There are some stories that have the ability to go beyond the time and the space they belong to, that talk about universal things that can touch anyone, overcoming gender, age, culture and social differences. The movie transposition of the F.S.Fitzgerald’s novel “The Curious Case of Benjamin Button” is one of these, because it’s not only the story of an american man living and breathing the american culture of its time but it’s also a tanscendental narration about the wide sense of everyon of us’ existence, this involving reflections around abstract concepts such as love, death, affection, survival, friendship, sacrifice and, above all, life as the most interesting and challenging mix of the previous elements, as a journey, as the adventure of all the adventures. Fitzgerald writes his own version of the archetypical Odissey, the metaphorical sailing of Benjamin, a rejected baby born with a curse on his shoulder that will later become his fortune in his life, that will teach him how to see things and to feel them in a “different way”. Born old in his eighties, while everyone that is loved by and that he loves ages and then dies old, Benjamin’s time on this planet runs backwards in the neverending undefeatable loss of all the loved ones and, through numerous adventures, in the never ending search for her everlasting life-mate. Set in the New Orleans of the 1920’s, “The Curious Case of Benjamin Button”, a celebratory movie of a “extraordinary lifetime” (just like Tim Burton’s “Bif Fish” and “Forrest Gump”) already has the flavour of “a classic” and also stands as a wider richer picture of a city and their characters, a nation and a world that changes through the decades that Benjamin is crossing getting older and carrying a body that gets younger. The outstanding costumes by designer Jacqueline West (“Henry and June”, “Quills”) of supreme elegance and unpeccable accuracy have made the movie one of the 2009 Academy Awards nominee for Best Costume Design (together with “Milk”, “Revolutionary Road”, “The Duchess” and “Australia”). If you already watched it you probably have been impressed by how translucent and stunning Cate Blanchett – Daisy looks like in that red dress she’s wearing when she graciously dances under the moonlight trying to seduce a already young looking Brad-Benjamin, by her 60’s wardrobe made of flats, black slim pants, berrets and wide cut coats, by the Chanel-perfection “pearls and luxurious fur coat” wore by Tilda Swinton during her long “lonely woman” nights spent chatting and sipping vodka and eating caviar with Benjamin, or by Brad Pitt’s “Easy Rider” look. We sure expect David Fincher’s movie to have some interesting consequences on next fashion revivals. Beside being already a warming and delightful experience for the heart and the eyes.