Dante’s Inferno

Ambitious painter and founder of the Pre-Raphaelite Brotherhood; passionate, volatile, and increasingly plagued by addiction. He alternates between deep devotion to Lizzie Siddal and numerous affairs, fueling his art and his downfall. His fixation with image and fame drives much of the film's tension, culminating in a self-destructive spiral.

Lizzie Siddal serves as Rossetti’s muse and partner, modeling for Ophelia and Rossetti’s Joan painting. She struggles with illness and laudanum, resisting Rossetti’s advances while his infidelities intensify the strain. Her life ends in tragedy, leaving a haunting legacy on Rossetti and his work.

A fellow artist-poet who meets Rossetti in Oxford and later marries Jane Morris; a key member of the circle whose ambitions intersect with the group’s artistic pursuits. He embodies the ideal of the artist as a social force and contrasts with Rossetti’s more volatile path.

Jane Burden becomes Jane Morris, captivating Rossetti and influencing the circle with her beauty and presence. Her relationship with Morris and Rossetti’s obsession with her weave through the narrative, highlighting the era’s gender dynamics within artistic circles.

Hunt’s girlfriend whom Rossetti cares for while Hunt is away; Rossetti’s later affair with Annie exposes the fragile loyalties within the group. Her presence marks the tension between personal duty and desire.

Loyal companion who supports Rossetti through suicide attempts and personal turmoil. Her steadiness offers a counterpoint to Rossetti’s unraveling obsessions, illustrating loyalty within the circle.

Christina’s voice appears as a poet in commentary and as a moral observer, reflecting on Lizzie’s illness and the family’s artistic pressures. Her perspective adds a lyrical layer to the tale of devotion and duty in art.

A prominent critic who visits Rossetti’s studio and takes an interest in Lizzie’s art. His presence signals the interweaving of art criticism, patronage, and personal connections within the circle.

Friend and fellow poet who threads through the artistic milieu, contributing to the dialogue around poetry and painting in the Pre-Raphaelite milieu.

A fellow artist who encounters Rossetti’s world in Oxford, contributing to the collaboration and rivalry within the circle.

Represents Millais, part of the broader Pre-Raphaelite group, contributing to the mural projects and the collective artistic energy.

Edward Burne-Jones’s contemporary, a painter who witnesses the circle’s emotional and creative highs and lows, including the impact of Lizzie and Rossetti’s relationship dynamics.

Emma introduces laudanum to Lizzie Siddal to ease her pain, a pivotal moment that foreshadows the drug’s spiraling effect on the group.