The dreamy, young Munich-born Lilly inherits the house of her godfather Gianni, a winding, picturesque weathered palazzo in the heart of Venice. The other half inherits Francesco, who is to come up as a wealthy hotelier for the maintenance and Lilly likes right off the bat. While Lilly is wondering if Francesco is even Gianni's son, the two get closer. But Lilly has scruples about destroying Francesco's relationship with Giovanna. When her mother Teresa and her father Max arrive in Venice, Lilly learns a long-guarded family secret that finally shakes her tight-knit world.
A refreshing twist is that all the kids’ powers are…kind of useless. There’s a kid who can only move in slow motion, a kid who has every power in the world but can only use them randomly, and our main character Missy who has no powers at all. The thesis of the film seems to be that it doesn’t matter what kind of powers you have, its the way you use them, which is good for the warm and fuzzies.
Set against the backdrop of the Jim Crow era, the film offers layered representation.
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.
For a young girl who wishes to keep her current traditions, this holiday will end up with a surprise twist.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
