by Jake Bourgeois, Contributing Writer
Awards season is most definitely upon us, and there’s a new Netflix film getting some of the international buzz.
The Hand of God is a coming-of-age story for a teenager, Fabietto (Filippo Scotti), as he grows up in Naples in a soccer-crazed family right as Diego Maradona mania hit the club he supports (Napoli) in the ‘80s. His potential arrival to the club, the titular goal against England in the 1986 World Cup, Maradona’s presence is constantly lurking over the film.
This my first exposure to writer-director Paolo Sorrentino, though his film The Great Beauty took home the Oscar for Best Foreign Language film in 2013, and you may recognize him for his work on TV from either The Young Pope or The New Pope. It feels like a personal film for him, which makes sense as it’s based on his own childhood. The passion Sorrentino develops for filmmaking really comes through, particularly in the later part of the film. The Maradona nostalgia feels particularly poignant, given the passing of the soccer icon last year. It doesn’t always work, though. There’s a ham-handed “Hand of God” reference that will have you eye-rolling, despite how fanatical soccer fans can be.
The biggest thing The Hand of God has going for it is the visuals. This film is absolutely gorgeous. Obviously, the shots of the Italian countryside are spectacular, as are the shots of Naples itself, whether bathed in sunlight or exploring the city’s infamous nightlife. Even the interior shots look fantastic. You can tell how much care is put into each shot with how it is framed and lit.
The problem is the film is very deliberately paced. That’s not necessarily always a problem, but as we’re getting to know the family, none of these people are easy to root for. They’re mostly terrible — particularly at a family dinner — and I didn’t particularly like them. Even our main protagonist, though not objectively terrible like some of his family members, has some annoying habits. A wannabe future philosophy student, he randomly spouts philosophical musings in a way I found off-putting and reminiscent of the pretentious knock that’s become a bit of a cliché with certain independent films. As a coming-of-age story, there’s a moment where the awkwardness is pushed to 11. I get that the awkwardness is the point, but it’s not something I generally enjoy movies making me feel.
Despite some of the pitfalls, I still found myself feeling some emotion when tragedy strikes here. The performances, though solid, didn’t really stand out for me. However, Scotti plays the scene in question to perfection and definitely delivers the stand out moment.
It may not work as well as I’d have liked, but there’s enough here that works in what narrative is there. The absolutely sublime visuals are doing the heavy lifting and make it worth a recommend for the right audience. Though if films with more methodical pacing aren’t for you, it’s probably one you can skip.
Grade: B-
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