The Sex of Angels is the new film written and directed by Leonardo Perraccioni, with the Tuscan director also in the role of protagonist Don Simon, on a screenplay created in collaboration with Filippo Bologna. To complete the cast is Sabrina Ferrelli, Marcello Fonte, Gabriella Giovannaardi, Eva Moore, Mighty Yannis, Valentina Bigurier, Giulia Peroli and Massimo Scicherini.
The sex of angels: the plot of the film
The film tells the story of Don Simone (Leonardo Pieraccioni), a somewhat spontaneous and above-mentioned priest—which is why he’s already been warned twice by the Roman Curia—committed to reviving the fortunes of the Church of the Angels in Florence, which lies (literally) apart. He is frequented by a few elderly women, by Sacristan Giacinto (Marcello Fonte) and the lonely young boy Venezio: there are not enough offers to fix the roof collapsed due to dampness. But one day, luck (or perhaps the Lord himself) seems to begin to help Don Simon: strange uncle Valdemaro (Massimo Seccherini), who has recently passed away, has in fact inherited everything to his nephew. According to the notary, the latter consisted of a well-established and profitable company, valued at more than one million francs, in a luxury estate in Lugano, Switzerland. The only uncle asked that Simon accept the inheritance within seven days. Once in the Swiss lakeside town, the parish priest will realize – not without difficulty and many misunderstandings – the true activity of his uncle: the property is a meeting house frequented by the upper middle class in Ticino, where it is beautiful and splendid. Young prostitutes are run by “The Maid” Lina (Sabrina Ferelli). Don Simon will then have to decide whether to accept the inheritance and revive the riches of his discourse or reject it in the name of morality.
An attempt at modernity ends in the old
Pieraccioni returns to the cinema four years after Se Son Rose with a light-hearted film that attempts to parody political correctness in a modern key, but turns out to be the classic misunderstanding comedy around which all the jokes of the case revolve. A commendable attempt to create a “modern” misunderstanding, will obfuscate a reality like religious reality, in fact take a turn on itself and return exactly to its starting point, sometimes falling into the same morality you want to mock. Breaking through the wall of political correctness, current and progressive, with today’s world as “old” as the religious world, proves to be an ineffective option. This unsuccessful effort is accompanied by the greatest error, which is – as already mentioned – of falling again exactly that fool and bigot who, in theory, should be the definite enemy. In fact, the jokes of the characters are not only childish and quite predictable given the context, but they are also accompanied by exits that are completely outside this time (such as famous “young men” who are together on social media and do not know what it means to be together physically, as in rhetoric) and excessively moral judgments on the female universe. Choosing to show a reality like that of Switzerland’s prostitution, legal and controlled, is in fact destroyed by this moral veneer that the film must instead wipe through customs. From the very first scenes, it’s tacitly assumed that the dating house, although obviously a business, should shut down, and no one knows why. Moreover, instead of disturbing his priestly vocation, while living in Switzerland, the protagonist Don Simon continues to look at the girls with paternal eyes, almost full of pity, as if they are looking for some redemption: the fact that they know literally “free professionals”. Basically, the game of “contrast” between the two worlds, which can elicit laughter if you also discover the game of the druid, never encounters the infamous scales and scales. It should also be noted that although these women are “condemned”, the camera never hesitates to focus on their bodies, bras, panties and garters for several minutes of the film.
The Sex of Angels, therefore, is a clumsy attempt to ridicule modern political correctness through gross misunderstandings and, above all, predominate in morality and the old-fashioned way that the film should, in theory, reject.