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In Sin there is no place for ecstasy, it’s virtually a torment only. Michelangelo in Alberto Testone’s remarkable creation thrashes around, cries, shouts and groans, torn between his masters’ ridiculous demands and the genuine vocation of the artist. Andrei Konchalovsky directs this pseudo-biography with old-European-masters-like impertinence: rather than consistent history, what concerns him is the trembling psyche of the sculptor whose talent may derive from God, but whose life is full of earthly sufferings. Narrow ratio 1:1.33, still camera and meticulously refined shots imply a noble, mellow story, yet Testone’s demonic energy knows no formal restraints. No other interpretation presents Michelangelo as so distant from the harmonious beauty of his works.

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