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Oneiric, refined, sublime. Sorrentino creates a work of art worthy of his name and a style that belongs only to him. Sorrentino offers us a return to Italian auteur cinema.

Moments of silence, ruled by looks typical of Antonioni, the metaphorical and pressing sensuality in the style of Bertolucci's Last Tango in Paris, the sense of mystery, darkness and suspense typical of Tornatore. A wonderful Naples, almost painted, but also raw, naked, poor and unfortunate. In this film Naples is to Sorrentino as Rome was to Fellini, representing the capital as a synecdoche for national ideals and values, but also a city of power and great cultural, social and political influence.

Thanks to Parthenope, Italian cinema has awakened from the torpor of banality is commercialism. Thank you Sorrentino ❤

The Zone of Interest is a magnificently aberrant and terrifying film because it illustrates in a dramatically real way, the shortsightedness of our gaze toward situations such as wars. We never want to look up from our certainties. We prefer the drama of reality to remain in the depths of social media screens, while we hide behind the reassuring curtains of our windows. Maybe we like to spy through those windows, but we remain homeless, helpless.... Indifferent. And in that same indifference, unconcern, fear of rebellion, the worst dramas that see the world gripped by genocides, abuses of power, deprivation of human dignity are played out.

The Zone of Interest is not a film about Jews, but it is a film about those who believe it is "only" a film about Jews.