Grace

2025 [ITALIAN]

Drama

9
Rotten Tomatoes Critics - Certified Fresh 81% · 53 reviews
Rotten Tomatoes Audience - Upright 75% · 50 ratings
IMDb Rating 7.4/10 10 4333 4.3K

moral crisis presidency

Director

Paolo Sorrentino Photo
Paolo Sorrentino

Top cast

Vasco Mirandola Photo
Vasco Mirandola as Cristiano Arpa
Milvia Marigliano Photo
Milvia Marigliano as Coco Valori
Francesco Martino Photo
Francesco Martino as Riccardo
Simone Colombari Photo
Simone Colombari as Giulio Malerba
720p.WEB 1080p.WEB 1080p.WEB.x265
1.19 GB
1280*534
Italian 2.0
R
Subtitles us  de  es  fr  nl  pt  
24 fps
2 hr 12 min
Seeds 45
2.45 GB
1920*800
Italian 5.1
R
Subtitles us  de  es  fr  nl  pt  
24 fps
2 hr 12 min
Seeds 90
2.22 GB
1920*800
Italian 5.1
R
Subtitles us  de  es  fr  nl  pt  
24 fps
2 hr 12 min
Seeds 29

Movie Reviews

Reviewed by costa-cola 7 / 10

A hymn to lightness

Reviewed by EddyTheMartian007 7 / 10

A strong character study with excellent direction that is slightly weakened by a potentially muddled understanding of grace.

Reviewed by b_velkova 7 / 10

Kinds of Grace

A president at the end of his term faces final decisions: whether to sign a bill legalizing euthanasia and whether to pardon two killers - an abused woman and a man who murdered his sick wife, both claiming mercy as justification for their actions. Despite their weight though, these dilemmas feel schematic and artificial, and they are meant to. Sorrentino seems to have deliberately designed them to ridicule our attempts to impose order on human experience.On a personal level, the president is consumed by his late wife's memory - supposedly out of love, but really out of pride and resentment. He cannot forgive her adultery, and this fixation infects every aspect of his life. What looks like reflection is vanity; what sounds like grief is control.The title carries cruel irony. Grace means both pardon and inherent quality, yet both are exposed as false. Grace as pardon is absurd - who is anyone to decide on questions of life and death, or, as the film's central question asks, "who our days belong to"? Grace as inner serenity collapses too; it is always compromised by ego, hierarchy, and the need to be on top. Even the pope, who should embody divine grace, functions only as a figurehead, placing God atop human power structures.Sorrentino's grace here resembles Lanthimos' kinds of kindness - not kindness at all, but its abomination. The high-visit scene collapsing into rain is a perfect example: the moment screams of human vulnerability, yet the instinct to help the old man - to show grace - is withheld because social hierarchy dictates he will be humiliated. On the other hand, the recurring musical theme - a heartbeat threading through chaos - constantly reminds us of the human factor beneath appearances of order and serenity.Despite its brilliance and visual poetry, unlike Sorrentino's previous film Parthenope, here the effect comes only after consideration, reflecting the difference between them. In Parthenope, grace exists in perception, while here it is a performative ritual. Recognition of the idea brings intellectual pleasure but deprives the viewer of Grace of immediate emotional resonance.
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