“Prada suits everyone,” according to Roman Polanski’s Prada short A Therapy last year. In the film, Ben Kingsley tried the phrase for size, epically caving to the pull of Helena Bonham-Carter’s fox fur coat.

Now we can enjoy another Miuccia-commissioned movie, Castello Cavalcanti directed by Wes Anderson; the latest project in The Prada Classics series merging the parallel fields of art, architecture and film.

Picture the scene: we’re in an Italian Piazza (actually it’s a set within Cinecittà, a large film studio in Rome that is considered the hub of Italian cinema), it’s September 1955 and Jason Schwartzman has just crashed his racing car into Jesus Christ.

A fabled folk tale on fate and divine circumstance ensues within the confines of this single piazza town; where everyone is distantly related to everyone else, the bus into the city comes but once a month, and lives are speculated over mountains of fresh spaghetti.