Do film directors really walk around peering at the world through the frame of their joined hands? They do it often enough in the movies—but that’s where it counts, because the rectangle of fingers resides inside the larger frame of the film itself, turning the character into a camera and his experience into a movie within the movie. The final shot of Paolo Sorrentino’s commanding philosophical drama Youth shows an elderly filmmaker making a viewfinder with his hands in just this fashion, and it’s appropriate to a film that, while dwelling primarily on the discontents of old age, also considers the creative problems of movie people and, more specifically, the friction between their work and their own sense of self. Continue reading >>