Original subtitles

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(CHIRPING)

(INDISTINCT VOICES)

(OVERLAPING VOICES)

Love, alone?

- That's a piece of limestone. - Yes, really?

- A lot. - Be careful, I have them. bought yourself.

(OVERLAPING VOICES)

- Nail. - Thank you.

- Do you want anything else? - Some chips.

Guys! Guys! Someone give us a hand

that we take things over there.

Something to drink?

- Attention. The lasagna is hot, girls. - Does it burn?

- You get burned. - Okay. - Go, go.

Attention, attention.

You did something light!

- I was on a diet. - You can eat with Ferzan.

- The dishes! The dishes! - You have to get the plates.

They arrived at the right time!

OZPETEK: Guys? The dishes! Get up for a moment!

I don't touch anything anymore.

- I'm going away. - No, don't go. No.

- Come on, you're with all of them. - No, don't go. No.

- Who wants some crudités? Pinzimonio. - Yes, that is.

You have to tell us something, Ferzan!

No, you're not on a diet, but I am.

VINICIO: Napkins, guys!

VANESSA: Stefano! One thing during the day, handsome, come on!

So, let's start eating,

so I'll tell you why of all this.

Mara's been here since 7:00, huh?

Thanks Mara! (APPLAUSE)

OZPETEK: He's been here since 7:00.

MARA: Please, this and more for you, this and more.

GEPPI: However you are a "MasterChef Celebrity"

But the napkins Don't you have them here?

- What is it, just a little thing... OZPETEK: So...

..yesterday, I called Mara, I said: "Come, please, help me,"

"why did I call all my actresses".

She says, "For what?"

"Because I have to make a movie with them."

With my actresses and not like Geppi, like Vanessa,

in short, someone is missing.

You wanted to fix this gap in your career,

I understand it. (LAUGHTER)

Obviously there are two men

and there will be four in total... GEPPI: There is a scene...

- There is... - But there is a scene between Stefano and Vinicio who...

No.

- No no. - ..they unite

in the supreme ecstasy that is proper of the idyll of love? - There isn't.

There is none of that what do you expect.

- Good work everyone! OZPETEK: No! Just sit down for a moment.

Sit down for a moment, what do I have to do? explain some things. Wait a moment.

Wait a minute! ELENA: Oh, no! Don't make me another aunt!

Not even a grandmother, please. - I'll do it.

- I'll make you be a mother... - Mom?

- I'll make you play the mother, do you know whose? Huh?

Luisa and Jasmine.

You have to make me older.

I have to age you, I know, I know.

No, because I don't know if you saw how are they...

Maybe I'll make them look younger.

LUISA: It takes a miracle! (LAUGHTER)

OZPETEK: It takes a miracle.

You have a clear idea of ​​what to do of this "vaginodrome",

do you have it, yes or no? - "Vaginodrome"? - Of what?

About this...? - Seeing all these women,

I asked myself: what do you do with it? of this vaginodrome?

- You have clear ideas about... Vaginodromo?

But vaginodromo can't... it doesn't you can call a movie "Vaginodrome".

- No. OZPETEK: I want to tell you this,

I would like to make a film where there is the power of women,

women's work...

A science fiction film practically. What movie is this?

OZPETEK: You are my diamonds. (OVATIONS)

(STEFANO) And to the Diamonds!

Hey!

PAOLA: To the vaginodromies!

- What a great idea, Jasmine! MARA: A bit "harnessy"!

- At that time... VINICIO: Will you tell us more?

So, let's eat, then I'll tell you everything.

I also have some small scripts that you will read

and we talk about it... - Then I'll go and leave you.

- No! Again? What a drag, no! - No, really,

I feel like I'm in the way.

Come on, toast for a moment. Toast for a moment.

- To the women! To the women! - To women and those who love them!

("DIAMONDS THEME - READING" (GIULIANO TAVIANI AND CARMELO TRAVIA)

(LORENZO: Listen Bianca,)

(you can't change things like that without asking. Understood?)

(AUNT OLGA: ..don't do it the goody-goodies,)

(what with all those actors famous...)

(BRUNO: But you didn't have to go back to five to make me dinner?)

(FAUSTA: The body is mine and I'll manage it myself.)

(ELEONORA: Ennio, what are you saying?) (FAUSTA: Revert it!)

(Freedom is this, do whatever you want.

(CARLOTTA: ..the Pink... Diamond.

(BEATRICE: I had no idea anyway)

(how crazy it could be this world,)

(of how much thought, talent, determination, were behind it.)

(I still haven't figured out what I want to be an aunt, but one thing is certain,)

(I want to stay in here all my life.)

GIUSEPPINA: I'm the cousin of Carlotta, the dyer.

She's the one who told me to start from here,

if I want to be a costume designer.

The manica is going to be ripped off.

I told the seamstresses which had to be thrown back.

- Repent. - All right, ma'am.

I would like to point out that, when we introduce ourselves,

the name is said first and then who you are related to.

- Oh, um, yes. My name is Giuseppina. - We understood that.

And I studied at the Fashion Academy and Costume by Rosanna Pistolese.

I'm fixing it.

Costume and Fashion. The Academy is said of Costume and Fashion,

not Fashion and Costume. Field experience?

Eh, no, none. I just went out from the Academy and...

This skirt is short on the sides, have you seen it?

Yes, of course, Mrs. Alberta, we have to fix the hem... - Do it!

So if you did the Academy, can you tell me

who made the heads of Satyricon?

Yes. He made the costumes...

- Beautiful Paolina. ..Danilo Donati?

- Good work. - Thank you.

I didn't ask you for the costumes, but the heads.

Do you know Piero Tosi?

Yes, I've heard of it.

Do you want to be a costume designer? and have you heard of Piero Tosi?

Ok, for now, collect scraps and then if needed...

..see serve, ramendi.

No, but I don't want to be a seamstress, I want to be a costume designer.

"Me"? "Me" doesn't exist.

Here we exist "we"

and we need someone who learns to sew well. Clear?

A good costume designer is, first of all, a good seamstress.

If you don't know how to do it, you can't command.

Go to Ennio and ask for a coat.

- Faust? FAUSTA: Yes.

This neck doesn't turn well.

Eh, we've already done it twice.

Eh, but it doesn't run well? It needs to be redone.

No, with this hair it's impossible, look, he's not coming,

it will never come the way she wants it. - Do it the third time,

see he's coming!

Our work is done...

- ..of details! - Exact!

This one, Mina wants it ready by Saturday, huh?

Well, Friday is better, right?

If there's something wrong, at least we'll fix it.

But why, okay, Mina never has anything to say.

Mina doesn't, but I do.

I know very well that you have something to say.

How did you treat this poor girl, huh?

ALBERTA: As she deserved.

GIUSEPPINA: I can't find it. this Ennio.

Here, exactly.

- Are you still cooking like this? - Did you come to give me a hand?

Well, if it would help us not to do it look like a canteen, yes.

But who is to come, the Queen of England? Come on! Huh!

Almost.

(sighing) Have you eaten?

I don't remember.

Look, at a certain age, you have to eat,

otherwise you lose weight and you get wrinkles.

Mhm. We'll see. that you are not in any danger.

At my age, no. At yours, yes.

Let's try to stay focused, okay? Especially today.

Rail third.

- And what are you doing? - I collect the scraps.

Put it on the ground, we have to show that we work.

But, look, we're working.

(SILENCE)

Gabriella? What are you doing?

- I'm finishing Turandot. - Come on, come with me for a moment.

Oh, sir, no, you're not looking at the dress. because it's not perfect yet.

I told you, but you can't hear me?

That's not the point.

- Ennio? - Yes, ma'am.

When she is with us in the office over there, you enter twice

and you ask us if you can disturb us.

Must I disturb you, madam?

No, you have to ask if you can disturb. We will tell you no.

Yes, but also less enthusiasm, eh? It looks like this is a hyena.

Well, she may be a hyena, but she's good.

ALBERTA: It's an Oscar winner.

("WHITE VEGA" (GIULIANO TAVIANI AND CARMELO TRAVIA)

BIANCA: Hello! Good afternoon, salve.

- Good afternoon. - Good afternoon.

No, no, no, no! Comfortable, no, keep going, thanks.

ENNIO: Mrs. Vega?

Mrs. Bianca Vega?

Welcome, please follow me, we were waiting for her.

BIANCA: This is a huge movie.

It's beautiful, but it's huge.

Then, after the second Oscar,

Lorenzo was given carte blanche from production,

so I find myself preparing a movie in three weeks, but...

- In three weeks? - Yes, three weeks, four maximum.

ALBERTA: We can do it.

Oh, what's up? - Yes, yes.

- You read the script, right? - Yes, yes, of course.

It goes without saying that I will have to turn to even to other tailors.

So I was thinking of doing it here only the protagonists' costumes and that's it.

No, but you can do everything here. The whole movie.

Well, but maybe we'll see together the sketches first.

And sure, it's obvious. (KNOCKING AT THE DOOR)

ENNIO: Can I disturb you? - No!

Actually, bring another bottle.

Right away.

Bianca look, we are honored to make this movie

and work with you. - Thank you.

It's an almost reinvented eighteenth century, no? That... that gets to the essence.

I want it primal, I don't want it...

..I don't want it pictorial, I want it geometric.

But most of all I want it... I want it corporeal.

I want the-the fabrics,

the-the forms, remember the consistency, precisely, of the meat,

the-the little folds that we have here.

In the scene of the... of the stairs, the costume falls!

It falls together with the protagonist. Give me some beads?

(IMITATES THE NOISE OF BEADS)

Of course it has to be sensual, Yes,

but determined.

But do I explain myself when I speak?

PAOLINA: Yes, yes.

Yes?

Yes, yes.

Oh, good. And come closer, right? Look. Eh!

Here, of course it is understood here, no?

It must be understood that we are in the mid-eighteenth century!

But I don't want him old, I don't want it stale.

Well, dust, powder as much as you want,

but the important thing is that it's dust...

..luminescent, light.

This for me is the ego of the-of the... of his wounded soul.

How do you want to mount these beads, White? With fringes?

BIANCA: And I... I don't know. What do we do?

Shall we get some ideas?

Then, who is it that...

- ..who is the dressmaker here? - Me! Paolina.

Pauline. Pauline, good.

Let's lengthen the fountain. Mhm? - Ahh!

Yes, because the fountain becomes a symbol for me.

Project all that that we have inside and throws it.

Ahh!

Because everywhere, wherever the gaze is,

the woman always points towards the sky, upward,

towards what is not...

..you can't see it, but we feel it.

And we are connected to the stars.

That's why we feel everything.

What an incredible woman, right? Beautiful, charming, enlightened.

-She says she goes from one man to another. -And he's right to do so.

And who can't find an assistant, because no one is up to his level.

He seems to have lived, like, London, Paris, New York, eh?

Ah, well! At most, I was in Morlupo.

If you want to leave too, go after her.

But where are you going, then here with everyone? these baskets and fountains "we're dying"!

Let's go up!

Wait, I'll get lost now 95 again!

Paolina! For Simone.

(INDISTINCT VOICES)

- Give him a kiss, huh? - Thank you Silva'.

- I'm running away because I'm leaving school, huh? - Go, go!

Bye girls, see you tomorrow!

- Hello Fausta! - Where are you going, darling?

To Piazza Navona for a drink. HI!

Now that's how you say it! "Have a drink"?

Blessed Fausta who lives with her friends and does not have to answer to anyone.

But why, excuse me, who do you have to answer to?

I have my own things, what do you think?

It's not that if one is a widow, he has nothing to think about.

Eleono', come on, the bus is passing, come on! Hi girls!

HI.

But how is Vittorio?

- He's fine. - Ah.

- And how should it be? - Safe?

Oh, yeah, sure, that one looks great. You know what?

He has a beautiful relationship with his father, no?

- Well. - They're really close.

What's wrong Nicole?

Is it for overtime?

- No. - Are you afraid to tell your husband?

No no!

It's just that I was thinking how to organize myself with timetables...

..Like this.

Then, what don't you know? You have your own things too, right?

I keep my things to myself!

You're right! Bye, Eleonora, see you tomorrow!

HI.

Victor?

Love?

(THE DOOR OPENS)

(THE DOOR CLOSES) Victor?

He didn't have lunch today either.

You're not saying anything, are you?

But what do I have to tell you? Me too, at his age, I wanted to do as I pleased.

- Did you want to do as you pleased? - Well.

Eh, but how do you like it? with your friends, maybe with me.

Eh?

Vittorio, he doesn't leave the house, he doesn't leave that room,

he doesn't even go to school anymore.

It's not normal!

My goodness, how exaggerated you are. Vittorio is very normal.

"There's a period, there's a period."

(TICKING)

Do you know what happens now?

That I'll prepare dinner for you, you eat and your son doesn't.

Not your son!

- Huh? - Is it normal?

(RUSHING)

Where are you going?

At home.

The others have gone away.

Excuse me, won't you stay to give me a hand?

Lucio is waiting for me.

Well, for one night He can also dine alone.

I thought.

(SUSPENSE MUSIC)

(MELANCHOLIC MUSIC)

LUCIO: I hope I didn't burn them, Why...

..they were very fresh.

Mmm! The wife does it of a patient of mine, these.

He brought it to me this afternoon, but like he had done it an hour before.

Good.

What did you do today?

Problems at work? Alberta? Did you have a fight?

- Problems with the seamstresses? No.

I don't know, you have a face like...

No.

Tell me you didn't go back to them,

I beg you.

Tell me you didn't go to torment the witnesses again.

Let's eat, come on!

(TICKING)

(MELANCHOLIC MUSIC)

(SAD MUSIC)

Check that they are there all packages and door to warehouse.

- Sure. We take everything to the warehouse. - Yes.

We bring everything to the warehouse. - It's too dark! - No.

No, it's dark.

No, in the sense that then this, when it cools down, it clears up.

- No, it doesn't lighten. - But I swear, Mrs. Alberta!

- Don't swear, it's not a good idea. - Can I talk to you for a moment?

- Yes. - When you ordered all this stuff?

I got ahead, I knew that he would have done everything for us.

- But you're crazy! - No, I'm not crazy.

Have you seen the sketches?

Could we ever send them to another? tailoring?

At least let's call the accountant, we let's get some help with the bills, shall we?

We can do the math ourselves!

But if we don't even delegate, I don't know how we can get out of this.

Ennio, make an appointment with production. - Sign.

I didn't say score, I told you fixed.

Fixed.

- Alberta! - You can see how many rolls of taffeta do we have?

I check the brocade.

And the beads?

And then we choose the beads.

"The beads..."

"..they attack them all my little girls".

- Gabrie', still with dad? - We've been gluing beads all our lives.

You couldn't take it anymore.

Then now Bianca Vega arrives, he asks you for the beads, and what do you do?

You attach the beads to them.

Why do I have to attack them? No, the seamstresses attach them.

In what time? With what force?

They are preparing three films, you added one.

They were supposed to be the protagonist, all roles now.

Tell me what you're looking for?

Are you counting the taffeta? And count it!

And where do you want to make them? these costumes?

ALBERTA: Here we empty everything

and we dedicate this space to costumes by Bianca Vega.

And who empties it?

- Those ones. - Those who? - Those over there, come on!

It is dismantled, covered and taken down.

It is dismantled, covered and taken down.

Okay, let's turn it around then. this tailoring, right?

("BRILLIANT WALKER" NINO ROTA)

Hurry up, it'll be within an hour must be at the Teatro Valle.

Of course, Mrs. Gabriella.

Come on Rosa, come on!

Oh my God! Oh my God, what a treat! They will be I haven't done it for ten years.

"And I believe you", what do Americans know!

ELEONORA: Gianni, shoulder in place, 71.

So? Giuseppina? What do you think of this eighteenth century?

Hey! You need to wake up, if you no, when are you going to find a boyfriend?

Paolina, do you like him, or can I pass it on to Giuseppina?

No. A little boy already has it at home, law.

Well, now he has the big boy too!

- Come on, Nina, be serious. - But I'm deadly serious! Huh?

Excuse me, young man?

Young man, what will you be dressed in? As a courtier or as a peasant?

Don't you know? Well, the face is that of a courtier.

But the ass is like a farmer's. Huh?

- Well yes. - Well yes.

It's 100! Well, my idea of ​​heaven.

Hey, you? Come on, come on. Stand here. one moment. Let me see you? Spin...

..on yourself. Calmly, like a music box,

on the other side too.

And t-you play the courtier or the farmer?

- Okay, forget it, look. - Oh, Nina!

A little bit of composure, you are the head seamstress.

So what? It's been a while since I've been tailoring...

- ..from one farmer to another. - If Bianca Vega hears you.

- Don't fall in love, okay? - Nicoletta? How are you, everything okay?

Yes, good. What do you care about, anyway?

You already have a hottie at home, huh?

They beat me up at work today.

You'll be hungry, then. - And indeed.

You dirtied the plate.

(BREATHING WASTE)

This risotto sucks.

(JUMP) What are you afraid of? Huh?

Do you feel it burning?

Do you feel it burning? Do you feel it burning?

It's hot and it sucks.

What do I have to do with a wife, are you telling me?

What do I have to do with it? Huh?

Sorry, Bruno, it's just... it's just in the tailoring shop we had a...

(CRY)

What the fuck does tailoring have to do with it? with my risotto?

What the fuck does this have to do with anything?

Excuse me.

(HIT)

- No, Bruno! - Come here!

Please, Bruno!

You, tomorrow, come back at five and cook me something decent,

did you understand? Huh?

If you are one minute late, I'll kill you!

You know where this well ends up, huh?

Do you know where it ends up? To the Tiber!

Nobody can find you, you understand? Nobody finds you!

Did you understand? NICOLETTA: Yes, I understand.

Eh! Cold Breaker! Directly from the butcher's shop.

Oh yes, it helps to maintain the frozen rooms,

while the butchers come in, go out...

But do you want to mount this? instead of beads?

Yes, we make some slats of plastic with these, here you go.

(VERSES OF AMAZEMENT)

Like... a plate of armor over your heart?

A rain?

- A river? - A waterfall of burning lava.

Up! Let's get to work! Let's go make it happen.

Don't forget, okay? Tagliatelle, very narrow!

BIANCA: 20-15 centimeters.

Look, so tight. The different length,

but it must be organic. Longer...

What's up?

I like.

FRANCA: Have you seen the effect? what does the petticoat do?

I was thinking of a cage when I drew it.

It's perfect. Perfect.

Yes, because the protagonist feels so, she feels forced,

caged, both physically than in the soul.

More than "Happy Days"!

(MELANCHOLIC MUSIC)

It's beautiful.

Okay, Simo', now you sit there and be good, okay?

Please don't touch anything.

Ah! Bianca Vega is a genius, isn't she?

Eh, but here we need a laborer,

other than "Eleonora, 'the best embroiderer in Rome', right?

Eh, let it out, let it out,

meanwhile the Canottiglia in Rome I'm the only one who does it.

Nicoletta, Paolina, in five minutes, go up to Gabriella.

- Yes, ma'am. - Yes. - Is that okay?

- What is that? - It's...

..Paolina's son. He gives us a hand in the afternoon.

This is not a nursery. Find a solution.

- Clear? - Yes.

SILVANA: Don't forget Simone, okay?

Stay here calmly. So much mom, as soon as he can, he comes to visit you, eh?

Oh, yes. Now you put yourself on sitting here, Simone, come.

You have the notebook and the colors presi.

And play with the buttons, look how beautiful, how colorful.

Guard! One important thing Simone,

Please remember, if anyone comes in that you don't know,

you have to hide immediately,

immediately. You have to hide here.

Inside here, please.

I'm coming anyway, I'll bring you a snack,

and then... mom arrives who comes to visit you as soon as he can.

Silva', this thing about Simone to me, my agitation.

Eh, I understand,

- Paolina, but you have to react. But how do I react,

that I don't even have eyes to cry? - And you sell yourself something.

But if he just told you he doesn't have not even eyes to cry with,

sorry, what's for sale? Simone? - Yes.

Shut up, you! Come on, don't pay attention to the beautiful washerwoman, go!

No, I don't wash, I dye,

and I like it. - When I was young and beautiful...

"I was a dancer in variety shows."

- Were you a dancer in variety shows? - Yes.

I was a dancer in variety shows, yes.

And I liked it too and I was having fun too.

And I wasn't even here making sauce for these four nonsense, eh?

Well, but in the meantime, always "understanding" you're out of green beans.

Eh, I know. That's also true.

Because unfortunately... eh! Time passes,

you grow old...

..nobody wants you anymore,

and I was left by this my... boyfriend,

industrial...deadbeat.

He dumped me, suddenly.

That's how it went, Paolina.

Other than taking away the earth beneath your feet.

For me, they have my feet just cut.

And instead the language, however, no one ever cuts it for you.

Well, yes, she's always being funny, do you see it?

The truth is that we must react.

There is no need to sketch.

When you are a single woman, when you are out of money,

when you have no more hope,

we must react.

And you have to do this, Paolina. Listen to me!

EDWARD: May I? Sir?

Huh, "Sir"?

"Sir"! But what is it? all this formality?

Oh! Eh? - Giuseppina!

- Help the boys. - Yes. You're welcome.

- (whispering) What do we do...? - Mhm?

Yes.

Goodbye, sir.

Eh, well, then you're a repeat offender, cub.

But, they told me which one of the two sings?

Not me.

You? - Well yes.

Sing!

I want a song!

- Sing! - Hmm...

- # Era... # FAUST: Oh!

Yes! - # ..just last night. #

Yes.

(together) # I was talking with friends... #

Yes, come on!

(together) # We were joking between us... #

(THEY SING "YOU BURSTED ME INSIDE THE HEART" BY MINA)

(THEY SING "YOU BURSTED ME INSIDE THE HEART" BY MINA)

Thank you, you can go.

Enough! Let's get back to work! Right away, silence.

Maybe Mrs. Alberta he even heard us.

Well, goodbye.

We'll let you know, thanks.

(LAUGHTER)

Like a dam, I want it to break!

What blocks, block all thoughts.

What is this, excuse me?

But does this seem like a dam to you? this is a gate,

half broken, come on! - It's just a canvas,

to see the drawing.

Then we will use another fabric.

Yes, but what fabric do we use? This It's a complex structure, girls...

- He gazar. NINA: Oh, right, Cristobal.

(whispering) But who is Cristobal?

Balenciaga!

He would have given us a hand, but unfortunately he died.

It's limp. It must not become limp, it's limp.

Light.

(MYSTERY MUSIC)

Light.

Light. Thank you.

Light. Discard, discard all the candy!

- Discard all the candies. - Alberta, come here. Look.

Let's make some lights, like this.

BIANCA: Keep going like this. Make some lights.

As!

(RUSHING)

(MELANCHOLIC MUSIC)

Slowly, slowly, I am delicate, thank you. - April!

Here you are.

As?

- Mhm? - I don't know, I don't know if it works.

Come? - But I don't know, it's a bit...

No, stop. A little bit of what?

I mean, I'm terrified, It's not that it makes me fat? Right?

No, Alida, don't mention it! You can see your soul.

Exactly. The soul. But...

..subtle.

Look at you.

I'm turning around, huh? Are we there, girls?

- Should I turn around? - Yes.

No, well...

..it gives me the idea of... of the withered grass.

No, it's perfect Franca.

Let's hope the director sees them too. and also Samuel Beckett.

He's the one who wrote it.

But the captions are done to be betrayed, right?

(laughing) Art is everything a betrayal, dear.

And I'm an expert, but I don't want to have exaggerated.

Yes, yes, it's perfect, it's perfect girls!

FRANCA: The tire. GABRIELLA: You have to add this...

- What is this thing? - You have to put it on.

This? - That's right.

- Handsome. Oh my God! Are you crazy?

But you think

that an actress can succeed to act with this thing in your head?

Hi Alida, good morning. I can steal a moment Gabriella?

- Nail. GABRIELLA: Excuse me. - Yes.

You are awesome!

You move, what's coming Sofia Volpi?

Huh? Shut up.

Will it be a while?

And if Sofia Volpi arrives, what's the problem?

The problem is that you don't have to encounter,

you know what these look like, right? - Yes, but I have to finish the test.

ALBERTA: My dear, you are...

...a vision!

Thank you dear!

Move.

ALIDA: Thank you! Thank you, Alberta.

Beautiful, beautiful, beautiful.

I got it, right?

Handsome?

Thank you.

Here it is.

- Welcome back. Are you okay? - Good, thank you. You're welcome.

(INAUDIBLE WORDS)

ELEONORA: 70.

- No, put 65. - 65.

Crazy! Crazy!

I am so lucky to wear these crazy clothes.

62.

Think that...

..I could have done this job even just for this.

- For this! Understood? 65.

When I saw, like... Katharine Hepburn, Bette Davis, no?

What, I was so jealous of them...

Why should you? You have nothing to envy.

- Well... no, come on! NINA: She doesn't lack anything, eh...

Excuse me, but this ring it's amazing!

ELEONORA: No! - What is it?

Excuse me, it's just that three seamstresses around brings bad luck to a dress.

ALBERTA: What's your name? - Giuseppina.

And what are you doing here? Go, go.

It's always this ring's fault.

I told Burt that. which is too big.

Excuse me, madam, but it's not... it's not too much, with its measurements...

..but lucky is he who marries her! Eh!

But his measurements, though...

Oh, signor! Measurements in life are everything!

Sorry for the interruption.

Excuse me, Mrs. Alberta, I urgently need Eleonora.

With permission.

And you? What are you doing here?

We are waiting!

Waiting for what?

Josephine.

Both?

Yes.

Ah.

You understood Giuseppina!

- Why is everything closed here? - Shh!

Hey! What's going on?

She is Eleonora's niece, they beat her.

Spend?

- The police. - Oh, Lord. Why? What have you done?

- A demonstration. - 'This idiot!

But leave her alone! Come on, we have we did '68 too!

Oh no, speak for yourself, okay? I'm too young.

But why did you come here? - How many times do I have to tell you?

- They were chasing me. I came here, you're my aunt, help me! - Shh!

- Oh! Ah, guys? - Oh!

Eh, now I'll give them back to you, eh? Shut up! Nicoletta, close the door.

You, be careful there, you're standing there!

I'm calling your mother now and you go back home.

I told you, not at home, it's the first place where they would look for me.

- I'm coming to your house. - No! Not at my house.

If the police are looking for her, my house is the second place

where they would look for it. - That's right!

So I'm here. Just a couple of days.

Aunt, please, I beg you, help me!

- Come on, Eleonora, we have to help her. - Of course!

- Excuse me, can you sleep? in the locker room. - What are you saying?

Yes, Mrs. Alberta does not never look in there.

Please help me. I keep quiet and good.

Nobody sees me and nobody hears me.

Eh, darling, but here the child in the control room

and you in the locker room, and this is no longer a tailor's shop,

This is a refuge for sinners.

Ennio, what do you say? Can you give us a hand too?

No, I didn't see anything, I didn't I heard nothing and I said nothing.

Let me out, go on!

He doesn't see, he doesn't hear, he doesn't understand. It looks like a man gave birth to it.

You were late.

I had to settle my niece. Well, uh, uh…

Mhm.

It was kind of him to come and offer himself. to fix my shutter.

It's a pleasure, Mrs. Eleonora!

Now you see that I'll fix you even better.

Did anyone see you?

(CRUNCH)

("GAME OF GLANCE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

("GAME OF GLANCE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

But who made them?

I do not know.

Girls?

Girls, come this way.

Su!

Who among you did this?

Don't-don't be afraid, it's brilliant!

A stomacher c-what...

..that transforms,

they become... almost vaginas, who was it?

Come on, look at me!

It wasn't them.

Sorry, I have an appointment.

Come, come, come here! Here, come...

Ennio? We didn't have an appointment, did we?

Yes, ma'am, excuse me, It's Dr. Cavani.

(SUSPENSE MUSIC)

Give me five minutes.

- Will you accompany him to my office? ENNIO: Yes, ma'am.

(SUSPENSE MUSIC)

What happens?

(KNOCKING AT THE DOOR)

After you.

Dr. Cavani.

- Good morning. GABRIELLA: Good morning.

Gabriella Canova.

- Leonardo Cavani. - Welcome.

Investment Company Cavani Sartor.

My sister Alberta.

I'm here to tell you

that our society would like invest in your tailoring.

Just a first date,

to understand if you are interested to a collaboration.

In short, what we propose to you,

it's an economic boost,

to give you the opportunity to grow and expand.

And, if you agree, we could make an official offer.

Well, we're flattered,

but we have to confront each other first.

GABRIELLA: Yes. - Then, maybe, we'll let you know.

Gabriella, can you please? accompany Mr. Cavani?

I have things to do.

Mr. Cavani?

This way.

CAVANI: Thank you.

Excuse me.

Alberta! I wanted to see you again. That's why I came.

Maybe I did it the wrong way,

but when I saw your name in the list of investments,

I lost my mind.

I never stopped thinking about you.

- And if I could have... - What?

You wouldn't have made me wait all those hours at the Paris station?

ALBERTA: How many years have passed?

15?

18?

I don't know, I don't remember.

I only remember that watch...

..that I watched for hours...

..while waiting for you to arrive.

And then I remember walking away

and the further I got from the clock...

..the more I understood what you had done your choice.

It wasn't easy.

Me, that day, I couldn't come.

But I wanted to explain to you.

But I never succeeded again to find you.

My heart stopped waiting.

(TICKING)

I don't know about you,

but I am exactly where I would like to be.

Now, if you don't mind, I should work.

("DIAMONDS THEME - INTIMATE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

("DIAMONDS THEME - INTIMATE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

Eleanor?

Nina?

Sorry, I really have to work.

(THE DOOR CLOSES)

SILVANA: Gabriella?

Mhm.

Gabriella? - Huh?

Should I bring you something to eat?

It's lunchtime.

No thank you.

Silvana?

I never ask you how you are.

How is it going?

It's all good. I'm fine.

Don't worry about me.

Before...

..I always came to visit you

AND...

It is not necessary to see each other,

when we love each other.

ANDREA: She was right, said Olga.

In the end, I left her. - But!

You didn't even give yourself time to breathe,

since you're already with someone else.

And what can I do? I'm in love with love.

Listen, but is it true that this is he bigger than you?

Yes, four years.

Good, great!

It starts with four and then maybe you end up with 40.

ANDREA: Which looks like 10, though.

(LAUGHTER)

(laughing) You're really adorable, Andrea.

ANDREA: She is a lovely woman.

Yes!

Okay, I'll let you decide. calmly.

Auntie, wh-what did you get today? I see you differently.

Pills, a new cure?

But why?

I'm doing great!

Pure, also, almost engaged now.

You, rather, do not do the goody-goodies,

that with all those famous actors who walk around naked in the tailor's shop...

..who knows how many you get up to.

What do you want us to tell you? - We work a lot.

We work. Then lately what happened?

A bit of turbulence, especially for our Alberta.

A nice gentleman came, a distinguished gentleman,

he made us a financial proposal.

- Come on, he was just an old friend. - And who is it?

Leonardo Cavani.

Leonardo Cavani? But is it the one in Paris?

Ah, is he the one from Paris?

Yes, that's what I knew. when I worked at Balenciaga.

- And why didn't you tell me? - What changed for you?

- But it didn't change anything for me! - Exactly.

GABRIELLA: Well, I could choose. if I stay close to you a little.

You were standing next to me.

He made the joke! Did you hear that? He made the joke now.

- Girls, don't start... - She does this part...

..to argue, please! - No, but listen!

- She does it right, you understand, the poor thing. - No!

- The one who is alone and abandoned. - Your mother, before dying,

He only asked me one thing: not to make you fight,

more!

You can argue with the fathers, with lovers, with brothers,

but between sisters, no.

And not even with the aunts.

Come on girls, come on! Mhm?

Eat!

What did I tell you? Not to touch anything.

And you started playing to the costume designer.

Hey, girls? This is Burt, Sofia's boyfriend!

Yes, it's him.

Eh, but he's with someone else! They were supposed to get married.

But poor thing, she was so happy!

She is one of us too.

SILVANA: She's a cuckold too, girls. - Can you show it to me?

Yes, here you go. They only write anyway stupid, come on.

No, but gossip happens every now and then we like them.

SILVANA: It's true, we like them a lot.

But above all, Silvana, I like your pasta.

SILVANA: Oh, thanks! There's more. - Great Silvana!

There's still some, tomato... ohh!

- I also put aside for Simone, eh? - Yes, thank you.

Nicoletta?

Is everything okay at home?

Yes! Yes, yes.

What did you do to your lip?

Um, I don't know, maybe he stung me a bug last night,

then, I don't know, tonight I scratched it

and maybe it swelled a little. Can you see it a lot?

An insect, like, with whiskers?

I don't know, maybe it was a spider, I don't know...

NINA: Here, darling.

Cover it with some... in the background, so you can't see it.

Thank you, Nina.

It's that they should be killed by these spiders with whiskers are small, aren't they?

NINA: But they didn't invent spray it?

SILVANA: No, not yet, unfortunately.

Yes. Come on, girls, come on! Come on, eat!

ALBERTA: Here it is. That's not Rosa Mountbatten.

And not even that.

- In the light, maybe... No, it isn't.

I know. I know.

Um, I tried every way, Mrs. Alberta, but she's not coming.

But, I say, maybe right now with all this mess, right?

We could reuse last year's tablecloths?

No, the tablecloth is changed every year.

And this won't be the birthday of tailoring

in which we will not respect the tradition.

Even if it was just for superstition.

So what do I do?

You do it again.

Listen, how far along are the invitations?

Um, where are they at? We're in bad shape.

At this moment, then, we missed the tailor's lunch.

- Go, go! - Yes.

It's just that I got distracted, sorry.

Look, lunch is important. Important for us, for tailoring

and for all those who collaborate with us.

- More Oscars are filmed here what buttons. - Here I am.

- Bianca! - Good evening.

Come, come. I'll show you the fabric.

No!

The Mikado?

BIANCA: Oh my God!

It's perfect. Great! Great girls.

Beautiful. You are exceptional, good.

No!

No, what the fuck have you done?

But what is this stuff? What the fuck is this stuff?

But this is... this is cinema. It's called cinema, okay?

It's not a documentary!

They took it for granted that the basket was classic.

You... you saw the sketch, no?

Everyone stand over here. Stand over here.

I drew it with an arched opening in the center,

like the facades of buildings by Borromini,

that welcome you, protect you.

And what the fuck are you doing? What the fuck are you doing?

Make me a monoblock, covered with the guinea and with this fucking tulle.

- It's my fault, it's my fault. She said!

- It's my fault. You have to be quiet though. You have to be quiet.

Shut up!

The costume must not only dress the character.

The costume must allow to the actress

to get into character. So tell me what...

..how the fuck do I get her in, the actress, in the character,

if he can't even afford it to sit down

or of... or of pissing freely?

This is a woman who in the 18th century, my ladies, in the 18th century,

rather than marry a man who... who doesn't love,

..give up everything.

So, in your opinion,

this character here would give up to one's freedom?

No, it's been deleted?

I want that...

..let the actress hear it here. Mhm?

Between the legs.

- And I want it red, I want it! - Like... like the dress?

No! No, not like the dress! Like blood!

Come on! Take it apart. Do it exactly. as Bianca said.

ALBERTA: Why do you take your initiatives?

Why don't you look at the sketches?

Huh? I always have to check everything me here?

I don't care what time it is! Stay here and work!

I'm going up to get the things.

Congratulations, huh?

Thank you.

But are you even answering me seriously? Eh?

How should I answer you?

Well, sorry. And apologizing to them.

I don't know if you realized what happened?

They don't have to take stupid initiatives.

- Stupid? - Yes.

They, stupid? But they are working from morning till night.

- You trample on people! - I don't step on anyone's toes.

- Oh, no? - No.

But how? If the whole world is the carpet you wipe your shoes on?

We have these shoes hard-earned.

You do what you want, I clean them wherever I want.

But what a horrible thought.

Why didn't you defend them? Why were you silent? Huh? Why?

Weakness is a trait of our family

which fortunately I did not inherit.

Indeed.

You took something else.

You have become cold, icy,

merciless.

This cold and merciless, but he took you away

from that hole of a country.

If it wasn't for me, you were still acting as a servant to our father.

It seems to me that I am gone came away on my legs.

On your legs? -Yes. But if you haven't even used them

when aunt Olga wanted to take you to study in Rome.

- But mom was dead less than a year ago. - So what?

It wasn't enough for you what he did to her?

You wanted it to ruin your life too?

But I didn't stay for him.

Oh, no. So why did you stay?

(SUSPENSE MUSIC)

Eh?

Tell me.

Why did you stay?

Tell me? Why did you stay?

For you.

("DIAMONDS THEME - INTIMATE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

You take these things to the seamstresses.

(SOUNDBITE OF BEADS FALLING)

("DIAMONDS THEME - INTIMATE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

(THE DOOR CLOSES)

OZPETEK: So, this time I I didn't want them all, all together,

as in other times,

So, I wanted to understand a little bit of mechanisms, a few things.

Your role,

your sister's.

About this relationship you have with mom, with dad,

the beads... and you came in Rome,

to create this... to create this thing of...

of... of the tailoring, which left this building from aunt Olga,

which would be his sister. I find you a little strange, though.

Why? What's wrong?

- No. From'!

I mean, why does it bother you? be their mother... No.

Do you want... would you like to play the role? of Alberta,

I'll make you play the role of Alberta, whatever you want. No.

I, um, I... I can't do it. the film, Ferzan.

Because I have a... a very dear friend who is very ill

and she is... she is alone, she has no one who can help her,

take care of her...

- ..and here it is. I'm so sorry. OZPETEK: I'm sorry.

It happens like this, that...

..you have to be close to people.

It's not even easy when these people then feel bad

and you have to pretend nothing happened, right?

Also... which is always recited, even in life, right?

Also... I did it too with my mother, when she was sick,

I didn't tell her what was wrong, because if not...

And then I could play, joke with her,

make fun of as if nothing had happened,

because she didn't know what she had left little and I think this is very beautiful.

That is, it doesn't always have to be said to people what they have.

- Mine didn't know either. - You see?

But are all costume designers like this?

No! Everyone is crazy, but in their own way.

I think I don't want it anymore to be a costume designer.

Oh, signor!

(NICOLETTA CRIES)

Nicole? What do you have?

Nicole! That's enough. - What did he do to you this time?

FAUSTA: The other time the insect, you fell down the stairs.

All excuses, all excuses! The same ones I used too,

every time he took me with straps, Nicole'.

Then I ended up in hospital and I realized that if I went back home,

I couldn't save myself anymore. Nicoletta, what do you want to do?

Do you want to save yourself, yes or no?

Now tell us more about it what happened,

because we can help you, Understood?

It's that... it's that he says that I am not a wife.

(crying) I'm not good...

And he says if I don't stop to work, he... he to me...

Him what? What?

There is a well in the garden which is very deep,

he says he'll throw me in and I'm going to end up at the Tiber

and so no one can find me anymore.

Nicoletta! Nicoletta, you tonight you're not going back home, do you understand?

You come and stay with us.

But I have to go back home!

Because if I don't come home, you you know what's happening, right?

I have to go back home,

I can't go away...

..I cannot.

Then you have to kill him.

We've seen too many deaths kill me, Nicole'.

We all come to your house and throw him into the well.

Understood?

FAUSTA: So he ends up there. in the Tiber, not you.

NINA: Nicoletta? Look at us!

We are like ants. It seems like we don't matter, but...

..but all together, all together we can do it outside. Do you understand?

But how do I do it? What do I tell people then?

What do I say to the neighbor?

Where did my husband go, huh?

You tell him you went shopping the cigarettes and never came back.

Right!

No, but you're crazy, no...

In the meantime, I'll start checking on you.

I call you every night, if you say "pink buttons",

it means everything is fine,

if you say "blue buttons",

we arrive, all together, like a flash.

ELEONORA: Understood?

Yes.

Cow!

Some flowers have arrived for you.

Leonardo Cavani sent them to you. I'll put the ticket here.

Dinner is ready, try to eat if not, everything gets cold, huh?

I felt...

What is there to hear, I don't hear anymore nothing at this time, Alberta.

I just wanted to tell you about lunch. The guests have become 40.

What? - Did it do it?

I can stand you how many years?

God, 12?

It seems even more so to me. Of course I can do it! Come on!

Eat it, it's getting cold. Good night.

- 'Night. - Mhm.

(ON TV "LE MATTCHICHE" MINA)

(MELANCHOLIC MUSIC)

(THE DOOR CLOSES) LUCIO: Love, where are you?

I'm in the kitchen.

Ah, that's what it was this little smell that you can smell.

Look what I made? Meatloaf

and the sour cherry tart.

How good!

I try, I'm not as good as you.

But how come you're not...? You're very good.

And this?

- Do you like it? - No, it's beautiful, but what is it?

It's a little model that we're working on working in a tailor's shop.

So, there was Bianca Vega, and I was there eating,

do you know Amelia's sweets?

That they're everywhere, right?

With Alberta we put them everywhere and she saw me and said:

"Give me the paper!"

We took all the cards and put them on the skirt like that.

She would have liked that, right?

Well, it's beautiful.

- Can I give you a hand? - Yes, come on.

No, I thought,

that maybe you want to take a shower.

Eh?

Give yourself a refresher, love.

I prepared a bath for you,

the towel and... and even the shower gel,

yours, what you like so much.

No, I don't feel like it now. I don't feel like it.

Do you want to come and see a little? of television with me and dad?

Eh?

Stay there on the couch, with us.

(PHONE RINGS)

Hello? Yes, Fausta.

Yes, yes, the buttons are already asleep.

Thank you. Bye.

Who the hell are you?

I'm Beatrice Dalconte.

I am Eleonora's niece.

What are you doing here?

The police were chasing me after a demonstration.

I didn't know where to go, sorry.

Please don't fire her.

It's my fault, I insisted to stay here to sleep,

my aunt didn't want to.

You know that if the police find you, is it making me close? Mhm?

- Did you do something serious? - No way! They loaded us.

I should report you, I should.

Don't move from there!

(PHONE RINGS) Hello, who's speaking?

ALBERTA: Eleonora, I'm in the tailor's shop.

There's a girl here who says of being your niece. Do you confirm?

I confirm. You must excuse me, Sir Alberta.

She is my sister's daughter, she's a loser.

Are you a costume designer?

No, absolutely not.

I have nothing to do with this world, now I'm getting off...

Don't touch anything.

Why do you do it? Why did you change the clothes?

What are you doing with this?

I heard that the protagonist with this dress he faces his father,

and I thought about increasing the space between them,

adding layers, volume,

a bit like women when they get fat,

who try to put a distance between them and the world.

A form of protection, I think.

ELEONORA: What can I do? to fix things?

ALBERTA: You, nothing.

You show up tomorrow morning instead at 8.30am, with all the others.

You will start with sewing.

But that one is not suitable, he can't do anything.

I decide whether it's suitable or not.

How did you dress?

I found something there.

Starting tomorrow, find yourself a place where go. This is not a hotel.

Mhm?

08:30, tomorrow morning, with all the others.

Very nice dress, huh? Very, very beautiful.

This one is also a brilliant idea.

But I would like that...

..that she had the feeling d-di...

..to carry a weight on the steps,

did you understand? - The feeling...

..the bodice gives you the weight.

You can't even do it now imagine why you have nothing here.

You don't have the actress, you don't have the staircase, you'll see it later!

I'll see him later. Of course, always later.

Everything after!

But I want to imagine it Before.

I don't need to know the weight. what's up. I want to see it!

Why don't you put me here? a trail?

BIANCA: No, Lorenzo. - A long train.

The train is old, banal.

We have seen it a thousand times, in a thousand films.

I give you the feeling of weight equally.

But I don't want to change this which is the structure of the skirt.

- Okay, okay. - No, but trust me, damn, every now and then!

Bianca, do as you please. you always do what you want.

But I want to see it first to go on set, okay?

And you will see it. Don't worry, the actress has already tried it.

I know the actress has already tried it.

But I would like to see it again on the actress,

with the train.

- No. Again? Without a trail. - But give me...

Give me time! And I'll find you a solution.

How long?

GABRIELLA: Not much.

Sure.

Congratulations anyway, huh?

Bruno?

Bruno?

(JUMP)

Oh God, Bruno, you scared me.

But you weren't supposed to come back at five to "prepare" dinner for me?

Excuse me.

Your arm hurts, and yet did you go to work anyway?

Not much, but I did it, yes.

And what do I have to do?

I have to break it for you, at least that way you don't go to work anymore.

Bruno, please stop.

Because otherwise what do you do?

If not, I'll leave you and go away.

What are you doing? Come here and say it again.

I told you come here and say it again.

(GETS UP FROM CHAIR)

Do you know where you're going now?

Do you know where you're going now?

Do you know where you're going?

Do you know where you're going now? Huh?

Do you know where you're going now, now? Huh?

(PHONE RINGS)

(FREE LINE)

- Huh? - Bruno!

(DESPERATE SCREAMS)

(FREE LINE)

(SCREAMS)

(PHONE RINGS)

(FREE LINE)

NICOLETTA: Hello? -Oh my God, Nicole, I had a heart attack.

What buttons do you need? - The blue buttons.

- Like the blue buttons? - Um, pink!

Pink, Fausta, pink.

- Are you sure everything is okay? Yes, all good.

All good, Fausta.

Bye. Bye, Fausta, see you tomorrow.

HI.

(KNOCKING AT THE DOOR)

DELIVERY MAN: Excuse me, I would have a delivery for Miss Canova.

Li deer and.

Are you Miss Canova?

Yes, it's me. Give them to me.

Yes, that's Miss Canova. Same hairstyle.

Oh, to work, huh?

Ennio! But where is it that he always disappears to? this blessed boy?

- And what do I know? - Okay, thanks, have a good day.

- Ennio! - Excuse me, but do you work in a pastry shop?

Yes, I do deliveries and maintenance.

NINA: Ah, maintenance is needed. us too, huh?

There are a lot here of biscuit makers that have been resting for years

that they would need of a good dusting.

ENNIO: Here I am.

Ennio, here, take them to the "sig.na Canova". Go, go, go!

- Okay, thank you and goodbye. - Excuse me?

Your name?

Diego.

Faust.

Pleasure.

Diego...

..do you smoke?

Yes.

Interesting.

ALBERTA: Paolina, bring these sweets in the kitchen at Silvana's,

that offers them to you when you drink coffee.

Yes.

Dear Alberta, can I ask you something?

Yes, tell me.

PAOLINA: It's a pin.

I see it.

It is very precious.

It's the only thing I have left of Simone's father.

He left it to me, before leaving.

He was a Turkish engineer.

He worked here, he was a good person.

It's a very important memory for me, but I need to sell it.

It's just that I'm afraid that if I go away of the Pettinari, they give me two lire.

So we have to go?

PAOLINA: It's that I...

..I would really care about that. I would like to sell it well and...

..if it were possible.

Okay, I'll show it. to one of our suppliers,

let's see if he's interested, mhm? And how much money do you need?

I have to pay for school lunch, school things, the apron.

The apron once a year,

but the canteen, the notebooks, the pencils once a month...

Okay, I get it! I get it.

I'll have it evaluated, okay? I'll let you know then.

Thank you.

(THE DOOR CLOSES)

GABRIELLA: What does he say? - What?

What did he write to you?

Nothing.

At that time?

- Can you offer me this cigarette? - Only if we have dinner together.

Come on.

It depends. How many cigarettes do you have?

- Why? - Because there are so many of us.

- How many? - Lots.

Beautiful things cannot be counted.

Get a life!

- Can I say something? - This is not the time.

What's your name?

Beatrice.

She's the girl who made you the bodices,

the ones you liked, that looked like vaginas.

Come here, come.

Alone!

Speaks.

I thought it could be done a sort of cloak,

sticking it here, along the back neckline,

that goes down the stairs.

It's called andrienne. Right?

In such a way as not to upset the skirt design,

but weigh down the dress as the director wants.

ALBERTA: What do you think?

I don't know, I don't...

..maybe I could accept the andrienne, rather than the train, though...

You, Gabriella, what do you think?

- Gabriella, you? - Huh?

That?

What do you think about...?

I wasn't following.

LORENZO: I don't understand anything anymore. with these costumes.

If they had been like that, I wouldn't have you never said they were good.

You can't afford it! These costumes are rolling tomorrow. What do I do?

I go on set and find them changed and I don't even know?

Huh? Now you remake them exactly the same to these sketches. Is it clear?

But what is this?

What is it?

Is it a cloak?

Is it a cloak? I asked you for a train,

this... but what is a cloak? For the last scene?

But she's not a witch!

-It's all wrong! It's all wrong! GABRIELLA: Stop screaming!

(whispering) Gabriella?

But how dare you... how dare you?

Excuse us.

Excuse us. - You know what, Lorenzo?

It's just that I think that you are afraid of this movie.

But where is he going?

You come with me.

Move a little further away, Please.

Everything OK?

I was wrong. I did everything wrong.

- He's right, it all sucks. ALBERTA: No, he's not right.

No.

It's all my fault,

I suggested to put on the cloak.

I was just supposed to keep quiet.

You can always make a mistake, right?

Mhm, no. No, the problem is not...

..it's not the mistakes that are the problem...

..the problem is me,

that every time I make a mistake, I question everything.

Even when I went to collect the Oscar,

I felt that way.

I always feel inadequate, I don't...

I was walking towards the stage,

I was looking at all these eyes pointed about me

and I thought: "But when the fuck will you understand that I'm worthless? No..."

I'm not worth shit.

Are you kidding?

She is Bianca Vega,

one of the best costume designers of the world!

I am nothing.

We are nothing, but we are everything.

We are nothing, but we are everything.

CARLOTTA: Mrs. Alberta?

Sorry. Sorry, but, here it is, I found it, I found it!

What did you find?

Eh, no, because I've done a thousand I tried and it didn't come...

..because this is not the year of the Pink...

- Of Mountbutten, yes. - Del Rosa Mountbutten.

- Yes. - No, it's not the year of Pink. Mountbutten. Here you go...

..the Pink Diamond.

Eh?

Here, good!

This is us.

Diamonds.

("DIAMONDS THEME - INTIMATE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

What are you doing, have you come back to sleep here?

No, sorry. I just wanted to finish. to think about something,

if you don't mind.

You ate?

Silvana.

Sure.

Go home, it's late. See you tomorrow morning.

Miss Alberta?

Thank you.

- Have you tried calling Vittorio back? - I tried, it doesn't come.

And that's it?

- But is that enough? - Just...

- ..I mean, aren't you going to try calling him again? - Shall I try again?

- You have to call him back! - What do I do now?

- You have to call him back! - I failed you!

- He's your son! - You do it, you're the mother. Yes!

I'm the mother, you understand! This is an excuse,

that you... - I cooked, set the table, I'll do everything.

Don't argue, no.

Darling, we weren't even arguing! Don't mention it, love.

Nice. Come on, sit down, do you want to sit down for a moment? Huh?

(SIGHS)

Do you want a drop of water?

- Yes. - Uh, love? He?

Drink up, come on!

I don't even know that I have, but it's not your fault.

You have nothing to do with it.

Don't worry, okay? Honey!

Huh? Two, two, love, two, two!

I made them.

These are your favorites then!

Here. Huh?

Give me satisfaction, okay?

All right.

- It's good. - Mhm.

You know that mom, maybe, do you have a solution?

- Mhm. - Yes. Do you know?

So, Eleonora, do you remember Eleonora?

She told me there is a lady which is very sensitive,

and solves problems, even if you're not well, right?

She-she hears you, she listens to you, she's like a witch!

Got it? Just let it touch you

and it heals you.

Really?

Do we want to go together?

Yes, that's fine.

You work, I'll bring it.

Are we all three going together?

GEMOLOGIST: Zircons and chromed brass.

It's worth nothing. I'm sorry.

Mhm.

Did you understand "er Turco"?

Thanks, huh?

Yes, they are beautiful, as always. But how can I tell Alida?

that you didn't make her a costume for the finale?

What is she doing? The naked monologue?

Ah, but you know, at this moment seamstresses have a lot to do.

And I apologize, in fact I have to having underestimated the times a little.

But Gabriella, we have the debut soon.

Eh, let's reschedule a test with Alida, next week, if you want.

I can only do it on Monday at five. Is it okay for you?

Yes, that's fine.

But don't worry, we'll do them.

Did something happen?

A costume is missing.

Well, which one?

It's the one from the final scene of the protagonist.

Well, it doesn't seem like a tragedy to me, until?

FAUSTA: Nicoletta?

- Mhm! - Everything OK?

Yes, why?

I don't know, I find you different.

Um, I let my hair down a bit.

Yes, the hair, the nail polish, the neckline,

you're smoking!

No, actually I've always smoked, Faust.

- And your husband? How's it going? - Eh, what's the asshole saying?

Honestly, it's a bit that I don't see it.

How come?

What happened?

A few days ago,

he went out to buy cigarettes

and never came back.

How much I like them men who smoke.

EDOARDO: Come on, I have the train for Caserta. Mrs. Carlotta?

All sorted. FRANCESCO: We ordered everything.

- Thank you. SILVANA: Guys?

Shall we offer you some coffee?

- Let's hope. - Gladly, yes.

- And what good things do you have to offer us? - Well.

I have an idea, but... look, he's singing! He's already sung.

NINA: Oh, that's right! FAUSTA: Sing and you dance...

- Dancing? - A couple? Go, go.

Yes, yes. Come on!

# What can you say if it's good or bad... #

Voice!

The great Patty.

- # ..inside himself... # - Come on! Convinced, darling!

# ..inside everything of himself, when you love... #

You! You!

(THEY SING "THE EYES OF LOVE" PATTY BRAVO)

Simone?

Simone!

Look what I brought you? Mmm, the snack!

You're not answering me?

Do I support you here?

Well, then I do the mummy game.

I am the mummy...

Ah! You're out!

Look what I brought you? Mmm! Good, huh?

But first, first...

..first, I have a gift for you.

Look what...? Look.

Do you see this? It's a magical little fish.

And it's a little fish which brings a lot of luck.

It's mine, I've had it for a long time, well, luck... but, yes,

brings good luck, and I give it to you, Love.

Come on, it will bring you lots of luck. So much!

So you will always remember me.

Get it, get it!

ALBERTA: You were right. The pin is worth a lot.

I knew he was a good person.

Spend?

Simone's father.

Ahh!

Mrs. Alberta, excuse me, but how much did they give her?

Nothing.

I decided not to sell it, I'll keep it as a pledge

and the tailoring will support Simone's studies.

We will give you a raise, that way you are independent.

I don't know how to thank her.

Or.

Paoli'?

Yes.

Tell me.

Find accommodation for Simone, he can't stay in that little room.

Sure.

Excuse me.

Or.

Are you with us, Gabriella?

Of course I'm with you.

You smoked a pack of cigarettes in less than an hour.

But have you seen who's there? - No, who's there?

Leonardo.

AUNT OLGA: Leonardo who?

- Leonardo Cavani. - Ahh!

But where is it?

GABRIELLA: There.

Ah, but is it "Baguette"?

ALBERTA: Aunt, please?

ANDREA: Sister Olga, have you chosen the second courses?

No. - So maybe I can help you?

In the meantime, call me informally, Andrea.

Of course! Of course not.

Are you coming here for a bit?

I need information on that table over there.

- That? Huh? - Mhm.

What did they order?

GABRIELLA: But what do you care that What did they order? - Indeed.

No, rather, can I ask you something,

the blonde lady who is with him, is it the wife?

Are you stopping?

- And... - Are you going to stop?

I think so, they split up a lamb chop.

Then there is no doubt.

- We want to share one. us too? - Do we want to leave?

Lady.

Stop looking, that if they see us...

You know what I'm going to do? I'm going to say hello.

Wait?

Good morning.

Enjoy your lunch. RITA: Good morning.

Good morning.

Lady.

Rita, they are the Canova sisters,

owners of a tailoring shop on which the company would like to invest.

Gabriella.

Nice to meet you, Alberta.

But is that Alberta from Paris?

(SILENCE)

When we were engaged,

Leonardo and I lived for a while in Paris.

On the day of the accident he said that he had to tell me about this Alberta,

a friend who lived in Paris her too for a while.

But, then there was the accident, the hospital, everything has changed.

But this name has remained with me always imprinted, over the years.

I have never been to Paris.

But how strange.

He has a tailor's shop and has never been to Paris?

("TRUE LOVE" MINA)

These are the things of life.

Let's go.

We just wanted to say hello.

Good continuation.

It was a pleasure meeting you.

Me too.

("TRUE LOVE" MINA)

Make parmigiana for 30 and meatballs for 20.

No, I make parmigiana for 40, meatballs for 40.

And I even make 16 lasagnas!

- 16 trays? - Yes. 16 trays. Yes.

- Exaggerated! - It's my virtue.

Always do as you please.

Ennio, bring the pastries all sig.ra Sofia Volpi.

- Isn't Mrs. Volpi up there? - And who's there?

Alida Borghese.

- Is Gabriella up? - Yes.

ALIDA: "My garden..."

Alida, my dearest!

- Dear Alberta, I'm gorgeous, aren't I? - Yes.

But Gabriella, you didn't look at the agenda.

Today we could not receive in the rehearsal room.

Eh, the bricklayers are coming, aren't they?

They have to make dust, they have to dismantle...

- Dust? - Yes.

No, huh? No, no please, I...

..I just can't stand dust. Only the one on stage!

(LAUGHTER)

Hate!

- How nice, oh my! - Do we want to try on the hats?

- But why, five more minutes. - So we complete it.

- But I'm not finished. You say? - Alone.

Come, the director and the costume designer haven't arrived yet.

Let's have a drink in my office.

(ALIDA RIDE)

..it's that then the dust of the theater, no!

It's the dust... the stardust.

Ahh!

She was the worker who has to do the work up there?

Worker? Since when is it? who doesn't fit into a cinema?

Since she doesn't come in in a theater, dear.

- I hate the theater. - Sin,

theatre teaches you to act better.

So why all the actresses? of theater that I know

would they like to make movies? - Because it's easier.

In cinema, the feeling passes through everything for a close-up look.

You just have to know how to blink.

In the theater no. In the theater it passes for the body, for the hands,

for the voice that runs, runs, runs.

So why don't they let them do it? the cinema?

It's me who doesn't want to do it, dear.

I need of the warmth of my audience.

But the public doesn't need her.

Yet some movies did it and nobody saw it?

Because maybe they were movies too busy, but time,

time will tell.

Time, eh, time. Maybe that's his problem.

In the meantime, you think you can get there, in my time.

Sir, please, okay? Quiet state.

- Now, Alida, let's find an accommodation... - No!

I'm not moving from here.

My costumes are up there.

So, I have to do it Ljuba. in "The Cherry Orchard".

You know Chekhov, right?

Watch out for the cherries, okay? They're sugars!

I don't hear it, do you know that I don't hear it? Not even close.

You know what this reminds me of? It reminds me of that movie...

..some time ago... mhm, "Sunset Boulevard"?

(LAUGH)

How nice. Good, I think. let my test end here.

- Alida... - You won't see me any time soon.

Neither me, nor these laces.

Theatre will never die!

Where the fuck do we get out of here?

ALBERTA: Alida, sorry.

Correct them behind, run after her, help her.

Sofia?

You need to take a break.

I'm serious, Gabrie'!

You need to take a break.

You are no longer able.

I'm tired of making up for lost time to your mistakes. Do you understand?

Did you fall?

Have you become my boss?

But we founded it together this place.

Yes, but I founded it with my sister and you're not there anymore.

You are absent.

And we both know why.

Don't you dare.

No, I'm taking a chance!

Because Amelia was also my niece, she was also my niece.

- No... - No, I'm not shutting up. I'm not shutting up!

You can't...

And instead I can.

Because I've always been by your side, Always!

From the first day we knew that Amelia had been hit.

I have been with you on those fucking crosswalks,

for days and days!

To look for witnesses.

But do you think I didn't suffer?

Eh?

But you think that this thing happens to me didn't change me?

Eh?

But I kept my back straight! Because we have to move on.

We must move on, Gabrie'!

You?

Are you suffering?

Yes.

But what are you talking about?

That you don't even know.

You don't know it what is it like to come home in the evening

and see Lucio's eyes.

You don't know what it means to come back in his room

and look for the smell,

the smell of my daughter.

What are you talking about?

Gabrie', shh!

Gabriel, listen to me.

Everyone has their dramas, but five years have passed.

Five!

And time heals.

Only you want to be the way you are.

You want to stay there!

Attached to this thing.

You have to stop! We have to start living again!

Do you understand me Gabrie'?

I'm tired!

Tired of carrying on with this tailoring alone. I'm alone here!

We have a lot of people to pay! All on my shoulders.

Enough! Do you understand?

Amelia didn't leave. Amelia is dead.

Dead! She's dead!

She's dead! She's dead! Do you understand?

She's dead.

Shh! Shh!

(THE DOOR CLOSES)

Shh!

(COUGHING)

But at least the other costumes fit you. good or not even those?

The other costumes are fine,

we have the problem with this costume.

And we have to solve it!

Listen, Bianca,

I know that sometimes I can be a bit tiring, okay?

But this movie is different from all the others I've done.

I'm asking you to help me.

(SIGH)

Alberta?

- What's up? - (whispering) Gabriella...

LORENZO: How do you feel about it?

("DIAMONDS THEME - INTIMATE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

Excuse me.

Now go home, that we are tired.

And tomorrow we have lunch.

And we deserve to celebrate.

Sorry, huh? But I raised a lot of fuss, sorry.

This is the first time this has happened to me.

First time in my life.

I was wrong, I didn't... I didn't follow...

..my instinct is that...

..it's just that I don't know, I... It confuses me.

Here you are.

This is the sketch....

..this is the initial sketch. I'll give it to you.

Always follow your instincts.

Good evening.

And thanks for...

..thanks for everything what you have done for me. Thank you.

It was a great honor for us.

It's wonderful.

See you tomorrow.

Nice, huh?

(SUSPENSE MUSIC)

Marco, please remember the temperature some wine, huh? That's important.

Mrs. Silvana, don't worry, I already thought about it.

Good. Good, let me rest easy.

SILVANA: We have meatballs instead lots, right?

MARCO: They will be 150 I'm finishing with these.

Let's do another 20, 30.

MARCO: Yes, I would say. SILVANA: Come on.

Move it, move it there and put another chair on the other side.

Eh, Maria, please, bring the lasagna, be careful it's hot.

Giovanna brings the other pan you too, put it on the table.

Put it on the table and then we'll take the others, eh?

I'll bring the appetizer.

ALBERTA: Please do. a round of applause for Silvana,

who cooked for us.

Thank you!

Thank you! Thank you.

I woke up at five, huh?

To cook. But I hope may everything be to your liking.

Delightful.

(OVERLAPING VOICES)

Giuseppina, the boys are demanding, huh?

Well, no.

- Not too much. Just the peas

Shall we make a toast? ALIDA: Shall we make a toast?

To us. To all of us! To all of us! - Eating.

- Eating. - Salute!

GABRIELLA: To the diamonds! - To the diamonds! - Cheers!

(INDISTINCT VOICES)

("DIAMONDS THEME - NOTTURNO" (GIULIANO TAVIANI AND CARMELO TRAVIA)

Here, put it here girls.

Via. - Who.

NICOLETTA: Check that the machine be threaded in red, please.

- Salute. - Eat! Eat!

Eat!

(THEY TOAST TOGETHER)

("DIAMONDS THEME - NOTTURNO" (GIULIANO TAVIANI AND CARMELO TRAVIA)

(WHISPERING)

(INDISTINCT VOICES)

Of course, putting us close is That was quite a risk, huh?

- I asked for it. - I asked for it.

(LAUGHTER)

Yes, I went yesterday to see your movie.

I came to the theater last night, me too.

I don't believe it.

- It was amazing. - Well, I was moved.

Please, we had to...

..maybe we can do it too a toast now.

Come on.

- To what? - So, to us...

- Yes. - At the cinema and at the theatre.

Always.

("DIAMONDS THEME - NOTTURNO" (GIULIANO TAVIANI AND CARMELO TRAVIA)

He's a very good boy.

Cloak. What was it?

(OVERLAPING VOICES)

Yes, here. Yes, yes, yes, yes.

Don't wait for me, I still have a little to do here.

("DIAMONDS THEME - NOTTURNO" (GIULIANO TAVIANI AND CARMELO TRAVIA)

(INDISTINCT VOICES)

Sorry. I have to ask you a favor.

Yes.

(WHISPERING)

It's beautiful! It's amazing, it's beautiful.

Mhm, what budget do we have for the costume, it is important anyway,

as compared to...

It's important.

(INDISTINCT VOICES)

- Bianca? - Mhm?

- Can you come over there with me for a moment? - Yes, certainly.

Excuse me.

NICOLETTA: Can you tell us what it's like? live?

SOFIA: But then, it's low.

- (together) No! - Anyway, it's low.

But is it beautiful?

FAUSTA: What a disappointment.

SOFIA: I don't know, he's a guy.

FAUSTA: Oh well, it's ugly.

No, no, oh my God, but I'm not there I can believe it! Oh my God!

But you are completely crazy, seven!

Even in descending order. But did you know?

No, no. It's all their fault...

(LAUGH) We followed the sketch.

No! I love you, I love you. This too. Here!

That's how I wanted it.

But, you know that this goes around tomorrow morning, right?

It will be ready.

We'll work all night!

No, no, girls. I can't help you. ask this, no...

- In fact, he's not asking us. - We are the ones who want to do it.

- Are you staying here tonight too? Eh, Sofia? GABRIELLA: Give it to me, give it to me.

Let's get to work, come on!

BIANCA: Sofia is staying here too, really.

Pass me the pin.

Here. Let's start from here.

("DIAMONDS THEME - NOTTURNO" (GIULIANO TAVIANI AND CARMELO TRAVIA)

Coffee girls, coffee for everyone! Who wants it?

And tonight I also have a helper luxury, huh?

- You don't get used to it, do you? - Come and get some coffee!

- Thank you. BIANCA: Would you take me? some coffee, please?

Yes, I'll bring it, here I am.

But how good is it?

- Thank you. - Oh.

Thank you.

(INDISTINCT VOICES)

How is it going?

- We'll start working again soon, huh? It's hot tonight.

BIANCA: Go!

- It's tight. - Well, it's tight, yes.

- Will the director like it? - But who cares about the director.

- We like it, and that's enough, right? - We like it, and that's enough.

("DIAMOND THEME" (GIULIANO TAVIANI AND CARMELO TRAVIA)

I missed you...

Turn around, Sofia! Turn around!

The miracle you have created. You are amazing girls.

Very good. Try walking?

Nice walk.

Look. Look.

Feel light, light.

No, no, no, I don't want to hear it costume, the heaviness of the costume.

Go! Look, look what you have combined, look how it moves.

Brave! Brave!

(MELANCHOLIC MUSIC)

(GIUSEPPINA: I don't want to be the dressmaker, I want to be a costume designer.)

(ALBERTA: Here we exist "we")

(and we need someone who learns to sew well. Clear?)

(WHISKING OF THE WIND)

(ALBERTA: They will have known)

(that we are making the movies most important of the year.)

(NINA: We are like ants. It seems like we don't count for anything,)

(but all together, all together we can do it outside, got it?)

(GABRIELLA: But I didn't stay for him.)

(ALBERTA: Then why are you remained?)

(GABRIELLA: For you. For you. For you.)

(ALBERTA: Here we empty everything)

(and we dedicate this space to Bianca Vega's costumes.)

(GABRIELLA: Even the Leopard...)

(ALBERTA: It dismounts, it covers and takes it down.)

(NINA: It disassembles, it covers itself and...)

(GABRIELLA: We are nothing, but we are everything.)

(SILVANA: It's not necessary to see each other,)

(when we love each other.)

("GAME OF GLANCE" (GIULIANO TAVIANI AND CARMELO TRAVIA)

You taught me that, didn't you?

That only matters what remains inside us.

(SILVANA: You like it, huh? My little fish?)

(And now bread and jam.)

(SILVANA: What will it bring you? lots of luck, lots of it.)

(He didn't bring me any. a lot.)

ELENA: "The heart mixes continuously what happened

with what we only have imagined:

the living with the dead,

the visible with the invisible, love with pain.

What we are it goes beyond memory and life.

It's what remains, when everything else disappears.

This is eternity.

This is cinema."

Subtitles by SKY ITALIA