The Hand of God (Italian: È stata la mano di Dio), directed by Paolo Sorrentino, is a deeply personal and semi-autobiographical film that unfolds in 1980s Naples. With lush visuals, biting humor, and devastating emotion, the movie chronicles a teenage boy’s coming of age amidst both the magic and tragedy of life. It’s not your typical coming-of-age story — it’s raw, intimate, and poetic, blending surrealism with heartbreak.
Detailed Summary
Introduction: A City on the Edge of Magic
We begin in Naples in the early 1980s, a city buzzing with rumors of Diego Maradona potentially transferring to the local football team, Napoli. The city is full of anticipation and dreamlike energy. At the center of this world is Fabietto Schisa, a quiet, observant teenager whose life revolves around his eccentric family and his love for soccer — particularly Maradona.
Fabietto’s family is chaotic but loving. His parents, Saverio and Maria, are playful and full of life, while his older brother Marchino is pursuing an acting career. The film at first feels like a warm comedy, populated by wild relatives, over-the-top conversations, and surreal imagery — like a mysterious man with a pet monkey, or an appearance by the legendary Saint Januarius (San Gennaro) himself.
Family Joy and Tragedy
The tone shifts drastically about halfway through the film. Just when life seems vibrant and full of potential, Fabietto is blindsided by a horrific tragedy: his parents die in a carbon monoxide accident at their holiday home. Fabietto was supposed to go with them but stayed home, ironically, to attend a soccer match — a decision that saves his life.
This moment is pivotal. It destroys the warmth of his youth and propels him into the harshness of adulthood. The title of the film, The Hand of God, refers to both Maradona’s infamous goal and the strange divine twist that spared Fabietto’s life. The film begins to wrestle with fate, grief, and the randomness of suffering.
Searching for Purpose
In the wake of his parents’ death, Fabietto begins to reevaluate everything. He wanders Naples, tries to process his grief, and begins thinking about what he wants to do with his life. The absurdity of life around him — from corrupt politicians to bizarre encounters with aspiring filmmakers — only deepens his internal confusion.
Eventually, Fabietto meets a real-life version of director Antonio Capuano (played by Ciro Capano), who challenges him to make something out of his pain. This encounter becomes the turning point: Fabietto decides to pursue filmmaking.
⇢ VIRAL RIGHT NOW
Movie Ending
The final scenes of the movie are quiet but profound. Fabietto decides to leave Naples, carrying only a few belongings, including a cassette player with headphones. On a train, as he heads toward Rome, he listens to music while staring out the window. There’s no cathartic explosion of emotion — just a slow, internal shift.
This ending is not about closure but transition. Fabietto doesn’t “heal” in the Hollywood sense. Instead, he learns to live with the weight of grief and begins to look forward — shaped by both pain and the strange beauty of his past. In a deeply poetic moment, as the train pulls away, we understand he is no longer the same boy. He’s someone who has endured the unimaginable and is now choosing to create something from it.
The film closes on this understated but emotionally resonant note — a meditation on survival, art, and the messy grace of growing up.
Are There Post-Credits Scenes?
No, The Hand of God does not include a post-credits scene. The film concludes with the closing shot of Fabietto on the train, and once the credits roll, there are no additional scenes or teases. It’s a film rooted in realism and introspection, and it opts not to use post-credit material to expand its story.
Type of Movie
- Genre: Drama, Coming-of-Age, Autobiographical
- Tone: Poetic, bittersweet, surreal at times, but grounded in emotional truth
- Style: Italian neorealism meets modern art cinema
Cast
- Filippo Scotti as Fabietto Schisa
- Toni Servillo as Saverio (Fabietto’s father)
- Teresa Saponangelo as Maria (Fabietto’s mother)
- Luisa Ranieri as Patrizia (Fabietto’s troubled aunt)
- Renato Carpentieri as Alfredo
- Ciro Capano as Antonio Capuano
- Enzo Decaro as Franco
Film Music and Composer
The haunting and elegant score was composed by Lele Marchitelli. It features minimalist piano and orchestral elements that underscore the film’s emotional weight. The film also makes brilliant use of Italian pop music from the ’80s, including tracks by Pino Daniele, which evoke a strong sense of time and place.
Filming Locations
The film was shot on location in Naples, Procida, and other parts of Campania, Italy. Naples is more than a backdrop — it’s a living, breathing character in the film. From the bustling city streets to the shimmering sea, the landscape reflects both the wonder and the melancholy of Fabietto’s journey.
⇢ KEEP UP WITH THE TREND
Awards and Nominations
- Academy Awards: Nominated for Best International Feature Film (Italy)
- Venice Film Festival:
- Grand Jury Prize (Won)
- Marcello Mastroianni Award for Filippo Scotti (Won)
- BAFTA: Nominated for Best Film Not in the English Language
- Multiple wins and nominations from European film critics and festivals
Behind the Scenes Insights
- This is Paolo Sorrentino’s most personal film, inspired by the real-life death of his parents.
- Filippo Scotti was relatively unknown before this role; he was handpicked after a long casting process.
- The family scenes were largely improvised to create a natural, chaotic rhythm.
- Sorrentino said it was the hardest script he ever wrote, due to its emotional content.
- The film’s football subplot is based on Sorrentino’s own childhood obsession with Diego Maradona.
Inspirations and References
- Based on Sorrentino’s real-life experiences growing up in Naples.
- The title references Maradona’s “Hand of God” goal from the 1986 World Cup, symbolizing both fate and divine intervention.
- Stylistically influenced by Federico Fellini, particularly in its surreal imagery and family dynamics.
Alternate Endings and Deleted Scenes
There is no known alternate ending, but some extended family scenes were trimmed to maintain the film’s pacing. Reportedly, a longer sequence involving Fabietto and his aunt Patrizia’s psychological breakdown was shortened in the final cut.
Book Adaptations and Differences
The Hand of God is not based on a book, though it plays out like a literary memoir. However, it echoes the style and emotional depth of Italian literary greats like Elena Ferrante. It is considered semi-autobiographical, with heavy fictionalization.
⇢ MOST SHARED RIGHT NOW
Memorable Scenes and Quotes
Key Scenes
- The beach scene with the helicopter and the crowd waiting for Maradona.
- The tragic phone call that informs Fabietto of his parents’ death.
- Fabietto’s encounter with director Antonio Capuano, where he’s told to “write what hurts.”
- Fabietto lying in bed with his mother in a tender flashback.
- The final train sequence — symbolic and quietly powerful.
Iconic Quotes
- Capuano: “If you don’t have the courage to tell your story, what are you doing?”
- Maria: “You’ll understand when you’re older — and even then, you won’t really understand.”
- Fabietto (narration): “I didn’t know what to do. But I knew I had to leave.”
Easter Eggs and Hidden Details
- The Saint Januarius apparition nods to Neapolitan folklore and religious superstition.
- The monkey in the mysterious man’s car is a surreal callback to Fellini-style symbolism.
- The real director Antonio Capuano is a figure who helped Sorrentino break into film — this character is a tribute.
- The football scenes never show Maradona directly, preserving his mythic status.
Trivia
- The film’s title is also the title of Sorrentino’s original script notebook.
- It is Sorrentino’s first film shot entirely in his hometown of Naples.
- Toni Servillo, who plays Fabietto’s father, has starred in many of Sorrentino’s films.
- Despite its somber themes, the first half of the film plays almost like a light comedy.
Why Watch?
Watch The Hand of God if you appreciate emotionally rich, character-driven stories. It’s ideal for fans of Italian cinema, art-house films, and anyone who has wrestled with grief, identity, or the struggle to create meaning from suffering. It’s not just a movie — it’s a portrait of how life’s most painful moments can become the seed of something beautiful.