Paolo Sorrentino's distinct style plays through the entirety of the film. The use of distinct lighting, camera moves, sound and soundtrack and framing all create a film that is wholistic in a way that allows the chaos of the characters - and the circumstances of their actions to be contained within a narrative that speaks depths about Andreotti and his time in power as Prime Minister and shortly after he is outvoted.
An example of Sorrentino's camera work is the use of a shot being created by framing characters in a mirror only to pan in the midst of the scene to reveal that the action has only been reflected to this point of movement. It reveals the duality of the characters and how they are split within themselves. Sorrentino uses soliloquy in order to allow the audience to get a deeper understanding of the internal nature of character. Specifically we watch as Andreotti gives an impassioned speech about his wife, his belief in survival and how evil is necessary for good which he, like God--in his words--understands as well. Sorrentino also uses lighting and movement in order to tell this story in a very specific way. The opening scene with Andreotti in near darkness--only a table lamp lighting his frame--is seen as the camera pushes in to find him in a close-up with acupuncture needles in his face. From far away we can make assumptions about what we believe we know, but as we get closer we see a truth that is possibly more disturbing than we could have ever imagined. We also see Andreotti confessing to the priest and the priest is in light and Andreotti in darkness as if even in confession the guilt of his choices in loom greatly over him and as the camera moves to focus only on him, it's saying that he isn't able to receive forgiveness.
Sorrentino uses a kinetic camera in order to convey the swirling and never-ending movement and seeming chaos and frantic nature beneath the surface of Andreotti, a character that reveals very little upon the surface. His manner is tight, his voice rarely raises from a neutral tone and his body is held tightly--all of this shows that he hides everything that is underneath him which demands that others either bend to his place of being or risk coming off to high and thus incapable of dealing with him, the man with great power in Italy--the Prime Minister. In all, Sorrentino opens up Andreotti in a way that is as quick as the man's nature would allow thus the camera creates very clear statements about the man where his tension has hidden it.
