She is Francesca Bruni (Sienna Miller), a proto-feminist who believes love is a myth invented by men to get what they want. Disguised as her brother to attend university lectures, she is everything Casanova has never faced: a woman who is not charmed by him.
“I would never be so rude as to answer that question,” he replies. Within minutes, the husband bursts in, finds Casanova innocently reciting poetry to his fully dressed wife, and ends up apologizing. That night, Casanova wins again.
Fin.
“I took it off,” he replies softly. “I am not the man who seduces women. I am the man who was seduced by one woman. The final chapter, Francesca—you were right. I had never read it. Now I want to write it. With you.”
Complications pile like carnival masks. Francesca is promised to the grotesque, sausage-fingered Papprizzio, a Genoese meat tycoon. Meanwhile, the real Bernardo—a timid scholar—shows up, threatening to blow Casanova’s cover. And Pucci arrives from Rome, determined to make Casanova a public example. casanova -2005 film-
The film closes on their kiss—not a conquest, but a beginning. And somewhere in Venice, Pucci sighs, turns to her second-in-command, and mutters, “Find me another scoundrel. This one has gone and fallen in love.”
Venice, 1753, shimmered like a gilded cage. And inside that cage, fluttering from one beautiful window to the next, was Giacomo Casanova. To the city’s husbands, he was a scoundrel. To its wives, a revelation. To the Church’s Holy Inquisition, he was a heretic in silk stockings. She is Francesca Bruni (Sienna Miller), a proto-feminist
Fascinated, Casanova decides to conquer her—not with a glance, but with his mind. He poses as a quiet, awkward book salesman named “Bernardo.” To his own shock, he finds himself listening to her, laughing genuinely, and even discussing the stars without once mentioning a bedchamber.