Manuel Betancourt To say “Sin” is about Michelangelo is much too reductive. Rather than offering up a definitive portrait of the Italian artist, Russian director Andrei Konchalovsky has crafted instead a poetic meditation around the many contradictions that surround the “David” and “Pietà” sculpture artist: He’s divine.
He’s a scoundrel. He’s a genius. He’s crazy. He’s all those things and yet defined by none of them. It’s telling that “Sin” doesn’t actually spend much time with Michelangelo creating, less interested as it is in what makes a great artist than in the material conditions that shape and inspire one.The Italian-language art film, which releases in virtual cinemas Feb.
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