LA GRAZIA

LA GRAZIA places a head of state, played by Sorrentino regular Toni Servillo, at the quiet center of a storm he cannot publicly acknowledge. Sorrentino builds the film around a president nearing the end of his term, surrounded by ceremony, advisers, and the illusion of stability. Inside that polished environment, a set of moral decisions begins to erode his certainty. The drama unfolds less through action than through hesitation, conversation, and the weight of responsibility.

Sorrentino treats politics as a theater of appearances. Corridors, offices, and formal rituals become stages where private doubt hides behind public composure. The president’s relationship with his daughter, a lawyer who also serves as his confidant, anchors the emotional core. Their exchanges reveal a generational tension between conviction and caution, belief and compromise.

Critics have described the film as one of Sorrentino’s most restrained works, replacing spectacle with introspection. Its reception highlights a director interested in the psychology of power rather than its mechanics. LA GRAZIA becomes a study of conscience under pressure, asking how a person continues to act when every choice feels incomplete.