Loro

Sorrentino tells with a lot of irony both satirical and grotesque but also with respect and much esteem the life of Berlusconi, or rather a period of it, probably the most difficult, speculated, polemized and known of his life both private and political and therefore public. Divided into two parts, the second comes out a few weeks away from the premiere, a film that has already discussed long before its release, at the beginning because of its extremely delicate as interesting topic and then precisely because of this questionable, although understandable, division into two films (certainly for reasons of film duration but also and above all for economic reasons, seeing that in this way it could earn almost double) that led the film to be excluded from the official selection for the films in competition at the next Cannes Film Festival, so it was a double edged sword at the end. As for me, after all, I appreciated this choice, even stylistic if we want, because it has made the film, naturally shorter and therefore enjoyable, but also much lighter and with a very reduced risk of boring the public as the rhythm, however, very slow and calm of the whole film. In fact, although it is a comedy with dramatic nuances very slow, especially in the development of the plot that in this first part seems almost hinted, I have never bored or disinterested, indeed thanks to the great talent of Sorrentino with his unique way of frame things and make everything extremely exaggerated and bizarre almost to the limit of realistic but at the same time credible because it is placed in a context that is also extreme; and thanks to an elegant editing that gives the right rhythm to the film and thanks to a modern soundtrack very accurate and atmospheric, the film manages to capture, for its entire duration, the attention of the viewer who remains totally involved. Also thanks to the extraordinary interpretations in the first place that of Toni Servillo who continues role by role to surprise with his innate talent that made him perhaps the best Italian actor of these years, also excellent Bentivoglio and to say the least surprising Scamarcio. Unfortunately, at the end it remains the feeling of having seen an half-film that has said little of what it means and never reaches a climax because it is impossible to by a cut too sharp and strong that makes it incomplete and therefore not very rewarding, Sorrentino it would have to sweeten better, make this division less felt. In short, a little regret at the end remains but at the same time I can not wait to watch the second and last part to see what road will take this interesting and unique project.

Politics is entertainment now. Just one long performance. Witness Silvio Berlusconi who foreshadows the rise of Trump (the two are remarkably similar). Loro satirizes Berlusconi as he starts to lose his grip on power about ten years ago. Under Berlusconi the route to influence and authority is not through enlightenment or better ways of doing business, but trafficking young women, reality shows, lavish parties, yachts and cocaine.

Loro doesn't just take a dim view of Berlusconi, it provides a realistic portrayal of the man. We see the charming salesman who understands human nature and capitalizes on this knowledge. Truth is in tone of voice. "I don't know," says Berlusconi "I understand." Toni Servillo's brilliant performance as Berlusconi heightens this effect. The average Italian, Berlusconi maintains, has the intelligence of second grader. Altruism is the best way to be selfish, for in this way he appears to be good. The ultimate judgement is left to Berlusconi's wife Veronica. "You had the opportunity to help Italy and its people," she says "but you helped yourself instead."

Besides Veronica, there are intriguing portraits of other characters in Berlusconi's orbit. One of them is a very successful, intelligent and beguiling escort. "Girls like me," she says "are stupid when we dream."

Loro provides a fascinating, raw, imaginative and frightening look into the realities of modern politics from the uniquely in-your-face Italian vantage point. It is as wacky as it is cerebral. The film is fast paced and jarring in a good way. Seat shaking base music, rapid dialogue, incredible island villas, stylish clothes, impressive machinery and eye-popping nudity kept me on the edge of my seat. Loro is disjointed at times because there is so much going on, but the general effect is pleasing. The ending of the film is totally unique and perfect for the subject matter; what is important hopefully survives the disaster of modern politics. Knowledge and interest in Italian politics is recommended. Seen at the 2018 Toronto International Film Festival.

The number of hot topless partying women snorting coke skewed to the first reel. When I squirm in my seat since I have to figure out how my fiancee is enjoying the movie, I prefer even distribution of such erotic images. Defenders would say that all of the debaucheries was meant to set the tone for the life of Silvio Berlusconi, the media tycoon who after serving as Italy's prime minister is the longest-serving post-war head of government. I am no expert of Italian politics but this movie did not leave me feeling like I understand the Roman modern-day political world any more than I did last week.

Loro 1, directed by Paolo Sorrentino, is an ambitious yet disjointed exploration of power, decadence, and the enigmatic figure of Silvio Berlusconi. The first installment of a two-part saga, the film focuses on the world surrounding Berlusconi rather than the man himself, attempting to weave a narrative of ambition, excess, and moral decline.

Toni Servillo delivers a performance that captures the magnetism and contradictions of Berlusconi, though his character remains more a symbol than a fully fleshed-out individual in this chapter. Riccardo Scamarcio brings energy as Sergio Morra, a character emblematic of opportunism and corruption. While the cast is strong, their roles often feel more like caricatures, serving the film's aesthetic rather than its narrative depth.

Sorrentino's signature visual flair is evident throughout, with opulent set pieces and stylized sequences that create a surreal, almost dreamlike atmosphere. The cinematography and production design are undeniably striking, but the emphasis on style often overshadows substance. The fragmented structure and lack of narrative cohesion make it difficult for the audience to engage fully with the story or its themes.

While Loro 1 attempts to critique power and the corrupting influence of excess, it often feels more like a voyeuristic spectacle than a profound commentary. The film's focus on surface-level decadence leaves little room for deeper emotional or psychological exploration.

Rating: 5/10 - A visually stunning but narratively hollow first act that struggles to find its footing.

Why? Because you can quibble with this and with that. But this is a first class film and it must not go unseen.