La Grande Bellezza. Great Beauty

director: Paolo Sorrentino

it's in the shot's structure, in the clothes, in the approximation of gestures recalling  truth in art, evident and unsustainable by people who need to  determine, and for others, its ruin, hence the tragedy in the socialism of nazi socialism, or its great yearnings for loneliness.

the best scenes:

the dialogues of the opening scene, the party;

the visual copulation with a panoramic window on the Colosseum and the Colosseum by a furious couple;

Jep Gambarella's grimace when remembering how he and his stuffed people in concentration camp train cars destined for the station that wasn't a station;

a party also for chatty literary references by literary award winners sustaining the reputation  of an author who never existed, whose works never existed;

Carlo Verdone playing a writer in melodrama with still enough presence to react to the self involved demeaning outlandishness of a request he leave and return within three hours to drive  his love interest to the airport when his house is two hours away from hers, because she needs to be alone when she packs her bag.