American Cinematographer - March 2022 - 36

LIFE GOALS
Previous spread: Naples native Fabietto Schisa (Filippo Scotti)
ponders his future. This page: Fabietto's eccentric family gathers
for a feast where the clan's ill-tempered matriarch, Signora Gentile
(Dora Romano, bottom photo), hurls insults.
" The scene reminds me of those Sunday lunches
we had in my family, something I experienced
very frequently growing up. "
a natural, stripped-down style that's more in tune with the writer-director's
deeply personal script. As director of photography Daria D'Antonio
- speaking to AC through a translator - says about that opening shot,
" This first part was almost a different film, with respect to the material
that came after. It's almost like [Sorrentino] was saying goodbye to the
poetic and complex style he'd adopted on previous films. "
The Hand of God is a departure for the director in many ways. Among
them was having D'Antonio take over as director of photography; over
the past two decades, Sorrentino had worked almost exclusively with
cinematographer Luca Bigazzi.
D'Antonio's history with Sorrentino also goes back more than 20
years. Early in her career, the self-taught cinematographer found a mentor
in none other than Bigazzi, for whom she operated camera on numerous
Sorrentino films, as well as features directed by Silvio Soldini,
Gianni Amelio and Francesca Comencini. " I was flattered by the idea that
Paolo thought of me [as cinematographer] for this one, " she says, " even
more so because this is a very personal and intimate film for him. "
36 / MARCH 2022
THE HAND OF GOD PHOTOS BY GIANNI FIORITO, COURTESY OF NETFLIX.

American Cinematographer - March 2022

Table of Contents for the Digital Edition of American Cinematographer - March 2022

Contents
American Cinematographer - March 2022 - Cover1
American Cinematographer - March 2022 - Cover2
American Cinematographer - March 2022 - 1
American Cinematographer - March 2022 - Contents
American Cinematographer - March 2022 - 3
American Cinematographer - March 2022 - 4
American Cinematographer - March 2022 - 5
American Cinematographer - March 2022 - 6
American Cinematographer - March 2022 - 7
American Cinematographer - March 2022 - 8
American Cinematographer - March 2022 - 9
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American Cinematographer - March 2022 - 11
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American Cinematographer - March 2022 - 17
American Cinematographer - March 2022 - 18
American Cinematographer - March 2022 - 19
American Cinematographer - March 2022 - 20
American Cinematographer - March 2022 - 21
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American Cinematographer - March 2022 - 25
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American Cinematographer - March 2022 - 27
American Cinematographer - March 2022 - 28
American Cinematographer - March 2022 - 29
American Cinematographer - March 2022 - 30
American Cinematographer - March 2022 - 31
American Cinematographer - March 2022 - 32
American Cinematographer - March 2022 - 33
American Cinematographer - March 2022 - 34
American Cinematographer - March 2022 - 35
American Cinematographer - March 2022 - 36
American Cinematographer - March 2022 - 37
American Cinematographer - March 2022 - 38
American Cinematographer - March 2022 - 39
American Cinematographer - March 2022 - 40
American Cinematographer - March 2022 - 41
American Cinematographer - March 2022 - 42
American Cinematographer - March 2022 - 43
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American Cinematographer - March 2022 - 45
American Cinematographer - March 2022 - 46
American Cinematographer - March 2022 - 47
American Cinematographer - March 2022 - 48
American Cinematographer - March 2022 - 49
American Cinematographer - March 2022 - 50
American Cinematographer - March 2022 - 51
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American Cinematographer - March 2022 - 71
American Cinematographer - March 2022 - 72
American Cinematographer - March 2022 - Cover3
American Cinematographer - March 2022 - Cover4
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