Wait. People have been talking about this for years. Ever since Nick Tosches published the novel back in 2002, the "unfilmable" label stuck to it like glue. Then Johnny Depp bought the rights. Then it sat. For a decade. But now, the In the Hand of Dante trailer and the footage emerging from film festivals have finally given us a glimpse into Julian Schnabel's fever dream. It isn't just a movie. It's a dual-timeline odyssey that tries to bridge the gap between 14th-century Italy and a gritty, modern-day New York.
If you're looking for a standard Hollywood thriller, you're looking in the wrong place. Schnabel doesn't do "standard." He does textures. He does messy, visceral, paint-splattered reality.
The story is weird. Honestly, it’s brilliant. On one hand, you have Dante Alighieri, played by Oscar Isaac, struggling to finish The Divine Comedy. He’s exhausted. He’s haunted. On the other hand, in the modern era, a scholar named Nick Tosches (also Isaac) is called to verify a manuscript that might actually be written by Dante’s own hand. The trailer hints at this overlap perfectly, blurring the lines between the creator and the critic.
What the In the Hand of Dante Trailer Reveals About the Cast
The cast is basically a "who’s who" of people who don't care about box office numbers as much as they care about art. Oscar Isaac is doing double duty here. He looks weathered in both timelines, but there is a specific kind of ancient fatigue in his eyes when he’s playing Dante. It’s a bold choice. Most directors would have cast two different actors to keep the audience comfortable. Schnabel wants you uncomfortable.
Then there’s Gal Gadot. Forget Wonder Woman. Here, she seems to be playing a role that requires a much more grounded, almost noir-like sensibility. The In the Hand of Dante trailer shows her in snippets that suggest a complicated relationship with Tosches. It’s smoky. It’s tense.
Jason Momoa is in this too. Yeah, Aquaman. But he looks nothing like a superhero. He looks like a guy who has seen some things. The ensemble is rounded out by Gerard Butler and Al Pacino. Having Pacino in a film about the legacy of Italian literature feels like a meta-commentary all on its own. He’s the bridge to the old world of cinema.
The Visual Language of Julian Schnabel
You have to remember that Schnabel is a painter first. When you watch the In the Hand of Dante trailer, the first thing that hits you isn't the dialogue. It's the light.
The 14th-century scenes don't look like a Renaissance fair. They look damp. They look like they smell of old parchment and woodsmoke. Sicily and Venice aren't just backdrops; they are characters. The production moved through Italy with a sense of urgency, filming in places like Palermo and Rome to capture an authenticity that CGI just can't mimic.
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- The modern scenes use a colder, sharper palette.
- Handheld camera work creates a sense of frantic intellectual pursuit.
- The historical segments feel more static, heavy, and burdened by the weight of "The Inferno."
The editing in the trailer suggests a non-linear approach. We see flashes of Dante’s quill hitting paper cut against Tosches handling the ancient pages with gloves. It’s about the physical connection to history. It’s about the "hand" of Dante, literally.
Why the "Unfilmable" Tag Persisted
For years, this project was in development hell. Johnny Depp was originally attached to star as Tosches. When a project lingers that long, people assume it’s broken.
The book is dense. It’s a meta-fictional deep dive into the nature of genius and the black market for rare books. Translating that to a screen usually results in a lot of boring scenes of people looking at dusty shelves. But Schnabel seems to have focused on the obsession.
The trailer highlights the danger. There are guns. There are threats. There’s a sense that owning this manuscript is a death sentence. It’s a literary thriller, but the "thriller" part isn't just for marketing. It’s baked into the idea that Dante’s work is dangerous. It’s a map of hell, after all.
Fact-Checking the Production Journey
Let’s be real about the timeline. Production actually kicked off in Italy in late 2023. This wasn't a rushed job. Martin Scorsese is an executive producer, which should tell you everything you need to know about the pedigree. When Scorsese puts his name on a project about Italian heritage and spiritual crisis, he’s not doing it for a paycheck.
The film was granted a SAG-AFTRA interim agreement during the strikes, which allowed filming to proceed while most of Hollywood was shut down. This gave Schnabel a unique window to capture the grit of Italy without the usual noise.
Understanding the Two Dantes
The In the Hand of Dante trailer makes it clear that Oscar Isaac is the soul of this film.
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In the 1300s, his Dante is a man running out of time. He’s a political exile. He’s a man who has lost his muse, Beatrice, and is trying to find her in the afterlife through his writing. It’s lonely work.
In the 21st century, his Tosches is a man who has lost his way in a different way. He’s cynical. He’s a scholar who has seen too much of the world’s ugliness. The manuscript represents a chance at something pure, even if it’s wrapped in a violent conspiracy. The trailer juxtaposes these two men to show that human suffering and the desire for legacy haven't changed in 700 years.
The Sound of the Hand of Dante
Music plays a massive role in how the trailer feels. It’s not a sweeping orchestral score. It’s something more jagged. It feels like it’s scraping against the images.
There’s a rhythmic quality to the way the trailer is cut—the sound of the pen, the sound of footsteps on stone, the sound of a gun cocking. It builds a sense of dread. You aren't just watching a historical drama; you’re watching a descent.
Common Misconceptions About the Movie
A lot of people think this is a biopic. It's not.
If you go in expecting a factual retelling of Dante Alighieri's life, you'll be confused. This is a fictionalized version of a fictionalized book. It’s about the influence of Dante. It’s about how a single man’s vision of the afterlife can ripple through centuries and affect a bunch of criminals and academics in New York.
Another mistake? Thinking this is an action movie because Jason Momoa and Gerard Butler are in it. While there are elements of crime and violence, it’s much more of an art-house film with a high budget. It’s cerebral. It’s meant to make you think about your own mortality.
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The Role of the Manuscript
The physical object of the manuscript is the "MacGuffin," but it’s also the heart of the film. In the trailer, we see it being handled with a mix of reverence and greed.
The real Divine Comedy was written in the early 14th century. There is no surviving original manuscript in Dante’s own handwriting. That’s what makes the premise of the movie so compelling. What if one existed? What would people do to own it? The film explores the commodification of art—how something meant to save the soul becomes something people kill for.
Navigating the Religious Themes
You can't talk about Dante without talking about religion. But Schnabel’s approach seems more spiritual and philosophical than strictly theological.
The trailer shows imagery that evokes the Inferno, but it’s often mirrored in the modern world. The "hell" isn't just a pit of fire; it's the 42nd Street underbelly. It’s the corruption of the soul in the pursuit of power. The trailer uses these themes to create a bridge between the two eras, suggesting that we are all living in some version of a circle of hell.
Actionable Insights for Fans and Viewers
If you’re planning to watch the film based on the In the Hand of Dante trailer, here is how to prepare for the experience:
- Read (or Re-read) the Inferno. You don’t need to be a scholar, but knowing the basic structure of Dante's journey will make the visual metaphors in the film much more rewarding.
- Watch Schnabel’s Previous Work. If you haven't seen The Diving Bell and the Butterfly or At Eternity’s Gate, do it. It will help you understand his visual style so you aren't caught off guard by the experimental cinematography.
- Look into Nick Tosches. The author of the book was a real person (he passed away in 2019). He was a legendary music journalist and novelist who specialized in the dark side of Americana. Knowing his "voice" helps explain the cynical tone of the modern-day segments.
- Follow the Festival Circuit. This film is a prime candidate for Venice or Cannes. Keep an eye on early reviews from these festivals, as they will give you a better idea of the film's pacing and how the dual-narrative is received by critics.
- Check the Soundtrack Release. Given the heavy atmosphere of the trailer, the score is likely to be a standout. Look for the composer's credits when the full film is released to find more music in that vein.
The film is a massive undertaking. It’s a risk for everyone involved. But in a world of sequels and reboots, something this strange and ambitious deserves the attention it’s getting. The trailer is just the beginning of what looks to be a very deep, very dark rabbit hole into the mind of one of history’s greatest writers.
To truly appreciate what Schnabel is doing, look for the official high-definition releases of the trailer on production company sites rather than grainy social media rips. The textures of the film—the grain of the 35mm film or the digital equivalent Schnabel used—are half the story. Pay attention to the transitions between the historical and modern scenes; they usually happen through a shared sound or a similar visual shape, which is a classic Schnabel technique to show that time is an illusion.