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If Italian cinema has enjoyed diverting for several years the long-untouchable figure of the Pope, Marco Bellocchio is inspired by a very real figure to completely reverse its narrative function. And in fact a cruel man, encouraged by his court.
Paolo Pierobon and Enea Sala in “The Abduction” Photo Anna Camerlingo/IBC Movie/Kavac Film/Rai Cinema
By Augustin Pietron-Locatelli
Published May 10, 2026 8:00 PM
Sorrentino put the pope in his underwear. Moretti made him doubt. Sorrentino, again, entrusted his interpretation to the dreadlocked Ivorian actor Rufin Doh Zeyenouin in La grazia this year… Modern Italian cinema (because before, we didn’t touch it) likes to twist this sacred figure. The break, often, is sartorial: the swimming trunks of Jude Law, the rejuvenated Holy Father of The Young Pope, were none other than an echo of that of Daniel Craig emerging from the water in Casino Royale… In Moretti’s Habemus papam, it is philosophical and existential: his newly elected pope, played by Michel Piccoli magnificent, bent under the dress and
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