Paolo Sorrentino did it. And, after the Golden Globe nomination, wins a place on the shortlist at the Academy Awards among the 15 titles competing in the Best Foreign Film category. For the five and the official nomination it is still early (the announcement takes place on February 8) but the step forward seems crucial to get closer – again, eight years after the victory for The great beauty – the coveted statuette (the 94th edition awards ceremony is set for March 27), especially considering the other 92 nominations from all over the world.
After the Grand Prize to the jury at the Venice Film Festival, It was the hand of God (currently available on Netflix) continues its glorious journey overseas, also consecrating the young protagonist Filippo Scotti who won the Mastroianni Prize at the Lido. The film, the most personal for the Neapolitan director, relives the major trauma of his life, recounting the death of both parents during an accident on holiday. Less baroque than usual, it goes straight to the heart and conquers by skilfully alternating comedy and drama thanks also to the consolidated collaboration with Toni Servillo. In history there is everything: the devotion-obsession for Diego Armando Maradona (the only regret of his life is that the champion could not see him), the bewilderment of interrupted adolescence, family rituals, seductions and the sense of loss. Exquisitely human, the project aims to be a personal catharsis, an elaboration of the mourning that changed his life but above all – he confessed – a sort of testament to his films, a way to explain to them the reason for certain behaviors and certain emotional closures.
Al Zurich Festival, during a masterclass, Sorrentino has revealed that he does not like cocktails, lunches and dinners that are linked to the promotion of the film at all to make it known and vote at the Academy Awards. He also added that it is the part he loves least of his work because his favorite is the solitary phase of writing. On set he pretends to have fun behind the camera but all those people make him anxious.
However, he can be proud of this umpteenth international milestone, even if the European correspondent of the Oscars, the EFA, did not bring home any recognition. This time the Palme d’Or at the Cannes Film Festival Titanium is out of the game, as well as Italian colleagues Marco Bellocchio with Marx can wait and Giuseppe Tornatore with Ennio (just presented to Red Sea International Film Festival in Saudi Arabia), both eligible in the Best Documentary category.
Paolo Sorrentino will have to contend with worthy opponents: the Iranian A hero by Asghar Farhadi (in cinemas from 3 January), the Danish animated film Flee by Jonas Poher Rasmussen (already triumphant at the EFA and from 24 March 2022 in the Peninsula), the Japanese Drive My Car (released in September) by Ryûsuke Hamaguchi, the Finnish Compartment 6 (now in the room), Spanish The perfect garment (with Javier Bardem, from 23 December also in Italy) and the Norwegian The worst person in the world (currently in the cinema).
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