Paolo Sorrentino's clear-eyed coming-of-age opus The Hand of God is his best work yet. Here's agracru's review:
, where a man makes a giraffe disappear into thin air in the middle of a Roman colosseum. Placed next to these pictures,Normalcy may not satisfy Sorrentino’s characters, whether principle or supporting, butfinds abundance in quotidian Italian conventions: Abundance of meaning, abundance of beauty, abundance of comedy, and so as to avoid burying the lede,is consistently hilarious for the first hour or so .
Sorrentino doesn’t make the point aloud, but framing Fabietto and Patrizia’s troubled bond as he does reads like religious criticism:? God, like surrealism, is pretty much absent here. The gaping hole He leaves in the film is not filled by the appearance of a Saint and a sprite, either. God doesn’t care. No wonder life is a series of bummers that ends the moment you croak.
The Schisas don’t live an affluent life. They don’t live a poor life, either. They just live the best anybody can in an amoral universe where no one’s looking out for you and fortunes can change on a dime. First Maradona isn’t playing for Napoli, and then he; a surprise bear looms over Saverio, prepped and ready for a maulin’, before revealing he’s a costumed performer in a prank orchestrated by Maria; Patrizia is incapable of carrying a child, and then with a bad touch from San Gennaro, she is.
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