The Hand of God Movie
The Hand of God (Italian: stata la mano di Dio) is a 2021 Italian drama film that was wrote, directed, and produced by Paolo Sorrentino’s . The cast includes Filippo Scotti, Teresa Saponangelo, Marlon Joubert, Luisa Ranieri, Renato Carpentieri, Massimiliano Gallo, Betti Pedrazzi, Biagio Manna, and Ciro Capano.
It earned the Grand Jury Prize and Filippo Scotti received the Marcello Mastroianni Award at the 78th Venice International Film Festival, where it competed for the Golden Lion. It will be published in a limited release on November 24, 2021, and will be available for streaming on Netflix on December 15, 2021. At the 94th Academy Awards, it was chosen as Italy’s entry for Best International Feature Film.
The Hand of God Trailer
The Hand of God Release Date
On September 2, 2021, The Hand of God made its global premiere at the 78th Venice International Film Festival. On December 15, 2021, it will be available to stream on Netflix around the world.
The Hand of God Cast
- Filippo Scotti as Fabietto Schisa
- Toni Servillo as Saverio Schisa
- Teresa Saponangelo as Maria Schisa
- Luisa Ranieri as Patrizia
- Massimiliano Gallo as Franco
- Renato Carpentieri as Alfredo
- Marlon Joubert as Marchino Schisa
- Betti Pedrazzi as Baronessa Focale
- Biagio Manna as Armando
- Ciro Capano as Capuano
- Enzo De Caro as San Gennaro
- Sofya Gershevich as Yulia
- Lino Musella as Marriettiello
- Roberto Oliveri as Maurizio
What is The Hand of God About
The story of a young child growing up in the turbulent 1980s Naples. The story of fate and family, sports and movies, love and loss is told in Sorrentino’s most intimate picture yet.
The Hand of God Plot
Fabietto (Filippo Scotti), the autobiographical hero of Paolo Sorrentino’s “The Hand of God,” is a teen growing up in the 1980s in the bustling port metropolis of Naples, and he keeps a wary eye on everything. He’s the eye in the center of a storm of passionate but exaggerated filmmaking. Filippo Scotti, who plays him, is attractive in a pale way, with curly hair and a calm demeanor. He has a Chalamet-like quality to him, and you could easily envision him playing a young Bob Dylan. It’s 1984, and Fabietto is a kid who knows how to blend in while also standing out.
He sports a little hoop earring (which was unusual back then) and a Walkman with earbuds hanging around his neck at all times. The boys playing football on the school’s damaged asphalt field appear to be rowdy zombies in comparison. Fabietto, on the other hand, is a sports fanatic in his own right. There are rumors that Argentine football legend Diego Maradona is about to join the Naples team (rumors that turn out to be real), and Fabietto, like everyone else in Naples, is excited.
It’s easy to sympathize with Fabietto while you watch “The Hand of God,” since he has a sneaky, pensive curiosity that you can tell will take him someplace. However, throughout the majority of the film, the places he visits involve his extended family, as well as the odd scoundrel he meets in town. While it’s easy to believe Sorrentino is plagiarizing what you see from his diary (the action is loose, whimsical, and anecdotal), you wish he’d given the other characters the same kind of attention he does his surrogate hero. The majority of them are portrayed in a raunchy, too broad manner, such as Fabietto’s struggling Aunt Patrizia (Luisa Ranieri), a beauty who flirts with Fabietto.
This isn’t to say that such abuse isn’t “genuine.” It’s just that the movie slams it down your throat, making it less than convincing. The cousins berate each other with the glib high-volume toxicity of characters from a lousy Lina Wertmüller film at a country get-together.
In an interview with Variety, Sorrentino admits that “I guess I had overdone it with certain pictures that were too built, that were a touch overloaded” before making “The Hand of God.” I agree, but I’m curious if he’ll say the same thing about this one in ten years. “The Hand of God” has some nice parts, but it’s the kind of portrait-of-an-artist drama where you see the insults, confrontations, and assaultive attitude of it all and wonder: Is this really how young Sorrentino grew up in Naples? Is it possible that he simply dislikes scenarios that don’t smack you square in the face?
The scenes with Fabietto’s parents have a stronger emotional impact. Saverio (Toni Servillo), his father, is a jovial elderly gentleman who works in a bank but still believes himself a Communist. Fabietto and his older brother, Marchino (Marlon Joubert), share a dismal bedroom, and the family gathers around a small TV screen that Saverio switches the channels by prodding it with a stick (he’s too much of a Communist to buy a remote). Maria (Teresa Saponangelo), Fabietto’s mother, enjoys staging practical pranks, and she and Saverio appear to be in love until it’s discovered that he has a long-term mistress, at which point Maria fills the void.
The abrupt catastrophe that came to characterize Sorrentino’s adolescence is the central incident of “The Hand of God,” which I will not tell. It’s definitely a shock to witness, and Sorrentino imbues a hospital scene with a piercing raw power. It’s one of a handful of scenes where you get a taste of the richer, better, subtler film that’s trying to break free from “The Hand of God’s” soulful but all-too-often hamhanded nature.
The Hand of God Lawsuit
In July 2020, a lawyer for Diego Maradona announced that he was considering legal action against the film because of its title, which is a reference to Maradona’s 1986 FIFA World Cup goal against England, and the usage of Maradona’s image was not approved. Netflix, on the other hand, emphasized that the film is not a sports film or about Maradona, but rather a personal story inspired by Sorrentino’s childhood.