In “Diamanti”, Ferzan Özpetek explores female dynamics, with greater depth than in his previous films. It celebrates a form of “sisterhood”, an ideal that reflects a time now vanished. “Diamanti” is not only the title of the Italian-Turkish director’s latest film, but a brilliant metaphor of the female experiences that are reflected in the costumes of a 1970s tailor’s shop, directed by the Canova sisters, two women who are totally different but deeply connected. . Each female character, from the seamstress to the costume designer, from the young intern to the director, brings with her a unique story; all together weave a fresco of lives that intersect and support each other.

Özpetek, with his narrative style, infuses the film with an emotional depth that transcends simple narration. In this film, women are pillars of strength, resilience and emotional complexity; they embody the ability to smile in the face of adversity, to love despite pain, to rise above one’s circumstances. The film’s protagonists are not just background figures in the larger ‘plot’ of cinema and fashion, but are vibrant essences that reflect the challenges and triumphs of the female universe.

The film takes place in a tailor’s shop in Rome in the 1970s, a place where time seems to stop among the fabrics and pins, but personal stories continue to flow with dramatic intensity and touches of light comedy. Here, women not only create clothes, but also opportunities for redemption, love and change. Tailoring becomes a microcosm of society, where personal battles are reflected in professional dynamics and laughter arises from the ashes of tragedies. Every tear shed, every glance exchanged is filled with meaning and history, making the film not only a sight to behold, but a lesson to be learned.

I loved the screenplay, and the credit goes not only to the impeccable direction of an extraordinary filmmaker, who did not disappoint expectations even on this occasion. The real magic of this film lies in the detail of the interactions, the dialogues and the extraordinary skill of the actresses. With highly experienced artists like the protagonists, it is natural to assume that they drew on their own biographical asperities to imbue the interpretations with authenticity and depth full of feminine strength. These women are never mere extras: they are mothers, warriors, lovers, intellectuals, all played with a depth that challenges traditional cinematic machismo.

Masterful comic timing in real life too

In this film, the comic timing, guided mostly by Geppi Cucciari, proves to be impeccable, capturing the essence of theater transposed to cinema. The synchrony of the beats, in addition to being a pleasant sonic detail, is also evident in visual perception; perhaps thanks to the fact that the director decided to include authentic moments in the film, when he presents the film project to his diamonds during one of his famous dinner parties. And even in these scenes, the actresses show that they know how to dominate the comic timing “off the set”, maintaining the same rhythm even in real life and demonstrating that their art is not limited to the confines of the cinematographic canvas, but is a living breath that accompanies them at all times. And perhaps this is also why, ten days after its release, the film continues to fill cinemas every weekend.

Ferzan Özpetek’s table as a narrative symbol

Once again Özpetek’s table stands as an altar of human truth. Avoiding spoilers, in the short flashbacks in which the script is read, the actresses take off their masks to reveal their souls with sincerity and sweetness. That sincerity that liberates but at the same time hurts. The way Özpetek uses the table is not just a scenic element, but a powerful narrative symbol. This everyday object becomes a meeting place where differences collide and similarities embrace, reflecting the complexity of human relationships. His tables are never just pieces of wood and metal; rather, they are the custodians of the most intimate stories, often revealed between one course and another. The director, with a keen eye for the details that characterize the humanity of his characters, shows us how the moments spent around the table can alternate the lightness of shared laughter with the tensions of unexpected truths. It is in these moments that the roles written by Özpetek are sculpted most deeply, emerging in their emotional and psychological entirety.