Abstract

Italian Political Cinema is one of the most distinctive trends in Italian cinematic production. Paolo Sorrentino's Il Divo proposes a new approach to this trend that includes both historical documentation and flamboyant postmodern visual style. However, this movie is not only an exposé of Giulio Andreotti's controversial political career: it is also a reflection on power, a recurring theme in Sorrentino's filmography. The article analyzes Il Divo under the points of view of Biopolitics and Political Theology, making reference in particular to Roberto Esposito's Due. La macchina della teologia politica e il posto del pensiero (2013), and Massimo Cacciari's Il potere che frena (2013).

Paolo Sorrentino, Giulio Andreotti, Italian Political Cinema, Political Theology, Roberto Esposito
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Copyright © 2019 by the American Association of Teachers of Italian
2019
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