Revealing the Essence of Cinema: A Philosophical Inquiry into Paulo Sorrentino's The Hand of God

Abstract

Several philosophers, academicians and film-makers have contributed to the long-debated subject of what cinema is. The majority of the answers include the relationship between cinema and reality. Some correlate reality with the physical circumstances of an object and others emphasize the importance of human experience. Whatever the answer is, cinema is rooted in human existence. Therefore, while replying to the question of what cinema is, it is crucial to acknowledge the humanistic essence. Paolo Sorrentino’s highly personal film, The Hand of God (2021) questions the ontology of cinema by positioning the film-maker as a creator at its core. Through its plot, dialogues and cinematography, the film debates about what cinema is and who a director is. Hence, The Hand of God links the ontology of cinema to the presence of a creator blinking an eye to auteurism. This paper aims to analyze The Hand of God utilizing Bazin’s and Cavell’s insights on the ontology of moving image by using the hermeneutic analysis method. As a result of the analysis, it has been observed that the film gives central importance to the film-maker as a creator of emotions, thought and life experiences.