Paolo Sorrentino's tale of a mafia stooge marooned in a Swiss hotel is breathtaking in its portrayal of loneliness
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There is one slow-motion shot halfway through The Consequences of Love that I always have to rewind. It's of Titta di Girolamo, the film's lead, sitting on a bed. At first, you think he's about to turn in. Then you realise that in fact he's taking heroin. Seconds later, we finally clock he's now no longer on the bed: he's crashing to the floor. Things are not what they seem.
But in Paolo Sorrentino's Consequences, things are never what they seem.