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8 Sorrentino postmodernist films; Farhadi's rival at the Oscars (filmmaker under a magnifying glass)

BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

Paolo Sorrentino, along with Matteo Garrone, Nani Morti and Luca Guadanino, is considered one of the greatest contemporary Italian filmmakers. His compositions are cleverly cold, black, satirical, emotional, and full of vivid and vivid images. There are clear reasons to describe Sorrentino as "modern Federico Fellini"; In the last two decades, the filmmaker has created works that have amazed audiences in terms of form, theme, postmodernist or sociological attitudes.

Now in the spotlight, he began his artistic career in 2001 with a relatively realistic drama called "A Standing Man"; A film that was screened at the 58th Venice Film Festival and did not receive very positive reviews. The Most Pleasant Oscar nominee 2022

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  • After that, the Sorrentino-Mafia trailer "Consequences" "Love" (2004) and the drama "Family Friend" (2006), which, although not considered in the mainstream, became cult works. Sorrentino's international success began with Il Divo (2008); This political satire won the Cannes Film Festival Jury Prize.

    In 2010, he directed his first English-language film, "Sean Bean," starring Sean Bean, and made it to American cinema. Took a step. He then made "The Great Beauty," which won the Academy Award for Best Foreign Language Film and showed moviegoers that they should take it seriously. The film dealt with issues such as identity, frustration and human weakness. Sorrentino went on to make "Youth" (2015), which is thematically close to great beauty but seems to have been made for an American audience. He continued to fascinate viewers with "Loro" (2018) and the hand of God.

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    Sorrentino is often compared to Fellini in terms of filmmaking style and themes, with a few similarities: one, a different imagery that looks surreal and evokes the audience's emotions. Second, a special focus on satirical elites and a humorous approach to the collapse of power, organized institutions, and moral values. Third, unusual characters with strange personality traits who often experience existential crises or who feel futile and search for meaning. Fourth, the payment and creation of characters who usually marginalize the main narrative line to offer new insights into the film's themes. Who creates his works from the eyes of a painter; In other words, it creates different spaces that are full of vibrant colors and high contrast. But as much as he is a painter, he is also a novelist, and his narratives are as if they were born from the pen of a great writer.

    Given that Sorrentino's concern is more than anything technical, this article attempts We have tried to prioritize his themes and filmmaking style as an author director. Although we will pay attention to the narrative structure of the works, our main focus will be on his socio-political messages and concerns about human nature. You should also note that a complete review of Sorrentino's films does not fit into a short article, but we hope you understand his worldview a little better. To get to know this filmmaker better, you can refer to the book "Paolo Sorrentino Cinema: Commitment to Style" by Russell Kilborn.

    One Man Up

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Year of Release:
    • Cast: Tony Cervilo, Andrea Rentzi, Angela Goodwin, Nini Bruschetta
    • IMDb users rating for the movie: 7.2 out of 10

    Paolo Sorrentino's first film may be a small and sometimes shaky movie, but it makes up for its shortcomings by carefully studying two fascinating characters. . The film takes place in Naples in the 1980s and deals with the lives of two men who were on the road to success in their careers but were left out by society due to unexpected problems and now have to find themselves in this new situation. Adapt.

    The collaboration between Sorrentino and Tony Cervilo as director and actor began with this film. Tony Cervilo has managed to appear in the role of a strange, lustful and drug-addicted nightclub singer, and the audience sympathizes with him. The opposite and complementary point of this character is a quiet and neutral football coach with whom the audience also feels close.

    The rhythm of the narrative in a standing man is very calm and requires the audience's patience, but Sorrentino's screenplay contains tone. It is a black comedy that tries to entertain the viewer by creating unpredictable conditions. Pay, something that exists with considerable coherence in his later compositions (beginning with the consequences of love and gradually becoming more advanced). In the same way, in moments when the lives of two characters run parallel (especially in the final parts), there is a kind of inconsistency and contradiction in the work because the filmmaker can not balance between maintaining the structural/semantic coherence of the work and his artistic views, thus The film's dramatic effects diminish.

    However, the film's social and political propositions about moral principles (which should be further generalized to Italian culture), the dilemmas of not accepting (and understanding) art Or the extreme support for it and the degradation of human virtues are some of the motifs that Sorrentino addresses in this film. These ideas find more depth in his later works.

    2. The Consequences of Love

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Release Year: 2004
    • Actors: Tony Cervilo, Adriano Giannini, Rafaela Pizzo, Olivia Maniani
    • IMDb users rate for movie: 7.5 out of 10
    • Raton Tomitoz rating for movie: 83 out of 100

    Sorrentino's second film not only provides a true understanding of the "Italian Mafia" genre, but is also the first to showcase his filmmaking style and talents. The aftermath of love tells the story of a middle-aged man named Tita de Girolamo, who has spent the last eight years of his life doing monotonous, joyless work in a Swiss hotel. He has a special routine, he does not talk to anyone and sometimes he contacts his family, but their relationship is cold and meaningless. And has designs. He smoothly turns a drama free of important events into a suspenseful mafia trailer. With cross-sections, Sorrentino compares Tita's boring life to the mafia's exciting lifestyle. An intriguing sequence may be the final part of the film in which the main character is waiting for his bosses in the hotel room, in absolute silence; Then this view is cut to reach the cars, which is very noisy. In other words, with a few simple scenes of car parking, we get a deeper understanding of Tita's boring life, because even this car park looks more exciting.

    The film captures the main character's emotional isolation well It depicts and is more reminiscent of the compositions of "Michelangelo Antonioni". The lens distance from the main character, the endless silence of the world around him, the reliance on the cameramen's facial expressions and extreme attention, "Luca Bigatsi" has helped to use the physical forms in the sets and backgrounds of the frames, the consequences of love, along with a harmony Visually, it conveys a sense of isolation to the audience with certain subtleties. The film's electronic music is suddenly heard and suddenly interrupted to cause suspension. The example given above in the contrast between silence and hustle and bustle is repeated by Sorrentino in other forms, from the sound of gunfire to the walking of characters who break the silence of the previous scene and sometimes get stressed without the audience knowing why.

    films; Of course, you should not look at it as a more superficial effect. Like a standing man, the film studies a middle-class character and presents the monotony of human life in society through this insensitive and principled character; A person who does not express his fears and emotional needs except in the perspective of love or on the verge of death. Tony Cervilo, as usual, has a calculated and delicate role-playing that the audience identifies with.

    3. The Family Friend

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Release year:
    • Actors: Giacomo Ritsu, Laura Chiati, Gigi Angelillo, Marco Galini
    • IMDb users rate for movie: 7.1 out of 10
    • Raton Tomitoz rating for movie: 75 out of 100

    disgusting Violent (which is debatable), ugly and disturbing, family friend leads the life of Jeremiah (Giacomo Ritsu), a descendant whose mental conflict is money and interferes in the personal affairs of others in order to become richer. .

    Giacomo Ritsu as Greedy Jeremiah presented one of the best cartoons of 2006; A strange man who probably hates himself and uses his power to hurt others; His actions ultimately lead to unfortunate events.

    If Sorrentino's previous two films were inspired by Antonioni, they would be directly influenced by Fellini. This impression becomes clearer in some of the film's surreal or physical moments, especially what happens around Jeremiah and the filmmaker's framing that tries to present the image in a way that is visually extra-temporal.

    This Fellini conception of "Carnivalesque satire" is also present in the work's classic and glamorous architecture as a satirical symbol of hypocrisy and a summary of the characters' perspectives (although the multiplicity of characters sometimes strikes the film). Sorrentino's indifference to the film's traditional storytelling intensified and became a habit for him. This kind of storytelling is, of course, necessary for such a film because it exacerbates the filmmaker's sarcastic critiques of morality. While sometimes the film deviates from the main storyline, it does not help to develop and deepen the main character (this problem is partially solved in Sorrentino's later films).

    Like a standing man, Sorrentino's extreme use of Music, in some dramatic moments, sometimes does not respond and does not allow the audience to be immersed in the world of film; Of course, sometimes it responds strongly and helps to dramatize a few key sequences.

    Jeremiah is without a doubt one of the best characters Sorrentino has ever created (Giacomo Ritsu's portrayal should not be overlooked). It is impossible to ignore the cinematography of Luca Bigatsi, whose colorful compositions and urban scenes, combined with Sorrentino's humorous pen, have worked well.

    4. (Il Divo)

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Release year:
    • Cast: Tony Cervilo, Julio Bozetti, Flavio Bucci, Tech Ardan
    • Score IMDb users to movie: 7.3 out of 10
    • Raton Tomitoz rating to movie: 92 out of 100

    Il Divo It may seem like an autobiographical drama about former Italian Prime Minister Julio Andreotti, but at the heart of it is a black comedy and political satire about Andreotti's connections to the Mafia.

    He is more energetic and excited than before, and analyzes Julio Andreotti's political plots and motivations to maintain power with a certain freshness. In order to make the satirical Germans more prominent, the filmmaker spends most of the film exclusively on the political activities of the characters, instead of focusing on their personal lives or emotional state. In this respect, the film contrasts with some of his creations, such as "Youth", which prioritizes the character's emotions.

    Tony Cervilo is the film's winner; He plays the role of Andreotti, scary and mysterious. Cervilo's portrait of this character may remind you of vampires such as Nosferatu or Dracula. He always wears black clothes, his shoulders are slightly bent, as if his hands are always attached to his body and his ears are protruding like a demon; A demon who wanders the corridors and rooms of offices and is aware of everything. Let's face the integrated effect. Intellectual humor, carnival, and the movement of the director's fluid camera are also present in the film. Andreotti's sarcastic and derogatory conversations with the people around him have a different hue. The atmosphere of the work, combined with the dialogues written by Sorrentino, adds a dark, depressing layer to the film from which dark secrets, coercion, and lust for power drip. Directed by Andreotti, they are well-structured in the film, and with an exaggerated and overt display of violence, they help to make the fall of this prime minister seem more absurd and satirical. Il Divo is one of Paolo Sorrentino's best works in terms of Fermi and undoubtedly one of his heaviest works in terms of socio-political messages (along with "Young Pop").

    5. This Must Be The Place (This Must Be the Place)

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Release Year: 2011
    • Cast: Sean Penn, Francis McDormand, Judd Hirsch
    • strong> IMDb users rating for movie: 6.7 out of 10
    • Raton Tomitoz rating for movie: 67 out of 100

    Self-exploration, rock and roll music of the 80's, insensitive humor and thick makeup. "Here Must Be There" is a tormented and seemingly crude film that cannot be judged correctly. At first glance, it looks like we are dealing with Sorrentino's weakest work, but we may also be dealing with his most misunderstood work, a different film that received little attention.

    In this road movie, Sean Penn plays a star. Rock plays a retiree who, although he lives a quiet life with his wife, a firefighter (Francis McDormand), still wears the clothes and makeup of a time when he was performing music.

    He is a man who sometimes turns into a comedian, but behind the uproar, his oppression is also evident, and thanks to Sean Penn's good acting, he never turns into a cartoon. The film also has a good quality in terms of soundtrack, and "David Byrne" with Gothic works and pieces close to the new wave of the 80's, has been able to play an important role in creating the filmmaker's desired atmosphere around the main character's road trip.

    The collaboration of Paolo Sorrentino and his loyal cameraman Luca Bigatsi has worked well here as well. They have been able to convey a sense of wonder from the outside world through environmental imagery, vibrant colors, sunsets and impressionist sunsets. Its elements are not established. The protagonist's self-examination is, for the most part, lax, and sometimes you even feel that the director does not have an accurate understanding of what is happening or that he or she cannot manage it properly. The former, Tony's disappearance, and when Jane finds a child in front of her house are a number of film events for which there is no clear justification, and sometimes the logic of the story is questioned.

    However, the film has a different structure and resembles an experimental work that wants to be something between one of Wim Wenders's self-exploration and horror horror films. Like the final sequence, the film is vague, confusing, and somewhat dull, but it can be emotionally frustrating, and you can never predict what will happen next.

    The Great Beauty

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Release year: 2013
    • Actors: Tony Cervilo, Carlo Verdon, Galatasaray Ranci, Massimo Populcio
    • IMDb users rating for the movie: 7.8 out of 10
    • Raton Tomitoz's rating for the film: 91 out of 100

    Many works have been made about the city of Rome, but Three films have a special place: "Rome, a defenseless city" by Roberto Rossellini, "Sweet Life" by Federico Fellini and "The Great Beauty" by Paolo Sorrentino, a memoir with a sea of contrasting themes; Love and loss, joy and despair, power and inability. In addition to dealing with different themes, the film remains a homogeneous allegorical work until the end.

    The film is also a study of a man's character; A man who can be a symbol for a country and its culture and at the same time offer a global perspective on corruption and human perversion. Jeep Gambardella (Tony Cervilo) is a well-known writer who is frustrated with his current life and wants to know what the world has to offer to alleviate his existential pain.

    This elderly journalist spends his free time He wanders the ruins and streets of Rome, attends various social events, and seeks a sense of satisfaction. Gambardella does not pay much attention to his disabilities, he is a man of eloquence, he has a sarcastic language and he carries his negatives with him everywhere. .

    (Low angle) . / .

    . .

    . .

    . . . .

    . .

    7. (Youth)

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • : 2015
    • :
    • IMDb : 7.3 10
    • : 71 100

    . . ( ).

    . . .

    . . . .

    . .

    . (2002) . .

    . . .

    8. (Loro)

    BingMag.com 8 <b>Sorrentino</b> <b>postmodernist</b> <b>films;</b> <b>Farhadi's</b> <b>rival</b> at the <b>Oscars</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • : 2018
    • :
    • IMDb : 6.7 10
    • : 79 100

    . : .

    . . . .

    . . . ! .

    . . . ( ).

    . . . .

    . . : . ( . ).

    Source: Taste of Cinema

    Tags: sorrentino, postmodernist, films;, farhadi's, rival, oscars, (filmmaker, under, magnifying, glass)

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