It is precisely this analysis that underpins the portrayal in *Loro 2*, and the motto that seals the opening is: being altruistic is the best way to be selfish.

Switching six senators to his side will be child's play because Silvio doesn't buy them; he gives them gifts...

He convinces them of the goodness of our dreams and succumbs to the irresistible temptation to pick up the white pages to call an ordinary citizen and exercise his skill, that of one who cannot resist making others' lives like the fiction they are watching; one who cannot resist not "selling dreams but sordid realities."

He knows the script of life, the desires of clients, and how to produce their consumption. He NEVER GETS OFFENDED and never gives up.

He sings *Malafemmena* because when any psychology is used, nothing happens to him. On the contrary, he states, "I start making money: it takes 20 seconds to make 2 million euros."

Poverty is a sad thing, and social relationships are complex; therefore, an asocial person like him is needed, and the fiction *Congo Diana* seems perfect to package for his networks.

His wife Veronica continues to insult him and leaves for Cambodia; and for him, unlike Battisti, ten girls are not enough, not even the 28 of Sergio Morra; he wants more. They are all invited to the state residence, where champagne will be drunk with pizza, and they can stay overnight.

He loves to seduce, so no paid women and certainly no drugs; butterflies will not be lacking.

"Thank goodness Silvio is here," he has the charisma of a stream and a ready joke, along with vulgarity lurking.

And the creature that was like "God" now finds herself in one of his rooms where, with a pathetic penknife, he wants to make her smile while she mocks his Indian-style position with which he tries to act young despite his old breath.

He swears to be faithful to the republic in the exclusive interest of the nation; the earthquake causes buildings to collapse, his wife continues to list his long, unbroken charade, and instead of going to an institutional meeting, he attends Noemi Letizia's 18th birthday.

The opening titles of *Loro 1* and *Loro 2* are the prelude to the deception underlying Sorrentino's portrayal of Silvio.

If in the first part the artistic value prevails over the narrative, in the second, even the metaphors, allusions, and disguises disappear.

Everything becomes clear, especially the project: mocking those who have been deceived and continue to be deceived, all those who are more or less responsible for a system and the power conferred on this system.

Sorrentino exercises his art bound, however, to the conflict between Law and enjoyment: his denunciation, the insult he now directs, is no longer at *Loro*, disappointed and left wondering obtusely where the mistake was, but at *Him* in the awareness that he will never be offended.

Therefore, the ambush is aimed at that inhuman human product of himself consumed unbeknownst to himself; alien to any shame, affected by apathy, and suffering from satyriasis.

Devoured by his own egocentrism, the need for admiration: a compulsive slave to the search for his own reflection in the eyes of others who do not exist for him except as a return of his own image. The ontological reflection of an ancestral inferiority complex without any logic that can consider the identity of the other.

An abysmal void that can only be filled with destructive and above all impotent enjoyment "of a peddler who has sold out women and who is just a child afraid of dying."

While on the ruins of post-earthquake L'Aquila, attempts are made to save the Christ of the Duomo, the sound of the sea is heard with all the meaning it implies: the drift of a refugee country, submerged by not only material debris.

The current early extinction of the former premier's ineligibility, just a day before the release of *Loro 2*, seems like a mockery.

The catharsis of Sorrentino's work is not intended to be completed; the need for a *Loro 3* arises, which will mark the definitive farewell to a figure that cannot be overthrown like the statues of dictators who made history.

The Duchamp of our cinema has made the urinal Italy a perfect but unfinished ready-made.

23-Jun-2023 by Beatrice