Diamanti Review: A Sumptuous 1970s Costume Melodrama
Director Ferzan Özpetek’s film Diamanti is a visually lavish comedy-drama set in a Rome costume atelier during 1974. The narrative centers on sisters Alberta and Gabriella, who manage a studio of seamstresses tasked with creating costumes for an 18th-century period film. While the review notes the film is light on comedy and heavy on melodrama, it praises its irresistible charm and sincere homage to female camaraderie. The movie features a powerhouse ensemble cast, including Luisa Ranieri and Jasmine Trinca, navigating personal struggles, romantic tensions, and professional deadlines. Visually, the film excels with luscious shots of silk fabrics, detailed haberdashery, and mouthwatering food scenes, appealing to fans of queer-accented celebrations of women akin to works by Pedro Almodóvar or François Ozon. Although described as fluffy and occasionally absurd, the film is driven by Özpetek’s personal inspiration from his early career visits to Roman costume studios. The production design, particularly the costumes by Stefano Ciammitti, is highlighted as convincing and aesthetically pleasing, despite some eccentric final designs. Ultimately, Diamanti offers a soapy yet heartfelt exploration of collective craftsmanship and sisterly bonds amidst the vibrant backdrop of 1970s Italy.
Wire timeline
Diamanti Review: A Sumptuous 1970s Costume Melodrama
Director Ferzan Özpetek’s film Diamanti is a visually lavish comedy-drama set in a Rome costume atelier during 1974. The narrative centers on sisters Alberta and Gabriella, who manage a studio of seamstresses tasked with creating costumes for an 18th-century period film. While the review notes the film is light on comedy and heavy on melodrama, it praises its irresistible charm and sincere homage to female camaraderie. The movie features a powerhouse ensemble cast, including Luisa Ranieri and Jasmine Trinca, navigating personal struggles, romantic tensions, and professional deadlines. Visually, the film excels with luscious shots of silk fabrics, detailed haberdashery, and mouthwatering food scenes, appealing to fans of queer-accented celebrations of women akin to works by Pedro Almodóvar or François Ozon. Although described as fluffy and occasionally absurd, the film is driven by Özpetek’s personal inspiration from his early career visits to Roman costume studios. The production design, particularly the costumes by Stefano Ciammitti, is highlighted as convincing and aesthetically pleasing, despite some eccentric final designs. Ultimately, Diamanti offers a soapy yet heartfelt exploration of collective craftsmanship and sisterly bonds amidst the vibrant backdrop of 1970s Italy.
The Guardian