The latest film from Paolo Sorrentino is his most personal film to date, but it’s also somewhat underwhelming.

The film follows 16-year-old Fabietto Schisa (a version of Sorrentino played by newcomer Filippo Scotti) in 1980s Naples as his life is turned upside down by a family tragedy that forces him to decide what he wants in life.

All of the different characters in the family all feel very real and fleshed out, with each one having their own individual identity. This cast of characters are made even better by the nuanced performances they're portrayed with, and you're able to get a grasp of who they are (and get to see few of their quirks). Filippo Scotti turns in a fantastic and compelling performance as our lead Fabietto, who is introverted and drifting through life. Teresa Saponangelo’s Maria, the matriarch of the Schisa family, holds a love for practical jokes. Renato Carpentieri's Uncle Alfredo is politically engaged and rejoices at the symbolism of a Maradona-led Argentina defeating the English on the football pitch. Luisa Ranieri (a particular standout amongst the supporting cast) provides the perfect balance between comedy and heartbreak in bringing the sensual yet troubled Aunt Patrizia to life. Through the portrayal of the larger-than-life family, it is immediately apparent that this is a deeply sentimental project for Sorrentino.

The Hand of God is also a gorgeous-looking film. The cinematography from Daria D’Antonio (a departure from Sorrentino’s usual partnership with Luca Bigazzi) is stunning and is especially standout during an exchange between Fabietto and film director Capuano (Ciro Capana). The film also does a great job in capturing the feel of a red-hot Neapolitan summer. The costumes, while subtle, are highly effective in transporting the audience to 1980s Italy and capture the zeitgeist of that era.

However, this film is not without issues. For instance, many of the characters and sizable portions of the plot feel rather arbitrary. The film also chooses to be meandering in its structure. At times, this provides an ease to the storytelling, but it also poses certain issues. The first half of the film suffers from its pacing; the climactic scene that marks the end of the first half would've worked better if it occurred earlier due to said pacing dragging in its final stages.

The second half is far more engaging as Fabietto decides to follow his dream of becoming a filmmaker and must also come to terms with the reality of his broken family. However, even though The Hand of God is primarily about someone aspiring to become a filmmaker, there is a distinct lack of anything film-related in this movie. Aside from a few scenes mentioning Federico Fellini or giving a glimpse into a film set, there is hardly any mention of the industry until the final half hour. As a result, when Fabietto decides to become a filmmaker, it feels somewhat forced. There are very few indications that Fabietto has a significant interest in film and there is no clear arc occurring beforehand building up to this choice. While the audience does gather some understanding behind his decision thanks to a conversation with director Capuano, the film would have benefitted with more of a focus on film and its influence on Fabietto.

That being said, Sorrentino does provide interesting commentary on the mundaneness of everyday life and how people use art and sports to escape. Football is used as a distraction by many in Naples and takes on an almost mythical status as a result. This relationship between football and the people of Naples is similarly echoed in the relationship between Fabietto and film. He finds himself using film and the imaginary world created behind the camera lens as a way of escaping a reality where he feels isolated and alone.

Whilst ‘The Hand of God’ may underwhelm at times, it is worth a watch and the second act specifically poses interesting questions on life and how one seeks to escape from it.

7/10