Paolo Sorrentino’s new film, “La Grazia,” premiered at Venice, promising a return to his subtle roots. Imagine being the President of Italy, facing impossible moral choices, only to realize life’s biggest truths are unknowable. How would you navigate a world where facts fall short?
Paolo Sorrentino, renowned for his visually stunning and often lavish cinematic spectacles, unveils a surprising and profoundly reflective film, “La Grazia,” which has garnered significant attention as the opening-night picture of the prestigious Venice Film Festival. This latest offering marks a notable return to the delicate and understated storytelling that characterized Sorrentino’s earlier works, a stark contrast to the aggressive aestheticism seen in some of his more recent, Oscar-winning productions.
For years, Sorrentino cultivated a reputation as a master of grand, opulent narratives, frequently exploring the interplay of the grotesque and the beautiful within lush, vibrant backdrops. Films such as “The Great Beauty” cemented his status as a Felliniesque showman, celebrated for his maximalist approach and the vibrant, often surreal sequences pulsating with music and symbolism, even as he delved into more personal, autobiographical themes in later projects.
However, “La Grazia” presents a significant shift, embracing a newfound restraint and introspection. This sophisticated Italian cinema piece invites audiences to witness a different facet of the acclaimed director’s artistry, focusing on internal struggles and the quiet complexities of the human spirit rather than outward extravagance. It is this reflective quality that resonates deeply, evoking the nuanced emotional landscapes of his earlier, more intimate cinematic explorations.
At the heart of “La Grazia” is President Mariano De Santis, portrayed with compelling depth by Sorrentino’s longtime collaborator, Toni Servillo. De Santis is a fictional Italian leader, presented not as the corrupt figures of Sorrentino’s previous political dramas like “Il Divo” or “Loro,” but as a cautious and moderate jurist grappling with profound indecision during his final months in office, a figure far removed from the political monsters of yore.
Mariano finds himself at a crucial juncture, confronted with deeply moral choices that challenge his lifelong reliance on facts and legal precedent. A controversial bill on euthanasia, championed by his daughter, awaits his signature, alongside requests for pardons for individuals involved in emotionally charged murder cases. These dilemmas expose his struggle to navigate areas where the truth is not a simple legal conclusion but a complex tapestry of human ethics and emotion.
The film masterfully delves into the pervasive theme of the unknowability of life, illustrating Mariano’s intense discomfort with uncertainty. Cocooned within the presidential palace, he perceives himself as disconnected from the world, and even the people closest to him, including his adored late wife, remain shrouded in mystery. His obsessive quest to uncover details about her past affair underscores his inability to reconcile with life’s inherent ambiguities, highlighting a central tension in this philosophical movie.
Sorrentino employs poignant symbolism and haunting imagery to underscore this theme. The recurring question, “Who owns our days?”, reverberates through the narrative, as Mariano contemplates his post-presidency freedom. A particularly striking scene involves a detached interaction with an astronaut in space, where a single, floating teardrop encapsulates the film’s profound message: the beautiful, enigmatic nature of existence and our persistent, yet often futile, desire to comprehend it.
Ultimately, “La Grazia” transcends mere political drama, offering a profound meditation on the human condition. Through Mariano’s journey, the film suggests that to be human is to perpetually engage in a struggle against uncertainty, to repeatedly fight and lose, yet find beauty in that continuous, unknowable process. This evocative Venice Film Festival opener invites viewers to ponder the grace found in accepting life’s inherent mysteries.
