P aolo Sorrentino has rediscovered his voice, his wan humour and his flair for the surreal and sensational set piece; this wintry, elegant movie is a welcome reassertion of his natural style after the facile and weirdly humourless affectations of his previous, very disappointing film Parthenope . It is a dry comedy of grief and regret which wears its dreamy melancholy and ennui like a well-tailored if fussily old-fashioned suit, and it returns Sorrentino to the various mysterious tableaux of political power that recurred in Il Divo from 2009 , about political mandarin Giulio Andreotti, and his 2013 film The Great Beauty about a dissolute journalist and hedonist bidding a bittersweet farewell to everything he holds dear.

And above everything else, Grazia returns Sorrentino to the st

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