«La realtà è scadente». La memoria, Napoli e il cinema (in margine a È stata la mano di Dio di Paolo Sorrentino)

The paper offers an interpretation of Sorrentino’s last film in relation to some famous precedents by Fellini and Tornatore in which a similar story is told, that of the director’s youthful fascination with cinema and the choice to undertake that career leaving the hometown to move to Rome. After a brief history of this sub-thread, Sorrentino’s film will be analyzed through three specific directives: memory, the relationship with Naples, the role of cinema.