Gençlik ve Muhteşem Güzellik filmlerinin yönetmeni Paolo Sorrentino, doğduğu şehre yeni bir aşk mektubuyla geri dönüyor: içten ve sevecen Tanrının Eli (2021) filminin de geçtiği canlı, hareketli, bağıran, gülen, büyüleyen, göz alıcı Napoli. Prömiyerini Cannes’da yapan Parthenope, adını sonradan Napoli’nin tanrısı haline gelen efsanevi sirenden alıyor ve güzeller güzeli Parthenope’nin 1950’deki doğumundan günümüze, çalkantılı yaşam yolculuğunu anlatıyor. Kahramanlıkla değil ama özgür bir ruhla sarmalanmış, Napoli’ye ve aşkın bin bir yüzüne (gerçek, anlamsız ve tarifsiz aşklara) karşı amansız bir tutkuyla dolup taşan kadınsı bir destan.

Su Perisi Parthenope

After a terrorist attack in Rome, the government urges the population not to leave their houses: several couples clash during isolation. Shot during the first COVID-19 lockdown.

The Day and the Night

It is evening. Tarek is seventeen years old and is on his way to see his friends, who have asked him on the telephone to pass by the park first and buy a few grams of dope: nothing much, just enough for some fun. The boy buys the stuff in the dark park, but when he emerges finds that someone has seen him: a policeman in plain clothes, sitting in his own car. The man could simply confiscate the hash, intimidate him a little and then let him go, or he could decide to take him to the station and call his parents. But he opts for neither of these things. He tells the young man to get in the car and starts the engine. Where does he want to take him? The policeman is ambiguous, mysterious. What does he want from the teenager? Tarek is in check, he can’t just leave. The policeman makes him stay with him the whole night, driving around in apparently aimless fashion, stopping first in one place, then in another.

Ghost Night

Carmen comes from a difficult past: taken away from her mother during adolescence, she grew up in a foster home. Massimo is an only child, raised in a wealthy and oppressive family. Their only daughter, Giada, 5 years old, was entrusted to the father. Carmen has the right to see her every other Saturday, but Carmen doesn't accept it: she doesn't want her child to grow up without a mother, like she did.