La Grazia
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- Aug 27, 2025
“Bureaucracy is meant to be slow,” the President of Italy (Tony Servillo) explains to a member of his inner circle. “That’s the point: to give people time to reflect.” But how much time is too much, and what good is reflection for a lame duck politician with six months left…
davidehrlichAug 27, 2025Sorrentino con le musiche di Challengers
MartymoliAug 28, 2025"I'm the most uninteresting subject I know" Sorrentino can do his alienated old man shtick meanwhile at 3am at night somnambulant. his common ingredients to find: the elusiveness of the other gender while not being able to give up the romantic ideal (including the…
shookone - Aug 27, 2025
ogni presidente della repubblica ha bisogno di una migliore amica lesbica
giadaDec 6, 2025" العفو هو الجمال الذي يزين الشك" تناول فلسفي ساحر لمفهموم الخيانة والعفو من Sorrentino و عناصر فنية متكاملة مذهلة وملحمة سينمائية أخري في تاريخه .
Sarah_AliAug 27, 2025Quando lo spin-off su Coco Valori?
Francesco F. - Aug 29, 2025
LA GRAZIA is a more subdued and contemplative film from Paolo Sorrentino, exploring themes of leadership, regret, responsibility, and, of course, love. A few stylistic flourishes feel at odds with its overall tone, and the uneven pacing prevents it from reaching the heights…
Matt NegliaOct 5, 2025things i didn't expect to see in this film a robotic dog a metal gear solid shoutout the president of Italy rapping there's a scene where the president of Portugal falls down set to the sickest beat I've heard in a movie soundtrack in awhile
JamAug 27, 2025Sorrentino negli ultimi due film è passato da Cocciante a Guè Pequeno come la mia playlist mentre sto in palestra.
Lorenzo
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The unknowability of life is beautiful, but so too is our desire to know. To be human, La Grazia seems to say, is to fight and lose against uncertainty, and then to fight and lose some more.
The magic of La grazia is that Paolo Sorrentino makes a convincing argument that doubt is a beautiful thing.
Maybe this film, concluding as it does on a distinctive note of euphoric sentimentality, does not add up to quite as much as the director thinks; but it intrigues, it exhilarates and it shows that Sorrentino is Italian cinema’s heir to Antonioni.