In 1970s Rome, a filmmaker gathers actresses for a new project, which triggers memories of his past working in a Roman costume shop, run by Alberta and Gabriella, navigating personal and professional challenges while creating costumes for a major film.
Luisa Ranieri
Alberta / Luisa
Jasmine Trinca
Gabriella / Jasmine
Elena Sofia Ricci
Elena
Lunetta Savino
Eleonora / Lunetta
Vanessa Scalera
Bianca Vega / Vanessa
Kasia Smutniak
Sofia Volpi / Kasia
Milena Vukotić
Zia Olga / Milena
Anna Ferzetti
Paolina / Anna
Geppi Cucciari
Fausta / Geppi
In 1970s Rome, a filmmaker gathers actresses for a new project, which triggers memories of his past working in a Roman costume shop, run by Alberta and Gabriella, navigating personal and professional challenges while creating costumes for a major film.
Ferzen Özpetek convenes a selection of people he hopes to cast in his latest (this) film, and after plying them with a fine lunch and plenty of vino, they are given a draft script to read through. The story they now read centres around a fashion house that specialises in costumes for movie stars and that is run by sisters "Alberta" (Luisa Ranieri) and "Gabriella" (Jasmine Trinca). The former is a fastidious task-master, the latter seems distracted by something and appears often to have a glass in her hand. When Oscar winning designer "Bianca" (Vanessa Scalera) arrives with her creatively ambitious commission, the team of seamstresses not only have to craft from her imaginative designs, but they also have to come up with their own fair share of ideas to complement a woman who is having a few wobbles in confidence. With this scene now set, we observe just how this team of women deal with the task in hand whilst also reconciling a range of personal concerns ranging from childcare problems to homelessness and domestic abuse issues, all while we learn a little more of the gradually unraveling dynamic between the siblings who are obviously dealing with something - but in entirely different ways. The basing of the story in this busy and lively environment works well and allows us to enjoy a variety of storylines, some more serious than others, and many of these often quite charismatic actors to have their moment or two in the limelight. There is a hearty dose of sarcastic realism from many; plenty of skittishness from the 'stars' and more than a little glimpse into just how much work goes into these period dramas that we so readily take for granted every time someone decides we need some more Jane Austen or "Devil Wears Prada/Balenciaga/Gucci/Versace". It's essentially a film about how women work together, gel and engender loyalty but it's also about women who know how to appreciate (and tease) the handsome delivery lads who are frequently all fingers and thumbs when faced by women of their mother's ages flirting with them mischievously. Even amongst the most glamorous, though, I did struggle to imagine who might wear that red frock at the end. Think "House of Eliot" only with laughs and more intensity.
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Jon Katz is close to burnout. He's a writer with writer's block; his wife has left for her sister's because he's emotionally distant; he rarely answers his phone. A kennel sends him a border collie that's undisciplined because of abuse. Despite a series of mishaps, Jon decides to keep trying with the dog, and he rents a dilapidated farm house to give the dog room to run. A local handyman refers Jon to a woman who might be able to help him train the dog. Reluctantly, Jon gives her a try. Is the dog the problem, or the owner?
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