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Il Cinema Italiano has produced many phenomenal directors throughout the history, especially since the Italian Neorealist era, these directors have reached wide audiences both in Europe and beyond. Rossellini, De Sica, Antonioni, Fellini, Argento, Bertolucci, Pasolini, Tornatore, Moretti... and for the recent period, Paolo Sorrentino, who is subjected in this very article. With visually stylish and intense art direction, postmodern storytelling inspired by life itself, dynamic and striking camera use, magnificent use of music, short choreographies reminiscent of music videos, the harmony of beauty and absurdity in his scenes, and picturesque landscape choices, let us get to know this man and his cinema, from which art flows from his veins, more closely.

Born in Naples in 1970, Sorrentino, as one might guess from his place and year of birth, spent his youth years like most of the city's inhabitants, watching and idolizing the legendary Argentine football player Diego Armando Maradona. So much so that when he won the Best Foreign Language Film award at the Academy Awards in 2014 for “La grande bellezza (The Great Beauty)”, Maradona was among those he thanked during his speech. His work in series and films also bears the mark of Maradona and his team, showing his deep admiration. Most importantly, he plays a crucial role at a turning point in Sorrentino’s life. While young Paolo, at the age of 16, a fanatical supporter of his local team, SSC Napoli, went to watch them in a game during a time when Maradona was the superstar of the team, both his parents were poisoned in their bed by carbon monoxide fumes from a faulty heater and passed away. Thus, he does not hesitate to say “Maradona saved my life” while defining that tragedy that made him grow up much earlier than he should have. Afterwards, he chose to embrace a parallel reality to overcome the indescribable pain brought on by the tragedy, and his cinema journey began, inspired by Sergio Leone, Martin Scorsese, Bernardo Bertolucci, Michelangelo Antonioni, Giuseppe Tornatore, and perhaps most of all, Federico Fellini, along with his homie Massimo Troisi.

Actively involved in the writing process of his feature films and TV series, Sorrentino's first full-length film, L'uomo in più (One Man Up), made in 2001, stars Toni Servillo, who would become the actor most frequently cast in leading roles by the director and even accompanied him on stage at the aforementioned Academy Awards. The film, belonging to the comedy-drama genre, tells the story of two men with completely different lives, yet sharing the same name and a similar fate, one a singer and the other a footballer. It is also notable as his first film to be honored with a growing number of national and international nominations and awards.

The film that significantly elevated Sorrentino in the eyes of critics and audiences was his second film, made in 2004, the crime-drama Le conseguenze dell'amore (The Consequences of Love). It narrates the story through the interactions of the extremely cold, mysterious, and reticent main character, Titta Di Girolamo (Toni Servillo), who finds himself in service to the mafia and also develops a relationship with a waitress at the hotel where he stays. The contribution and impact of the film’s geographical setting (Lugano, Switzerland) to the story from an art direction perspective, the meticulously prepared lonely main character with his background and dialogues, and the innovative and artistic filming tricks (like the famous 180 degrees camera flip), indicate that this film is the first to feature the distinctive qualities we will encounter frequently in the director's later works, in such a strong and successful manner. Therefore, it's possible to say that one of the strongest works in his filmography was accomplished at the very beginning of his career.

Following that, in 2006, Sorrentino directed L'amico di famiglia (The Family Friend), which tells the story through a socially-awkward character who develops an obsession with the young bride-to-be daughter of a family he lends money to, embracing the absurdity he loves to include in his cinema. Then, in 2008, he made the controversial biopic Il Divo, subjects Giulio Andreotti, a figure who was elected prime minister of Italy multiple times and whose career was marred by numerous allegations. Reuniting with Servillo for this film, Sorrentino won the Jury Prize at the Cannes Film Festival. 

Sorrentino's first purely international film was This Must Be The Place (2011), working with Hollywood actors like Sean Penn and Frances McDormand. This film follows the journey of a retired rock star, who, without compromising his gothic style, seeks to complete the unfinished story of his father, with whom he hadn't spoken for years, following his death. This journey rekindles his excitement for pursuing the meaning he has long been missing. While the film might not have brought him the international recognition he desired, his next film, which is a modern classic, would secure his place in Italian, European, and world cinema, even beginning comparisons with Fellini.

In addition to many awards in his country and Europe, the 2013 film La grande bellezza (The Great Beauty) also won the Academy Award for Best International Feature Film and the Golden Globe Award for Best Foreign Language Film. The film delves into the life of 65-year-old Jep Gambardella, who, after receiving the news of the death of his first and perhaps only love—who was also his youthful love—faces life anew. Jep, unable to continue his writing career due to a creative block since decades, has become a sought-after figure in journalism and an art critic within high society. This masterpiece is not just a melancholic journey through (post-)middle age; it also hosts one of the best party scenes in cinema history, features the magnificent city of Rome as a splendid supporting character, pays a postmodern tribute to Fellini, and includes surprising mise-en-scènes, a wide range of striking music choices, impressive dialogues, a truly visually stylish direction, and hosts one of Toni Servillo, Sorrentino's favorite actor's, best performance. Death and related themes, as in many of the director's previous and subsequent films, represent the breaking point of the story and script in this film, much like in his own life.

Following his participation in the 2014 Brazilian anthology Rio, Eu Te Amo (Rio, I Love You), where 10 directors from various nationalities each directed a short story, Sorrentino's next major international work came with the 2015 film La giovinezza (Youth). In this work, which carries many of the characteristics of his cinema, Sorrentino collaborated with Michael Caine, Harvey Keitel, Rachel Weisz, Jane Fonda, and Paul Dano. The film confronts various opposites such as death and life, youth and wisdom, past experiences and future possibilities, productivity and satiation, through the story of two elderly friends -one a retired composer and conductor, the other a film director- spending a luxury resort vacation together in the Swiss Alps. Just like its main characters, the film mentally and emotionally provokes the viewer, delving into themes of youth and the past, as well as the future and old age. In this aspect, it boasts strong imagery, dialogue, and distinct sequences. However, some might say the film falls short in terms of having a cohesive and strong narrative; it feels somewhat disjointed, especially by the end. Thus, it is a very beautiful work, but still, it gives the impression that it added numerous thought-provoking and artistically inspiring sequences it found, yet forgot to connect them all.

In 2016, Sorrentino directed The Young Pope, a series co-produced by Sky Atlantic, HBO, and Canal+. The show features the fictional story of the first American Pope, Pius XIII, and his rise to leadership within the Vatican. The cast includes international stars such as Jude Law, Silvio Orlando, Diane Keaton, and James Cromwell. Watching the series, it becomes apparent that Sorrentino, as a non-believer, takes a critical and bold perspective on religion and its clergy's influence and controversial aspects on society. Yet, it's interestingly anecdotal that he still finds the Catholic Church inspiring from a theatrical standpoint. Thus, the series' strongest aspect is undoubtedly its unapologetic satire - even showcasing the Pope's God dilemma - along with its art direction. The series, released under different names for its different seasons, saw its follow-up season shot three years later.

Before moving to the second season of the series, in the intervening years, Sorrentino directed Loro in 2018. This film, another of Sorrentino's political biopics, this time delves into a segment of the life of Silvio Berlusconi, one of the most famous as well as sensational politicians and businessmen in modern Italian and European history. Berlusconi, portrayed by Toni Servillo, has been accused throughout his life of being corrupt and hedonistic, yet remains immensely popular among certain segments of the populace. In this work, Berlusconi is subjected to an intentionally grotesque biography, securing the film a unique place due to its originality, which serves to strongly imprint the director's critical points in the viewer's mind. However, despite its success in cinematography and art direction, the film’s overemphasis on its unique style and artistic qualities may have led to a loss of narrative momentum.

In 2019, Sorrentino directed the second season of the international series titled The New Pope. This season retained most of the cast from the first season, with John Malkovich joining as the lead role and delivering a remarkable performance. Additionally, Cecile de France, who was also part of the first season, played a prominent role. Following the coma of the character Pius XIII, the series explores the chaos within the Church, power struggles, and the extraordinary ascension of the British Pope John Paul III, portrayed by Malkovich. It delves into the dynamics between the Church and the state and culminates in the chaotic process following Pius XIII's awakening from the coma. Visually and audibly, this series is just as fulfilling as its prequel. Despite potential gaps in the storyline, it successfully distinguishes itself from the shadow of its predecessor. Furthermore, it delves into the clash between human emotions, logic, and dogmatic connections through its main character, adding depth and complexity to the thematic exploration.