CITADEL: DIANA. An Italian-style spy dystopian science fiction

“Available on Amazon Prime, “Citadel: Diana” is a mystery series that feels like a one-season breath of streaming cinematography from Rome. It was co-produced by the Russo brothers, continuing, in a sense, the story from the “Citadel” production. The original “Citadel” somewhat flew under the radar, despite featuring Priyanka Chopra, Richard Madden, and Stanley Tucci in its cast. “Citadel: Diana” will likely meet the same fate, but that doesn’t mean viewers should worry about the quality of this series. For most action fans, it will be an intensely told story of dystopian Italy, subtly infused with sci-fi elements, primarily through technology. You won’t find any well-known actors here—at least not those famous from red carpets, online gossip, or flashy magazines. But cinema enthusiasts will likely recognize Thekla Reuten and at least Maurizio Lombardi. I won’t reveal from where, because such puzzles are fun to discover on your own.

“Citadel: Diana” takes place in 2030, so it’s not set in a distant future. The action unfolds in Milan, a modern city, yet simultaneously destroyed, with the ruins of the Cathedral of Santa Maria Nascente prominently highlighted as a special effect. The showrunner for the project is Gina Gardini, an experienced producer who also worked on “Gomorrah”. Personally, I’ve never liked mafia films and was worried that “Citadel: Diana” would be filled with romanticized mafia themes, but I have to admit the plot is well-balanced. Of course, there’s an Italian flavor, but the action is so intense that the mafia element doesn’t overwhelm viewers with its grandeur, as it sometimes does in “The Godfather”. In the title, I referred to the series as dystopian sci-fi, Italian-style. Maybe the “sci-fi” label is a bit exaggerated, but dystopia fits perfectly. Italy in “Citadel: Diana” is a divided, wounded country, increasingly ruled by authoritarian forces. A large part of this state of affairs is due to the now-defunct organization “Citadel”, which has been replaced by “Manticore”, a product of a totalitarian spy era, pursuing roughly the same goals—expanding destabilizing and criminal activities both within and outside Italy. Overall, the world in “Citadel” is one where individual freedom is not valued, and societal control is progressively expanded, until every citizen is drawn into the spiral of major criminal corporations, which exploit legions of people to make money for a small group of families. You could call this mafia capitalism. This is another reason why it’s worth watching this production—to understand where control leads—first innocent, entertaining, then increasingly predatory and obligatory, until finally, using electronic tools, it determines our every action, judging its worth and deciding whether we deserve a reward or, perhaps, a harsh punishment.

And in this dystopian world, the main character operates—an agent of “Manticore”—who will eventually rebel against her superiors and start her own vendetta, almost like John Wick. But Diana Cavalieri likely has more “global” reasons than the loss of her beloved pet. It’s precisely this character I’d like to dwell on longer, because she (along with Eltore Zani) is the most intriguing element of the series. Female characters are still commonly judged as lacking enough charisma to become icons of action cinema. In the history of film, there have only been a few such female protagonists, while male ones number in the hundreds. The difference is enormous, and filmmakers rarely invest in women, relegating them to supporting roles if they even appear in intense action films at all. On the Polish front, Agnieszka Grochowska in “Mother’s Day” deserves positive recognition in this area. I mention this production because Nina Nowak reminds me of Diana, although the latter is far less exploitative than Poland’s ‘Nina Wick.’ Nevertheless, the way both actresses play their roles, their inner struggles, strength, and yet vulnerability in the face of male icons in the storyline, merge in my mind into a coherent character. Watching such a woman in action cinema gives me immense joy. And if, on top of that, the presentation of the surrounding events is technically professional, cohesive in editing, and narratively logical, you can sit back and enjoy the story.

I can only recommend “Citadel: Diana” to all viewers. The title might not seem enticing, and the lack of promotion puts it at a disadvantage among recent series premieres. All the more reason to give it a chance. Watching the previous part of the story isn’t necessary either. The writers have smoothly handled the new reality without the need for constant flashbacks. In the end, there’s only one question: will there be a second season? It would be better for the story if it wrapped up in one season, as was done with the first “Citadel” for various reasons. Fortunately, the final twist in “Diana” doesn’t make a second season obligatory.”