Ferzan Özpetek crafts a sun-drenched late-70s backstage world where fabric, gossip, and a shared hunger for creative power bind a group of women. The director folds his own perspective into the film, turning the production itself into a meta-subject that questions how cinema is made as much as what it shows.
The story centers on Alberta, a formidable atelier head running a costume shop that outfits a prestigious period drama. Her team juggles personal upheavals—family strains, quiet heartbreaks, and stubborn dreams—while machines chatter and rhythms of sewing punctuate the room. The result is a living, loud workspace that feels both intimate and cinematic.
Interludes staged as a table read pull the audience back to the director’s perspective, reminding us that filmmaking is a collaborative, emotional craft. These interruptions can feel self-indulgent, but they also highlight the movie’s core message: the power of a women’s collective and the joy of making something beautiful together.
Visually, the film bathes the atelier in warm yellows and greens, evoking a nostalgic glow that suits the craft and era. The costumes shine with meticulous detail, serving as both protective armor and wearable art for the characters. Led by Luisa Ranieri, Jasmine Trinca, and Stefano Accorsi, the ensemble blends wit with sincerity, keeping the melodrama buoyant rather than dour.
Diamanti embraces its opulent impulses, delivering a vivid, exuberant spectacle that can lean into excess. If you surrender to Özpetek’s generosity and the vibrant world he creates, the experience becomes a joyous celebration of women’s artistry and resilience.
Source: Original article
