This Italian President has my vote.

Last February, I disliked Paolo Sorrentino’s “Parthenope” for being cynical, and having the title female character with more beauty than personality. I always knew he was one of our finest Italian filmmakers, and with his latest entry “La Grazia,” he still is. It may not rank with the top films he has directed, but it does manage to blend beautifully photographed images and character development in the world of politics. Indicating that “La Grazia” impeaches “Parthenope” out of office.

We meet the President of Italy and jurist named Mariano De Santis (Toni Servillo collaborating with Sorrentino again), who only has a few months left on his term and considers himself to be a “boring subject.” His wife Aurora has passed away a while ago, and has yet to move on from her infidelity, which was 40 years ago. And he doesn’t even know who her lover was.

His nickname is Reinforced Concrete,” and like most of our presidents these days, people admire and mock him. But we don’t go into the mean-spirited behaviors; we just go to the restrained and contemplative character study. He has dealt with a lot in his life, that even when he’s able to go home after his term, it still wouldn’t make any difference to him given his age.

They want him to sign a bill, which legalizes euthanasia, and he refuses because he might be labeled a murderer. His daughter Dorotea (Anna Ferzetti), who also works as his advisor, wants him to, but she doesn’t really explain to him why. All I know is that he doesn’t want to shoot an injured horse, while others tell him to end its suffering.

Another situation regards him deciding on whether or not to pardon Isa Rocca (Linda Messerklinger), who is serving time for murdering her husband. She is also the niece of the Minister of Justice’s partner, and she says she did it to end his suffering, which has to do with obsession. Indicating that he was an abusive man to her. We get a fresh interview with Isa and Dorotea, in which the former insults the latter, and takes place in a room with a rainbow on the wall.

And there’s another convict named Cristiano Arpa (Vasco Mirandola), who murdered his Alzheimer’s stricken wife “out of love,” which the President has heard before but can’t understand why. He could care less about his freedom given his age. Another old character in this film who doesn’t really want that.

Here are some examples of how “La Grazia” wants to be attractive, photographed by Daria D’Antonio. There’s a scene when a politician is walking a red carpet on a rainy and blustery day, and the carpet flips over with techno music playing in the background. And everyone is just standing there. It almost feels like something out of a Skrillex music video.

And we also get some kind of robot dog walking and inspecting in the streets. At least that’s what I like to call the robot since it walks like one.

I wish I had a better understanding of these segments and the screenplay is a little uneven at times, but I think they’re still great to look at, and Sorrentino continues to collaborate with Servillo with different kinds of humanity. He uses his emotions to oversee his turmoil and everything else around him, and he applies those elements into this President. And I still admire the scene with Ferzetti and Messerklinger, because of how these actresses trade words and show off the right dispositions.

We started the year off poorly with “Parthenope,” but finished successfully with “La Grazia.” It deals with a character’s life of love and loss, and what he has through it all. Now that is the Sorrentino we know and love.

In Select Theaters This Friday