An audio guide to Paolo Sorrentino's 'La Grazia', exploring its themes, directorial style, and significance as the opening film of the 82nd Venice International Film Festival.
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Welcome to this audio guide for 'La Grazia', the compelling new drama from acclaimed director Paolo Sorrentino, which had the honor of opening the 82nd Venice International Film Festival. The film also saw its lead actor, Toni Servillo, awarded the Volpi Cup for Best Actor, a testament to his nuanced portrayal. 'La Grazia' marks a notable shift in Sorrentino's celebrated career, offering audiences a more introspective and restrained narrative compared to some of his previous works.
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Paolo Sorrentino is known for his distinctive cinematic style, often characterized by lush visuals, satirical undertones, and a keen eye for the complexities of Italian society and politics. Films like 'Il Divo' and 'Loro' delved into the public personas and private lives of influential Italian figures. However, with 'La Grazia', Sorrentino consciously moves away from the 'show business' element of politics, choosing instead to focus on profound moral dilemmas. Biennale artistic director Alberto Barbera observed this evolution.
Alberto Barbera, Artistic Director of the Venice Film Festival
The opening movie 'La Grazia by Paolo Sorrentino' is a very surprising film, quite different from recent things of the same director. It seems that Sorrentino tried to come back to its first films like 'The Consequent to Delamore', for example. I think that Sorrentino's film is something which is completely non-expectable. It's a very original story, it's a film about the president of the Italian Republic. It won't be too difficult to recognize many presidents in the protagonist of the film. And I think that Sorrentino made with this film one of the most original, personal and companion films.
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The film centers on Mariano De Santis, a fictional President of the Italian Republic. A widower and a devout Catholic, De Santis is also a respected jurist. As his term nears its conclusion, he is faced with two significant and ethically challenging duties: deciding on two delicate petitions for presidential pardons for individuals convicted of murder, and contemplating whether to sign a problematic bill legalizing euthanasia. These are not merely political decisions but deeply personal moral dilemmas that intertwine with his private life, forcing him into a period of intense reflection.
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Sorrentino describes 'La Grazia' as a film about love and doubt. He highlights how love, in all its intricate forms—be it for a late wife, a daughter, or even for the study of criminal law—serves as an inexhaustible engine that gives rise to uncertainty and responsibility. The need to embrace doubt, particularly in the realm of politics, is a central theme, challenging the modern tendency of politicians to present absolute certainties. Inspired by Krzysztof Kieślowski’s 'Decalogue', Sorrentino aims to explore the compelling narrative power of moral dilemmas, emphasizing that ethics is a serious matter that underpins the world.
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The film also subtly explores the generational gap and the president's evolving understanding of the present. His relationship with his daughter, a legal scholar, pushes him to consider new perspectives, particularly regarding the euthanasia bill. This openness to contemporary ideas is further highlighted by the inclusion of modern elements, such as the appearance of Italian rapper Guè, whose music surprisingly resonates with the president. Visually, Sorrentino employs a 'Rembrantian' play of darkness and warm light, contrasting the solemnity of institutional spaces with flashes of intimacy, creating a visual dialectic between the public and private realms. The title itself, 'La Grazia', carries multiple meanings in Italian, encompassing pardon, gratitude, and grace, all of which are explored throughout the narrative.
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The inspiration for the film came from a real-life event: Italian President Sergio Mattarella’s pardon of an elderly man who killed his wife suffering from Alzheimer’s. This sparked Sorrentino’s curiosity about the immense moral weight carried by the power of pardon. When crafting the character of Mariano De Santis, Sorrentino always had Toni Servillo in mind, relying on Servillo's inherent authority and humanity to convey the president's inner struggles. The director’s collaboration with Servillo involves a deep exchange, from script discussions to costume fittings, allowing the character to take shape organically. The film also features a notable cameo by rapper Guè, whose song 'Le Bimbe Piangono' resonated with Sorrentino for its underlying humanity and pain, leading to the president honoring him in the film. This detail, among others, paints a portrait of a president willing to engage with and understand a world beyond his immediate experience.
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'La Grazia' ultimately presents a contemplative and nuanced portrait of a leader grappling with profound human and ethical questions. It invites audiences to reflect on the nature of responsibility, the complexities of moral choice, and the quiet dignity found in embracing doubt and seeking understanding. Through Servillo's understated performance and Sorrentino's mature direction, the film encourages viewers to consider what an ideal politician might embody and the enduring power of grace in a world often devoid of it. We encourage you to experience 'La Grazia' and delve into its rich layers of meaning.