Paolo Sorrentino's newest film dramatizes the circus of vice surrounding Italian Prime Minister Silvio Berlusconi in the mid-2000s, and hits close to home for a few reasons.
, moving prominently to the fore. The film was first created as two separate works, and the vestigial architecture of this original structure makes for a slightly awkward viewing experience—a two-part project stitched together, slimmed down for an international audience, but still, at more than two hours long, carrying some excess baggage.
Ironically, when Berlusconi enters the arena in the second half, the partying becomes a little more tame. There’s less cocaine, more pizza. Even the decorations go in a clownish, juvenile direction, with a trampoline becoming a central feature of the celebration. The aging politician—he’s meant to be in his early seventies when the film is set—seems more like a buffoonish uncle than a rapacious villain.
That hint of piteousness persists just until the moment you remember the fundamental grotesqueness of the situation. This young woman has essentially been offered up as part of the festival feasts. Her skepticism about the whole thing only makes her more appealing to the man who knows no check on his hungers.
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