SFashion
SFashion is a contemporary story of a young CEO who inherited a big fashion company from her father. Evelyn is a sweet woman pampered by the riches around her all through her life, who now has to face the biggest crisis her company has ever been in. While she is confused about the decisions she is to make to keep the company running without losing any of her workers, the fashion industry is moving away from Europe into Asia in search of cheaper production costs which will be a major blow to an already crippled economy of her company. The film walks us through the mind of a young woman on whom is a responsibility of many employees while her own conscience is in a quandary of what she has made of her family’s business and what has become of her personal life.
Giulio Bastioni has done a commendable job bringing the film to life with spectacular photography and an immaculate picture. Every frame is crisp and is in accordance with the emotion of the scene. The opulence expected of people surrounded by the fashion industry has oozed from every corner of the frame. While we are at photography, the art and design of every dress and the setting of the factory are what rendered the cinematography its praises. This film could not be what it is now, without the music delivered by India Czajkowska complementing the myriad of emotions that are playing on Corinna Coroneo’s Evelyn.
Corinna Coroneo is the heart of this film, who with her flexible expressions switched between a young, innocent, and honest girl who is in a dilemma of whether she is doing things right, and a face of the management that is stern and exacting which should be leading the company through tough times with conviction. The way her face played various emotions with change in makeup could strongly be attributed to her versatility and the efficiency of makeup department equally. It feels so real, seeing her fight her problems and the voices of Antoine, presented as her alter ego. It is truly compelling to see her emote so well whether she wails in an empty room shouting at the voices in her head or when she laments the death of her dear friend. The time when she realises that no matter how truthful she gets with her employees, the people around her will only portray her as an inconsiderate, selfish person mindful of her own trivial problems; at that moment, she paints an incapacitated woman who accepts the reality that she has comfortably eluded. Bartolomeo’s (Giacinto Palmarini) histrionic monologue lambasting Evelyn was not to be missed. It is intense and also essential in understanding what Evelyn thinks of herself.
The story oozes confidence and the screenplay is tight. It is impossible for a film to go wrong with a well-organised plot and a great cast. Every artist made sure that the characters were in-line with the expectations of the story, and the dialogues are pithy, and also subtle when required. Mauro John Capece is very skilful in establishing each and every minute detail of Evelyn, finally asserting the person she has become now. The story is well-thought-out and presents no doubt. But truth be told, it may seem at times that Evelyn jumps to her dream sequences all too often, much to the annoyance of the viewers. There are jobs of her employees at stake, so her dreaming of the past, and her own motives are a bit bothering. The producer made sure that nothing is compromised, so film falls short of nothing and is a superlative experience. The film is a beautiful piece of art and Corinna Coroneo deserves all the praise.
