Avis des critiques

Mordant and furiously energetic... This is how you make a film about artistic heroism without a hero.

Neither austere nor particularly energetic, Konchalovsky forgoes the generally utilized hysterics defining period portraits to present a bedraggled genius... "Sin" feels like a beautiful if ultimately restrained counterpart to Tarkovsky’s "Andrei Rublev."

Neither agonizing nor ecstatic, but solidly cinematic... “Sin” may ultimately resemble something shapeless and wanting, but even an unformed block of marble boasts an impressive textural beauty.

There’s a painterly sensibility to Konchalovsky’s vision throughout. Along with his frequent DP, Aleksander Simonov, the filmmaker makes the Carrara quarry a vision of the sublime.

Beautiful but decidedly unromantic... A captivating lead performance and a truly massive central metaphor make ["Sin"] a memorable arthouse film.

An austere, demanding sit, “Sin” nevertheless has a stubborn integrity... The film finds its pulse, and an image that captures the magnitude of the artist’s obsession, when Michelangelo takes on the Herzogian task of conveying an intact block of marble from a vertigo-inducing quarry in Carrara to lower ground.

With his rugged features and almost Klaus Kinsky-esque capacity to turn rapidly from sheepish deference to narcissistic ranting, Testone brings a sullen intensity to his role that’s well suited to Sin’s Herzogian take on the genius as madman-outcast.

[A] sumptuously shot, rowdy, warts-and-all portrait... At 82, [Konchalovsky] has lost none of his ability to surprise. [His "Sin"] stands comparison with Derek Jarman’s "Caravaggio" as a fascinating portrait of an artist fighting to survive in the cut and thrust of times quite unlike our own.

Testoni and Konchalovskiy... sculpt the contours of Michelangelo's life in such a way that you feel you could almost reach out and touch them.