The newest, most private image from Paolo Sorrentino, The Hand of God is a movie of two uneven halves. Set in Nineteen Eighties Naples and targeted on Sorrentino’s alter ego, teenager Fabietto (Filippo Scotti), it’s at first cacophonous and scattershot. With rumours circulating about Diego Maradona’s signing to SSC Napoli, there’s a fizzing pleasure on the streets of the town. Fabietto’s prolonged household is boisterous, exaggerated, bursting out of the body as frequently as his curvaceous Aunt Patrizia (Luisa Ranieri) spills out of her costume (spoiler: loads). Toni Servillo and Teresa Saponangelo, as Fabietto’s mother and father, fill the story with love and laughter, mischief and marital drama.
After which, fairly immediately, they’re gone. Fabietto is orphaned; it’s solely because of his devotion to Maradona and Napoli that he escapes the identical destiny. And the tone of the movie shifts to a extra subdued and introspective second half. It feels just like the sullen pall of smoke after a firework show. However then one thing adjustments. The writing and characters tackle a extra satisfying depth. Positive, the gaudy pyrotechnics of the early a part of the movie are enjoyable, but it surely’s not till later that we begin to know Fabietto as an individual relatively than a passive observer.