'It was the hand of God' is pure emotion: Netflix welcomes the beautiful Neapolitan rite of passage of the best Paolo Sorrentino

 Far from fading after ' The Great Beauty ', Paolo Sorrentino's name has been consolidating film by film, but between series by Papas and Berlusconi, the world may have forgotten that his style is more than parties, coca and decadence For this reason ' It was the Hand of God ' (È stata la mano di Dio, 2021) can be seen as a return to the form of a director who won an Oscar a decade ago; and curiously from the hand of Netflix, which begins to add quality in its bets.

If ' Don't look up ' is one of his best productions to date, normally the opportunities for great authors on the platform have not always given the best work of their careers, but Sorrentino has managed to break that trend with his most personal film to date. moment. A semi-autobiographical piece set in impoverished Naples during the 1980s that offers an intimate look at rites of passage based on the director's adolescence, probably his best , or at least his most honest film.

During its 130 minutes there is a phased structure that makes it seem like it takes its time to get started, but in reality there is an episodic spirit that seeks to create a great fresco of its protagonist's worldview. The foreground follows a car that comes to pick up Patrizia (Luisa Ranieri), a voluptuous woman to whom a strange man promises to have children after visiting "the little monk", a character of Christian superstition from Naples who tells us that the vision of 'It was the hand of God' has light touches of magical realism .

Patrizia is the aunt of Fabietto (Filippo Scotti), a young incarnation of Sorrentino who will serve as an observer of history for the viewer. Her aunt calls her sister María (Teresa Saponangelo) and her husband Savelio (Tony Servillo) when the domestic abuse she suffers becomes unbearable, a fact without much apparent relation to the plot that serves as the script to introduce us to the family. For about 45 minutes we get to know both the Naples of the eighties from Fabietto's perspective and his love for his family, cinema, football and his aunt.

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Diego Armando, girls and the agony of disenchantment

Little by little we are seeing how the shadow of adulthood is introduced through different cracks of his innocence . His father gives him advice such as trying to lose his virginity quickly, even with the first girl he catches, and little by little he observes that the happy marriage of his parents - his mother is prone to cruel jokes, such as scaring her husband with a fake bear - not as charming as it sounds. But we also spent time with his eccentric family, including his colorful uncles and his aspiring older brother, Marchino (Marlon Joubert).