Ferzan Ozpetek
Diamanti

Ensemble films, as we know, are always risky, even though Ozpetek has proven in the past that he can more than capably manage so many characters. Here we perhaps find an exaggerated female presence which, while representing one of the film's positive sides, results in the sacrifice of the depth of many of these figures. However, this is not a serious flaw because at the forefront is primarily the tailoring work, which becomes a true homage to one of cinema's fundamental components: the costumes.

This, combined with the love for women that permeates every frame of the film, saves Ozpetek's entire work, whose sensitivity towards the female universe is unparalleled in our film industry.

The performances of all the actresses are outstanding, even those with less screen time. It's hard to rank them between Scalera, Minaccioni, Ranieri, Savino, etc. Even Jasmine Trinca (who personally never wowed me) manages to bring out her fragility in contrast to Ranieri's apparent toughness. Moreover, Mara Venier's acting is surprising as she is completely at ease in a kind of matron/hen role, where her overflowing physicality also shines.

The metacinematic idea of the discussions between the director and actresses at the beginning and other moments of the film, although not particularly original, did not disturb; on the contrary, it managed to enhance the flavor of sisterhood and healthy female solidarity that constitutes the true backbone of the film.

Ozpetek always skillfully manages to juggle between "light/comedic" moments and more dramatic ones, which can often take on very strong tones. In this film, not everything perhaps works (the story of the missed date with Ranieri's youthful love is beautiful, whereas the resolution of the domestic violence story feels very forced). Some dialogues on lofty matters are a bit hasty, trying too hard for effect, but generally, it can be overlooked, or rather, one can sit alongside Ozpetek and his beautifully laden tables.

Worth mentioning in the soundtrack is the "return" of Giorgia, performing the song that gives the film its title, years after "La finestra di fronte."

Final dedication to Mariangela Melato, Virna Lisi, and Monica Vitti.