Paolo Sorrentino’s Loro is a biopic about a character that never existed.
When my parents first met, in 1992, politics was very difficult topic to avoid, especially in Milan. The city had become the epicenter of the biggest political scandal of the century when the unearthing of a minor investigation had led to discovering an immense network of favors and gifts compromising most of the country’s political and economic leadership. You would’ve been hard pressed to find someone whose employer hadn’t been summoned to court. My parents worked for a gargantuan industrial conglomerate, and unsurprisingly their cubicles were regularly raided by the financial police. I grew up hearing the stories of old socialist politicians trying to hide the grease money in the bookshop where I bought most of my childhood’s books, of how the collapse of the old order had happened almost overnight.