US EditionPaolo Sorrentino: "I Make Movies when Boredom Is Excessive and the Current Account Too Scarce"
6 Articles
6 Articles
The director, who returns with La Grazia, his most melancholy film, reflects on euthanasia, lightness, boredom, creation and the possibility, "more distant and unreal", of an honest, serious and doubtless politician. Read
An outgoing Italian president, already almost old. An impossible dilemma to solve just before retiring. A law of euthanasia that, to initialize it, makes you a murderer and, to reject it, a torturer. What to do? What would an astronaut do? What would an astronaut do? With this ethical and political premise, the Italian director Paolo Sorrentino surprises us with his more sober and less baroque and festive film, in the grey coordinates of governa…
The filmmaker of ‘The Great Beauty’ surprises again: his portrait of a fictional president is much more stylistically content than his bustling approaches to royal leaders such as Giulio Andreotti or Silvio Berlusconi.Main Topics: FilmRead full article
Although even in his farewell credits, Paolo Sorrentino (Napoles, 1970) informs us about the future events that happened to the main protagonists of La Grazia, these have never existed. They are sons of his invention. Unlike the portraits of Giulio Andreotti and Silvio Berlusconi, Il divo (2008) and Silvio (and the others) (2018), on this occasion the Neapolitan filmmaker, son of a bank director, who was orphaned at the age of 17 because of the …
Although even in his farewell credits, Paolo Sorrentino (Napoles, 1970) informs us about the future events that happened to the main protagonists of La Grazia, these have never existed. They are sons of his invention. Unlike the portraits of Giulio Andreotti and Silvio Berlusconi, Il divo (2008) and Silvio (and the others) (2018), on this occasion the Neapolitan filmmaker, son of a bank director, who was orphaned at the age of 17 because of the …
There are directors who tell stories. And then there is Paolo Sorrentino, who turns each plane into a way of being in the world. With La Grazia, his new film, does not come back: it slips. He returns to that place where beauty is not only aesthetic, but a way of thinking, of doubting, of existing with a certain elegance [...] The entry ‘La Grazia’: why Sorrentino remains the great narrator of modern complexity aparece primero en Forbes España.
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