Synopsis
In 1980s Naples, young Fabietto pursues his love for football as family tragedy strikes, shaping his uncertain but promising future as a filmmaker.
2021 ‘È stata la mano di Dio’ Directed by Paolo Sorrentino
In 1980s Naples, young Fabietto pursues his love for football as family tragedy strikes, shaping his uncertain but promising future as a filmmaker.
Filippo Scotti Toni Servillo Teresa Saponangelo Luisa Ranieri Marlon Joubert Massimiliano Gallo Betti Pedrazzi Renato Carpentieri Enzo De Caro Sofya Gershevich Lino Musella Biagio Manna Ciro Capano Alessandro Bressanello Birte Berg Dora Romano Monica Nappo Cristiana Dell'Anna Alfonso Perugini Marina Viro Daniele Vicorito
It was the hand of God, Fue la mano de Dios, The Hand of God - A Mão de Deus, Hand of God -神の手が触れた日-, Dieva roka
Moving relationship stories Relationship comedy Underdogs and coming of age surfing, teenager, friendship, kids or adolescents emotional, emotion, family, moving or feelings family, emotional, touching, emotion or kids sports, team, coach, football or athlete touching, emotion, emotional, family or cry Show All…
It would be accurate to say that Paolo Sorrentino’s work explores the relationship between the sacred and the profane, but such tepid wording fails to capture the orgiastic maximalism of “The Great Beauty,” speak to the sexed up sacrilege of “The New Pope,” or summon the I didn’t even see it because a Sorrentino movie about Silvio Berlusconi just sounded way too exhausting-ness of “Loro.” Calling “Il Divo” a film about a crooked politician would be like calling “8 ½” a film about writer’s block: Right enough, and yet oh so wrong. In Sorrentino’s world, the sacred and the profane don’t just rub together or intertwine so much as they dry hump each other — with eternal vigor — until…
*ahem* Not naming any names, but I think someone has a few unresolved issues with women and wanting to fuck their aunt.
In The Hand of God, Paolo Sorrentino channels his personal pain and orchestrates one of the most mournful, spontaneous, and vibrant cinema experiences of the year. It's always inspiring to see renowned directors in their most exposed, candid form, and The Hand of God is for sure the best and most emotional hard-hitter such genre gets to offer.
Largely based on Sorrentino's own life experiences growing up as a teenager in Naples, The Hand of God presents both sides of the coin, mostly the tragedy that overturns Sorrentino's quite peaceful, normal adolescent years. Continuing his trademark of everyday humor and colorful character studies, Sorrentino presents the "before" part of the tale with enough style, gags, and a motley crew that…
Notice when they ask the young Paolo Sorrentino what he wants to be, he says “a director.” Not a writer, a director. This is a brilliant bit of foreshadowing to his real life where he is an incredible director who can’t write for shit.
Existe en la pelicula la idea de que Nápoles es una ciudad que no debe abandonarse, tanto en sentido literal como metafórico. Su condimento mágico es tan atractivo que es capaz de generar la presencia de Maradona, Fellini, San Gennaro, Capuano o un jeque árabe. Sin embargo, la sola mención de Maradona, quien permanecerá fuera de campo casi toda la película, es suficiente para comprender cómo su aparición es significativa para toda un pueblo - no sólo para su protagonista - y esto funciona aún si uno no supiera quién fue él en la vida real. En ese aspecto, queda a mano la famosa comparación entre Maradona y Dios, siendo en la película un personaje invisible que opera sobre el…
Completely immerses the viewer in the Sorrentino-cipher's family dynamics that for the first half of the movie it feels like nothing is happening. This might prove to be a point of contention for some as it did myself at first, but after a while I found myself entranced by these vignettes, wondering what non-event will happen next that will nonetheless make me laugh or cheer or cry along with these abrasive, annoying, obscene people that I don't think I'd ever want to know in real life yet I have a feeling I already have. The opulent manner in which this is filmed seems odd at first, contrasting heavily with the vulgar characters which occupy such lushly-filmed spaces, but in doing…
La voglia di rivederlo subito dopo per vedere se questa volta ci riesci a piangere, come Fabietto. Esci dal cinema totalmente svuotato, in preda al panico perchè capisci che in quel personaggio c'era un po' anche di te, di noi, ma resti in silenzio. Solitamente gli introversi nei film sono dei paraculi, in questo caso capisci da subito che non è così: stai guardando la storia di Sorrentino e per tutta la durata del film ti sembra che la sua vita ti stia passando accanto. È malinconico ma non ti abbatte, ti fa capire che per fare certe cose ci vuole la perseveranza, o meglio... c vonn e pall. Grazie Paolo per gli omaggi a Napoli, a Diego, al cinema, a Fellini. Grazie per averci raccontato la tua storia e per avermi fatto prendere un po' più di coscienza sulla mia. Mo so che voglio fare da grande.