various gangmasters, fixers and corrupt gun-wielding soldiers.

Exclusive: Visas created hastily to solve labour shortages expose people to ‘hyper-precarity’ and exploitation

Visas created hastily to solve labour shortages as a result of Brexit have put workers at greater risk of modern slavery and exploitation, research has found.

Strict conditions on agricultural and care visas created after Britain left the EU expose workers to “hyper-precarity” and increase their vulnerability to exploitation, a study by a coalition of leading universities and charities has concluded. Since Brexit, farm workers and care home workers have had a route to Britain on time-limited visas with stringent conditions.

As a young Liberian woman in survival mode, Cynthia Erivo carries Anthony Chen’s unassuming drama

Understated, but with a mesmerising, shell-shocked stillness, British actor Cynthia Erivo’s arresting central performance gives this earnest drama by Singaporean director Anthony Chen ( Ilo Ilo , Wet Season ) its emotional heft. She plays Jacqueline, a traumatised refugee from war-torn Liberia who has recently arrived on a Greek island. The jagged, rocky terrain of her new home evokes her fractured mental state. But even in survival mode, subsisting on scavenged leftovers and small change, Jacqueline is too proud to beg. That same dignity prompts her to invent a story – a husband and a hotel room – when she strikes up a friendship with an empathic American tour guide, Callie (Alia Shawkat). This portrait of lost souls connecting is unassuming, but quietly powerful.

Fears of a new migration route grow as more than 800 people land on Gavdos, population fewer than 70, in a few months

Even by the standards of small Greek islands, Gavdos is tiny. In a population of fewer than 70 people, there are just two families with four children. The rest “are all old people mostly living alone”, its mayor, Lilian Stefanaki, explains.

It is a micro-world that in the depths of winter is served by a single school, a bakery, two mini-markets and four kafeneia cum tavernas. The remote island – separated from the coast of Crete by frequently unpredictable waters in the Libyan Sea – is watched over by Efsevios Daskalakis, who for much of the year is its sole police officer.