Paolo Sorrentino’s 2024 film, Parthenope , is a visually lush coming-of-age drama that serves as a sprawling "love-hate letter" to his hometown of Naples. Narrative and Themes The film follows the life of the eponymous Parthenope (played by newcomer Celeste Dalla Porta as a youth and Stefania Sandrelli
The film’s last act was less investigation than invocation. It assembled testimonies from three groups: poets who said Leda's disappearance had given the city a vocabulary of loss; officials who insisted the festival was a harmless tradition that would be modernized; and a group of fishermen who spoke of the sea like kin. The fishermen's testimony was not romantic. They described nights when the tide was wrong and the nets came up full of objects that made no sense: a drawer of letters in perfect order, a child’s red shoe, a spacing of rusted keys that seemed like a code. "The sea gives and takes," one said, "but lately it gives back what we forgot." Their accents made the word "forgot" a different color.
: Newcomer Celeste Dalla Porta is widely celebrated for her "beguiling" and "arresting" debut performance as the titular character, capturing a sense of enigmatic allure. Narrative Weakness : Several critics, including Peter Bradshaw at The Guardian
Sorrentino weaves together real historical events (the 1966 flood of Florence, the 1980 Irpinia earthquake) with magical‑realist touches – including a memorable cameo by a leopard, a nod to Luchino Visconti’s The Leopard. The film ends with an elderly Parthenope reflecting on whether a life lived in beauty is any different from a life lived in longing.
The film’s title and protagonist are named after the siren from Greek mythology who, after failing to enchant Odysseus, drowned herself; her body washed ashore at the site that would become Naples.
The sea kept its own counsel. It had learned, over a thousand years, to speak in tides and ruined songs, and when the modern world crowded the shores with lights and towers and names, the old voices found new listeners among those who still wandered at dusk. In the city that clung to the cliffs like a stubborn barnacle, people called her Parthenope without thinking of maps: a whisper on the wind, the name of a ferry, a tattoo, a bar. For some she was myth; for others she was the smell of salt and diesel, a face in the rain. For Mara Vela—archivist, night-shift worker at the municipal film archive, and a woman whose life had the quiet geometry of spooled celluloid—Parthenope was a file.
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