DIRECTOR
Damiano Michieletto

STARS
Tecla Insolia, Michele Riondino, Fabrizia Sacchi and Andrea Pennacchi

An idyllic Sunday matinee movie, Primavera is loosely based on a 2008 novel set early in the 18th century at Venice’s largest orphanage, Ospedale della Pietà, which is where legendary Baroque composer Antonio Vivaldi was employed for 40 years.

It is the year 1716 at the orphanage, which presently boasts one of the most highly regarded orchestras in the world, even without Vivaldi having joined yet. These orphans, including a 20-year-old gifted violinist named Cecilia (Tecla Insolia), are musically trained and perform concerts to wealthy patrons every Sunday. Despite their popularity in the past, attendee numbers are starting to dwindle, which is not good for those in charge who treat their orphaned women transactionally. In an attempt to get more bums on seats again, Governor (Andrea Pennacchi) employs Antonio Vivaldi (Michele Riondino) to be the orphanage’s music teacher, conductor and composer, who soon recognises Cecilia possesses something far more special than she can ever achieve within the ultra-conservative confines of Ospedale della Pietà.

There are a few elements I really admired in and about this movie, but perhaps none more so than the film’s self-belief and execution in precisely what it ultimately and overall intends to be.

Yes, the often heartless manner these orphaned women are treated by their so-called caregivers has its oppressive moments. It isn’t just the attire the women must wear that often evoked The Handmaid’s Tale throughout! Governor and his Aunt Lydia-like sidekick, Prioress (Fabrizia Sacchi), who can be quite the lioness, are diligent in ensuring their ladies remain virgins before inheriting decent ducat from marrying them off. In Cecilia’s case, she is due to wed a rich officer currently serving in the war, which poses a problem for Vivaldi, as he has taken to her musical capabilities like gondolas to Venitian canals.

In spite of parts of the plot and themes that can be more upsetting, Primavera possesses an almost unshakeably tender and defiant tone.

First-time feature film director Damiano Michieletto, who has fittingly directed Opera for 20 years, wisely ensures this period drama is a music-driven one to the point it is as integral to the film as any character. While there are only a small handful of pieces by Vivaldi and most of the film’s soundtrack comprises original works, the music continually offers viewers a peaceful sanctuary to invest in. Primavera is just as pleasant to view too being an aesthetically picturesque film with a grand setting at the orphanage and in Venice.

The story also has good depth and characterisation. As orphans, many of the women are having to deal with issues of abandonment. Cecilia is not immune to that and in fact vocalises writings to her mother throughout the film, clinging to the slip hope of her returning to reunite with the daughter she left behind long ago. She has a desire for freedom, a love of music and is brave in speaking her mind where silence is the expectation. This character’s journey could end in numerous ways, always remains involving and proudly purports the film’s final message.

Primavera is showing in selected cinemas across Australia from June 11th, 2026.

Moviedoc thanks Rialto Distribution and Annette Smith: Ned & Co for providing a screener link to watch and review this film.

Review by Leigh for Moviedoc

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