Caravaggio

Caravaggio grows up as a street-riding teen, hustling on the city’s edges while teaching himself to paint. He uses the urban world as his classroom, attracting the first attention of patrons and fellow misfits. Jerusaleme, his mute companion given by his family, accompanies him through these formative years.

As an adult, Caravaggio comes under the roof and patronage of Cardinal Francesco Maria del Monte. The Cardinal nurtures his artistic and intellectual development, offering support while the relationship also carries disturbing undercurrents of exploitation.

Under del Monte's funding, Caravaggio paints with unconventional models—street people, drunks, and prostitutes—giving his works a raw intensity. He remains prone to brawling, gambling, and heavy drinking, earning a reputation as vulgar in the art world but valued for his talent. The Vatican connections provide him access few painters could dream of.

Ranuccio, a street fighter for pay, becomes a subject and potential lover, while introducing Lena, his girlfriend, who also becomes one of Caravaggio's models. Their entrances pull Caravaggio into new personal entanglements, testing his loyalties and artistic interests.

Lena reveals she is pregnant and hints at becoming a mistress to the wealthy Scipione Borghese, layering deceit and desire into Caravaggio's circle. The pregnancy escalates tensions, foreshadowing tragedy within the quickly shifting dynamics. Caravaggio remains entangled with Lena and Ranuccio while navigating patronage and power.

Lena is found drowned, a death that shocks the artist and his mute companion. Caravaggio and Jerusaleme help prepare Lena’s body and mourn her loss, with the artist turning to painting her posthumously. The investigation begins to swirl around Ranuccio as a potential suspect.

Ranuccio is arrested on suspicion for Lena’s drowning, while maintaining his innocence. Caravaggio’s influence and connections become crucial as he navigates the political maze to secure a proper outcome for his friend and subject. The mounting tension foreshadows a darker turning point.

Caravaggio uses his influence to secure Ranuccio’s release; in a chilling confession, Ranuccio tells him that he killed Lena so they could be together. The truth fractures Caravaggio’s perception of his circle and deepens the codependent, dangerous bond among them.

In response to the confession, Caravaggio cuts Ranuccio’s throat, killing him in a stark act of jealousy and possessiveness. The murder marks a final severing of trust among his inner circle and intensifies the artist’s solitary path. Jerusaleme remains a silent witness to the violence.

Caravaggio experiences visions of himself as a boy during his final moments as illness tightens its grip. He struggles to accept the priests’ last rites and refuses them, remaining defiant to the end. His life closes in exile, with only Jerusaleme by his side.

The film’s opening scene is fulfilled as Caravaggio passes away from lead poisoning, leaving behind a controversial legacy. Jerusaleme, faithful to the very end, remains with him as the world around him looks on. The death marks the closing arc of a life defined by genius and turmoil.