After finishing the final episode of Ripley (2024), I found myself drawn back to it, watching the series again. The beauty of the cinematography lingered in my mind - its stunning frames, camera angles, and the overall visual richness. I’m sure you’ll feel the same urge to revisit the breathtaking scenes and reflect on the details that make this series a work of art.

The show's signature cinematography style features layers upon layers, with Tom Ripley often captured within multiple frames, such as windows, doors, or gates. This creates a sense of depth and intrigue, making every shot feel intentional and captivating.
Naturally, Ripley draws comparisons to its predecessors, most notably The Talented Mr. Ripley (1999) starring Matt Damon. I’ve been captivated by that film for years, but this Netflix series stood out despite my low expectations. Knowing the story's outcome didn’t hinder my enjoyment - Ripley managed to be one of the few series I couldn’t abandon midway, unlike The Gentlemen (which I dropped after two episodes, as it was a great cure for insomnia!).

Not only does the series showcase gripping storytelling, but it also serves as an elegant homage to Italian culture, art, and fashion.
Ripley is based on Patricia Highsmith’s 1955 novel The Talented Mr. Ripley, following Tom Ripley (played by Andrew Scott), a con artist who embarks on a trip to Italy at the request of a wealthy businessman. His mission? To persuade Richard “Dickie” Greenleaf (Johnny Flynn), a carefree rich kid, to return home. However, as Tom immerses himself in Dickie’s lavish lifestyle, he grows envious and begins coveting Dickie’s life.
Director Steven Zaillian and his team have brilliantly recreated the 1960s aesthetic, with filming locations that include Venice, Rome, Naples, and Palermo - dream locations for any filmmaker. After scouting locations along the Amalfi Coast, they discovered Atrani, a quaint village that perfectly encapsulates Dickie’s luxurious life.
The fashion in Ripley is one of the series’ defining features. Dickie’s wardrobe, full of rich fabrics and tailored designs, epitomizes the “old money” look, reflecting his privileged upbringing. The costume designers, Millenotti and Casalnuovo, faced a unique challenge: they were tasked with crafting the wardrobe in shades of gray due to the series being shot in black and white. It was an ambitious choice that paid off, as the muted colors allowed for a more nuanced emotional portrayal of the characters.

The evolution of Tom Ripley’s fashion is another fascinating aspect of the series. Initially out of place in the world of the wealthy, Tom’s clothing choices gradually change as he learns the ropes of luxury. His style transformation is subtle but significant, mirroring his transformation into someone who fully adopts his new life.
Director Zaillian also pays close attention to the small details, focusing on objects that define Tom’s character. From rings to typewriters, cameras to ashtrays, these items are carefully framed in shots, making them feel like prized possessions. A standout moment is the scene featuring Ferragamo shoes, where the camera angle almost invites us to admire them, as if we're sharing Tom's obsession with the finer things.
Art is another theme woven throughout the series. Tom's connection to Italian painter Caravaggio, known for his dark and emotional works, parallels his own criminal journey. Interestingly, despite all the beautiful art and architecture showcased, one thing is clear: Dickie’s paintings are dreadful. The characters’ restrained reactions to his “art” are a subtle yet effective commentary on the limits of wealth - it can buy a luxurious life, but it can't buy talent.

Tom Ripley's style transformation journey is closely tied to the different locations he passes through in the film.
Ripley is a visual masterpiece, where every shot and design choice contributes to a deeper understanding of its characters and their world. I can't help but wonder when someone will finally say what we’re all thinking: Dickie’s art is terrible!

The director prioritizes beautiful camera angles for the objects in the film, with each shot seeming like it was taken straight from Pinterest.
Tom is haunted by material possessions. Rings, typewriters, cameras, vinyl records, glasses, watches, and even an ashtray are carefully cherished and displayed by Tom. The way the camera angles are arranged when filming these objects clearly conveys Tom's obsession, as if the viewers are invited to "show off" his belongings with excitement.

The scene of "showing off" the Ferragamo shoes, arranging the camera angle like we're dressed too similarly today, pulling out the phone to snap a picture.
Ripley is a visual masterpiece, where every shot and design choice contributes to a deeper understanding of its characters and their world. I can't help but wonder when someone will finally say what we’re all thinking: Dickie’s art is terrible!

I’m just waiting for someone to flat-out say that Dickie’s painting is truly awful, as terrible as his misguided pursuit of the whimsical art world.
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