The premise is: the earth is in such bad shape that God himself (Giovanni Storti) is thinking of a second flood, but without the saving ark. However, since there is still democracy in the Heavenly Assembly in Paradise, there is only one point in which a second option passes: to provide humans with a new Messiah. This is the background to Santocielo, a Christmas comedy by Francesco Amato and the eighth film by Ficarra and Picone, which arrives in cinemas from 14 December in over 600 copies distributed by Medusa. Now the task of touching the womb of those who will have to carry the new child of God in their womb is entrusted to the mildest of angels, Aristide (Valentino Picone), who with a single touch should impregnate the chosen one. Once on Earth, however, the angel accidentally touches the wrong belly, that of a man, Nicholas (Salvo Ficarra) who thus becomes pregnant with the new Messiah. "The funny thing is," Ficarra points out, "that my Nicola is a bigoted and macho man who has to live something as feminine as pregnancy, something that allows him to evolve, to finally put himself in the shoes of others. And this in a film that talks a lot about women and pays a lot of attention to the female world."
In Santocielo, a film about prejudice and, at the same time, about hope, Nicola, unhappy to have broken up with his ex-wife Giovanna (Maria Chiara Giannetta), a psychologist who is often full of problems, tries to mend things with her and to make a 'family', especially now that he is expecting the child they wanted so much when they were a couple. Even the angel Aristide has his anxieties. If in heaven he had the only ambition to sing in the choir of the Heavenly Assembly, here on earth he will discover that he has unexpected feelings, completely reciprocated, for the very young Sister Luisa (Maria Chiara Giannetta). "We had a desire for a long time to make a film about angels, something that Francesco Amato also wanted. We compared our ideas, but then we chose a new path," Ficarra says. It was the film itself that at a certain point suggested where to go, what fears to choose. There is, for example, my character who looks for love and then discovers that he has it inside. Then there is the angel, a character who in the end becomes humanized and understands his true mission, there is Sister Luisa who does not understand what she is experiencing and, finally, there is the issue of rights, not least how right it is to regulate love." "To tell the story of the first pregnant man and the angel who clumsily impregnated him, we chose the sentimental path where the event of pregnancy is a tool that gives an account of the intimate emotional movements of the characters," says the director. An inner road where it is the feelings, that of Nicola for Giovanna and that of Aristide for Luisa, that guide the story and the tone of the story. Ficarra and Picone's comedy evolves. It goes beyond the usual relationship with the public." Finally, to those who remind the two Sicilian comedians how religion to varying degrees is always present in their films, Picone replies: "Yes, it's true, it has always been present in our films, maybe because as a boy I was an altar boy and, if I wanted, I would also know how to say Mass, but in any case religion - he concludes - in the end makes you discover how much more evolved it is than we imagine".
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