Loro 2

Loro 2, the second chapter of Paolo Sorrentino's exploration of Silvio Berlusconi, shifts its focus from the broader entourage of power to the intimate dynamics of the man himself. Set primarily in Berlusconi's lavish Sardinian villa, the film delves deeper into his personality, political maneuverings, and personal relationships, offering a more focused narrative than its predecessor.

Toni Servillo once again delivers a captivating performance, bringing nuance to Berlusconi's larger-than-life persona. His portrayal balances charm and vulnerability, capturing the contradictions of a man who craves adoration while grappling with his own insecurities. Elena Sofia Ricci shines as Veronica Lario, Berlusconi's estranged wife, delivering a poignant counterpoint to his charisma with a performance rooted in dignity and quiet disillusionment.

Sorrentino's visual style remains a highlight, with meticulously crafted scenes that oscillate between opulence and decay. The lush cinematography and evocative soundtrack enhance the film's meditative tone, immersing viewers in Berlusconi's gilded yet hollow world. However, while the narrative offers moments of introspection and emotional depth, it occasionally veers into self-indulgence, with stylized sequences that detract from the story's momentum.

Compared to Loro 1, this installment is more cohesive and thematically rich, shedding light on Berlusconi's vulnerabilities and the cost of his relentless pursuit of power. Yet, the film still struggles to reconcile its critique of excess with its own indulgent tendencies, leaving a sense of detachment from the characters' emotional cores.

Rating: 6/10 - A visually stunning and introspective sequel that improves upon its predecessor but falls short of true narrative impact.

What a waste of time, film, money, effort. An absolute meaningless movie, a tribute to someone who did not give a damn about Italy. But then again, and to my own protection: This is a work of fiction. Names, characters, places and incidents either are products of the author's imagination or are used fictitiously. Any resemblance to actual events or locales or persons, living or dead, is entirely coincidental. Duh.