05/05/2026
The Devil Wears Prada is not only about fashion this time—it also brings art history into the scene.
Alongside contemporary names like Amy Sherald and Cecily Brown, there is a moment where we find ourselves in Santa Maria delle Grazie, in front of Leonardo da Vinci’s The Last Supper.
This scene is striking.
The people sitting at the table echo the figures in the painting.
It makes you pause and ask:
who is looking, who is being seen?
Sherald’s calm and controlled figures and Brown’s more intense, fluid surfaces create a strong contrast.
Together with this iconic Renaissance image, the film opens different layers—
from past to present, it reminds us how representation is built.
And then the terrace at Pace Gallery…
Here, art is not just something to look at, but something that moves through networks, people, and relationships.
The film is also built around two cities: New York and Milan.
New York feels current and alive, shaped by contemporary art and constant change.
Milan feels slower, carrying history and tradition.
The main tension of the film sits between these two:
New York’s present and Milan’s memory.
One keeps producing the new,
the other carries the past.
And the film moves between them.
