È stata la mano di Dio
Réalisation:
Paolo SorrentinoScénario:
Paolo SorrentinoPhotographie:
Daria D'AntonioMusique:
Lele MarchitelliActeurs·trices:
Toni Servillo, Filippo Scotti, Teresa Saponangelo, Lino Musella, Alfonso Perugini, Luisa Ranieri, Renato Carpentieri, Massimiliano Gallo (plus)VOD (1)
Résumés(1)
Fabietto grandit dans une famille napolitaine aisée qui aime dépenser. Lui ne jure que par le club de foot SSC Napoli et explose d’enthousiasme lorsque le club enrôle Diego Armando Maradona, la star de l’époque. Alors qu’il assiste à un match, sa famille est victime d’un tragique coup du sort, décidant le jeune homme à devenir réalisateur. Dans son film le plus intime et le plus personnel jusqu’ici, le grand cinéaste Paolo Sorrentino raconte, via son alter ego Fabietto, sa jeunesse dans le Naples des années 80, là où sa carrière a démarré. The Hand of God est un film initiatique à l’esprit tout italien et une déclaration d’amour à la ville de Naples, au football et à la vie. (Zurich Film Festival)
(plus)Critiques (2)
The autobiographical story of a young Sorrentino? A nice film about growing up and the effect that a terrible family tragedy has on a young man’s adolescence. In the first half, even the quarrels and friction between the characters are lightened with typical Italian humour and the film is a likable view into a Neapolitan banker's family with funny characters and moments. The second half aptly depicts the emptiness and fumbling of a teenager who has had independence thrust upon him, without the support and love of his parents. Sorrentino with a clearly comprehensible story, without metaphorical embellishments or visual eccentricities. But also with a generally well-worn story.
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The best Sorrentino in years, probably since The Consequences of Love. Finally shaking off the chubby Roman pathos of The Great Beauty and the masturbatory excesses of Youth, he serves up his unmistakable Napoleonic diet poetic style. The fewer great words that are spoken, the greater things that God's hand touches. The more modest the images here, the more moving they are. The first half is a crackling family comedy with many memorable moments, whilst the second half is a much heavier drama about the impossibility of accepting the loss of loved ones and film as a refuge where we find shreds of lost happiness. Life is sometimes like a cruise to a party island, but where everyone has already gone to sleep... The Maradona of European cinema scores a good one.
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