Whether you love it or hate it, Paolo Sorrentino is one of those directors with a deeply connoted stylistic figure. Grace is the eleventh feature film of the Neapolitan director, and is fully inserted in the mosaic of his work. After opening the Venice Film Festival and a few previews during the Christmas season, the film was released in all the cinemas on January 15 for PiperFilm.
La grazia: tutti i rischi delle mezze misure
The mandate of Mariano De Santis as President of the Republic is about to end. The inheritance that is prepared to leave the Quirinale is that of a jurist end, a capable but measured man, perhaps too cautious. Two swords of Damocles hang over his head throughout the white semester: a law on euthanasia and two requests for grace. The first falls the Catholic De Santis in a professional impasse in which the stake is like Italy will remember it; But will be the requests for grace to arouse in him the deepest crisis, in which he will face the relationship with his children, the questions never resolved with the dead wife and to have to wonder what life can be after the Quirinale.
La grazia, solo nel nome
I have to start this paragraph with the due disclaimer that I have a difficult relationship with Sorrentino. Not bad — I certainly admire it and his films in general like me, but they always leave me a strange feeling on them. And for the first time, I was able to articulate it.
Grace is a film that has things to say — poetic, exciting, even interesting things. My regret is that then as usual Sorrentino does not have enough confidence in his audience to start a conversation, to suggest, to evoke. No. Whatever you need to communicate must be explicitly said and then repeated two or three times, because you may not have understood or distracted. The deep lack of elegance of this authorial approach sends me to the mad — especially when it is juxtaposed to a content that instead seeks to be so delicate, rarefied and poetic.
However, the rest of the audience seemed to shake their eyes much less than me, so my discomfort could be completely personal. And even if it wasn’t, the good qualities of Sorrentino’s cinema remain: always visually beautiful (as delicious), always good Servillo, always an experience with its thickness. The council remains, in good and evil, to go absolutely to see Grace.
Il cast
Toni Servillo interprets Mariano De Santis, capable but cautious President of the Republic; Anna Ferzetti is her daughter Dorotea who, even she jurist, dedicated her life to serving other things by herself. Orlando Cinque is the colonel of the corazzieri Labaro, bodyguard and chief accomplice of the President, while Milvia Marigliano is Coco Valori, uncontenible old friend. Finally, Linda Messerklinger and Vasco Mirandola interpret Isa Rocca and Cristiano Arpa, the two candidates for grace, kings of the same crime but very different.
Article Grace is Sorrentino in good and evil – The review comes from Dituttounpop.it.
