Parthenope

In the enchanting world of Parthenope, director Paolo Sorrentino weaves a tapestry of captivating imagery and compelling storytelling. The film, named after the mythical siren and the city, is a breathtaking exploration of life, beauty, and self-discovery.

The mesmerizing performance by debut actress Celeste Dalla Porta is the heart and soul of Parthenope. Her enigmatic portrayal of the titular character is a masterclass in subtlety and allure, drawing the audience into her journey of self-realization. The partnership between Sorrentino and cinematographer Daria D'Antonio is once again a match made in heaven, as they paint a vivid picture of Italy's stunning landscapes.

Sorrentino's signature style is on full display in Parthenope, with the film's episodic structure allowing for a deep dive into the protagonist's experiences. While some may argue that the film prioritizes style over substance, it's hard to deny the sheer visual splendor and emotional resonance that Sorrentino achieves.

Parthenope is a celebration of youth, beauty, and the transformative power of self-discovery. It's a testament to Sorrentino's unique vision and unwavering commitment to his craft. While it may not be a radical departure from his previous works, Parthenope is a stunning addition to his filmography and a must-see for fans of his distinct cinematic style.

Somewhat disappointed by his last film È STATA LA MANO DI DIO, with PARTHENOPE I was reminded of what had touched me so much with the films of Sorrentino. Everything is beautiful, from the city of Naples and its pristine water to the yet unknown goddess Celeste da Porta. Add to it the Fellini-like shots and the wonderful jazz soundtrack by Lele Marchitelli : you get perfection.

The beauty of life in its insignificance... One might think he's making another GRANDE BELLEZZA, but it's just not the case. Sorrentino manages to surprise us once again, with a new way of dealing with what is - ultimately - the same topic.

The movie asks questions without ever answering them, as if to say that one should just stop looking for answers and start observing the beauty of the world for what it is. As a result, the spectator leaves the theater not with answers, but with an interesting take on life, and ultimately death...

Oh, and I almost forgot, the movie stars Gary Oldman. Though his onscreen time is limited, he manages to pull out a wonderful performance. He then withdraws, as if he were urging us to enjoy the movie he convinced us (by his presence in the cast) to go watch.

So I know not everybody is going to like it - some scenes are pretty weird I have to admit - but as far is I'm concerned, this movie gave me everything I did (and didn't) expect when stepping into the theater. Sincerely hope/think it will win Palme d'Or.

Grazie Paolo ;)

The main issue with Parthenope is that it adds nothing new to Paolo Sorrentino's filmography. Too many familiar scenes, too many obsessions already portrayed, too many mannerisms endlessly repeated. While it's true that cigarettes have become a signature of the director, when every actor-from the beautiful lead to the extras in the background-keeps lighting one up, it quickly becomes cloying, if not outright ridiculous. I truly enjoy Sorrentino's cinema, but the excitement I felt leaving the theatre after watching The Consequences of Love is now only a faint memory, faded like the summer youth that once was.

Along the lines of the legendary beauty Aphrodite, "Parthenope" (Celeste Dalla Porta) was born in the sea and grew to become a great temptress to both of her male contemporaries. The first being her obsessed brother "Raimondo" (Daniele Rienzo) and the other her adoring childhood friend "Sandrino" (Dario Alta) whose unrequited love for her drove him to distraction. Not, however, to such distraction as that of her sibling, It's when the trio decide to head for an unfunded trip from their home in Naples to the nearby island of Capri that she meets elderly American writer/dipso "Cheever" (Gary Oldman) who finds her intriguing but appears to have a certain immunity to her charms and she's not used to that. Whilst on this carefree trip there befalls a tragic realisation that causes all of them to appreciate the stark realities and fickle shallowness of their lives and brings into focus senses of grief, rejection and emptiness. It's a beautifully photographed piece of cinema, this film, with sparing dialogue and a sexually, but not explicitly so, charged chemistry abundant throughout this rather visually extravagant but disappointingly soulless drama. It is a bit like a postcard upon which is a beautiful picture but just too few words to develop the characters or to quite put enough meat on their perfectly formed bones. Indeed as the second hour starts to drag, the whole thing begins to look more like a repetitively self-indulgent vanity exercise that might be rooted in mythology but that struggles to engage beyond the superficial. It's classy and stylish and well worth a look - but look appears to be all Paolo Sorrentino wants us to do.

May be Parthenope is not the best, but I still think it might be my personal favorite among all of Sorrentino's films.

For me, it is not about history, religion, philosophy, or even family, but simply the story of a young goddess experiencing the beauty, love, desire and sorrow of life-a film that ultimately turns the gaze back to our everyone's own lives. So fragile, so nonsensical, so bizarre, so contradictory, so meaningless-yet still met with both smiles and tears in the face of reality... o forse non è così.

I don't see Parthenope as a "moralized lecture" that offers answers or explanations. On the contrary, it feels like a breathtaking and poetic piece of prose that touches me deeply.