Connect with us
The Hand of God movie review Netflix
Image: Netflix

Film

The Hand of God is a Moving Exploration of Family Dynamics in 1980s Naples

The story of a boy in the tumultuous Naples of the 1980s. Sorrentino’s most personal film yet is a tale of fate and family, sports and cinema, love and loss.

London Film Festival: The Hand of God Review

Fabietto (Filipo Scotti) is a young man coming of age in 1980s Naples, Italy, happily living with his parents Saverio (Toni Servillo) and Maria (Teresa Saponangelo). Described as a film about family, love, and loss, to go into more detail about The Hand of God would be bordering on spoiler territory; it’s best to enter into this film knowing as little as possible.

Director Paolo Sorrentino, who won an Academy Award for his unpredictable 2014 feature The Great Beauty, delves into his most personal work with admirable inhibition and an obvious love for the city in which he grew up; opening with a sun-kissed tracking spot that starts on the water, moves to the docks and finally settling on the city itself, each accompanied by its own corresponding and isolated sound, it’s clear that Sorrentino wishes to treat his hometown with reverence, and it’s a visually stunning introduction to the film.

After a typically odd and surreal introduction (which may need to come with a trigger warning), the film settles into near regular fare, albeit as far as Sorrentino can make something straightforward. Fabietto’s extended family is introduced, his immediate family dynamics are explored, and life gets in the way of his comfortable existence. It’s in the meat of the film that it takes vignette form, small moments of a life in which Something Happens, before swiftly moving on to the next. It’s enjoyable fare, but you long for a deep dive into the complexities of this family’s life.

The through-line bizarrely is footballer Diego Maradona. The title of the film coming from a goal the famous sportsman made with his hand – that counted in the overall match – his presence is felt like a weight throughout, mostly in how Fabietto’s relationship with his parents evolves. An almost ethereal being, it’s a nice reminder of a shared love between the entire extended family, something for them all to get behind even in the more difficult times.

Often a funny watch (Sorrentino is never without its quirks), it is a quietly heart-breaking affair, particularly in the instance of Fabietto’s aunt, Patrizia, excellently played by Luisa Ranieri. The object of Fabietto’s affections, she is the most tragic character the film has to offer, but one of the best developed, whose ultimate fate is left untold, but whose effect on the film is profound.

It’s not Sorrentino’s best work, but the personal is stamped all over (especially in its final scenes, (Fabietto’s ambition ultimately driving him forward), and it’s a decision to be commended. Deceptively tragic, hidden under layers of light comedy, it’s a moving look at one family’s trials during a tumultuous time, albeit slightly sporadic.

The BFI London Film Festival runs from October 6 to the 17th. Visit the festival’s official website for more info.

Now Streaming

Written By

Roni Cooper is a twenty-something from the UK who spends her time watching any and every film put in front of her. Her favourites include 'Singin' in the Rain', 'Rear Window', 'Alien' and 'The Thing', and she will watch absolutely anything in which Jessica Chastain stars. When not in front of a screen, be it small or silver, she can be found taking care of her spoilt but adorable dog and refusing to make the move from physical to digital media.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Facebook

Trending

Deep Impact was a serious look at the end of the world Deep Impact was a serious look at the end of the world

25 Years Later: Deep Impact was a Serious Look at the End of the World 

Film

Guardians of the Galaxy Vol. 3 movie review Guardians of the Galaxy Vol. 3 movie review

Guardians of the Galaxy Vol. 3 Caps Off the Trilogy With a Heartfelt Bang (Mostly)

Film

The Best Movies of 1973 The Best Movies of 1973

The Golden Year of Movies: 1973

Culture

The Zone of Interest The Zone of Interest

Cannes 2023: Jonathan Glazer’s The Zone of Interest is a Manicured Vision of Hell

Culture

The Best of the Beast – Brock Lesnar’s Ten Best Matches, Ranked The Best of the Beast – Brock Lesnar’s Ten Best Matches, Ranked

The Best of the Beast – Brock Lesnar’s Ten Best Matches, Ranked

Culture

Jeanne Du Barry review Jeanne Du Barry review

Cannes 2023: Maïwenn’s Great Hair Goes to Great Lengths in Jeanne Du Barry

Culture

Are You There God? It’s Me Margaret Are You There God? It’s Me Margaret

Are You There God? It’s Me, Margaret: Judy Blume’s Adaptation is Right On

Film

BlackBerry movie review BlackBerry movie review

BlackBerry Is a Wonderfully Canadian Account of a Dying Tech Dream

Film

Black Flies Gripping Black Flies Gripping

Cannes 2023: Black Flies— Gripping Descent into the Underbelly of New York’s Urban Misery 

Culture

Sean Garrity review Sean Garrity review

The End of Sex is a Ballsy Comedy of Marital Manners 

Film

The Matrix Reloaded The Matrix Reloaded

20 Years Later: The Matrix Reloaded was Underwhelming, but Still Underrated

Film

The Mother Jennifer Lopez and Lucy Paez The Mother Jennifer Lopez and Lucy Paez

Jennifer Lopez’s The Mother is Eerily Similar to Enough, But That’s Not a Bad Thing

Film

He Got Game retrospective He Got Game retrospective

He Got Game was Spike Lee’s Shot at a Basketball Movie 

Film

Godzilla 1998 Godzilla 1998

Godzilla at 25: When Hollywood Made a Manhattan Monster Movie, with Disastrous Results

Film

Sean Connery Sean Connery

60 Years Later, Dr. No Remains the Paragon of Bond

Film

Fast X Fast X

Fast X Finally Reaches the Franchise’s Breaking Point

Film

Connect