Réalisation:
Raoul RuizPhotographie:
Ricardo AronovichMusique:
Jorge ArriagadaActeurs·trices:
John Malkovich, Veronica Ferres, Saffron Burrows, Stephen Dillane, Sandra Ceccarelli, Paul Hilton, Nikolai Kinski, Joachim Bißmeier (plus)Résumés(1)
Paris, 1900. Klimt est fêté à l'exposition universelle pendant qu'il est condamné à Vienne comme provocateur. Il vit sa vie comme il la peint, ses modèles sont ses muses. Klimt est en avance sur son temps. Ses relations passionnées avec les femmes et sa quête éternelle de Perfection et d'Amour se reflètent dans toutes ses oeuvres. La controverse atteint son comble lorsque que Klimt détourne ses allégories "scandaleuses" et les rachète. (texte officiel du distributeur)
(plus)Critiques (1)
If you have an eye for Viennese Art Nouveau, then you can welcome Klimt with open arms. John Malkovich in the lead role is not exactly excellent. In truth, his means of expression have been the same for several years now, so behind certain masks he may as well be Valmont, Klimt or Murnau, but that does nothing to detract from overwhelming all the senses in this collage of modernists, canvases and the subtle decadence of the world between 1900 and 1918. In terms of acting, equal to Malkovich are all of his partners with Veronica Ferres leading the way. Irina Wanka, the daughter of Rolf Wanka, got the opportunity to make a nice comeback on the big screen as Bertha Zuckerkandl (1864-1945, who ran the Parisian cultural salon for most of her life). Although she made her debut as a child with Visconti in 1969, her career has otherwise been dominated by television series and dubbing has become her domain. Her performance in this film is so valuable that it stands out.
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