The Captive

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Adam G @Adamo777 4h Visually striking, with evocative images of Algiers, strong costumes, and an inventive (if not historically accurate) story. Alessandro Borghi is a highlight, bringing charisma and a distinctive accent familiar from Suburra. The film, however, struggles with tone, hovering between a soft gay drama and a family-friendly historical film, which blunts its emotional edge. The overly baroque, sometimes ornate music doesn’t help, adding a sweetness that often feels excessive. See more Marco L @decatur555 8h Not the film many expect about Cervantes’ captivity after Lepanto. Instead of a faithful historical account, it offers a freer, more speculative take that blends adventure, confinement, and questions of identity. Some of its choices feel provocative by design, challenging the official narrative and embracing controversy rather than avoiding it. As an adventure film, it’s solidly made, with careful staging, convincing historical detail, and moments of genuine visual beauty. Emotionally, it doesn’t always land with the same weight, sometimes favoring ideas over feeling. Not a definitive portrait, but a distinctive and risky interpretation that dares to treat a national myth as something open to debate rather than untouchable. See more Luis I @Luva3es 1d Fantasia gay de Amenabar nada que ver con la historia más alla del fantastico delirio de su director. Producto muy del gusto "woke"de Netflix adornado de personajes y sexualidades del gusto LGTBI Q+, Amenabar por lo que se ve solo busca el rigor historico cuando trata la guerra civil, Mientras dure la guerra, Su Miguel de Cervante pretende ser una fabula gay trangresora usando al autor icono de las letras español en la literatua universal. Es al fin un producto mediocre/malo que se hundirá en el extenso y mefiocre catalogo de Netflix See more mehdi m @MR.MH 3d This portrayal is historically false and anachronistic. Sixteenth-century Ottoman Algiers was a deeply religious Muslim society governed by Islamic law, where homosexual behavior was religiously condemned and socially unacceptable. There is no credible historical evidence supporting the existence of openly homosexual relationships or romantic dynamics like those shown here. The work imposes modern ideologies onto a historical period that operated under entirely different moral, legal, and religious frameworks. Speculation and fiction are presented as fact, resulting in a distorted and misleading image of Muslim society at the time. This is not historical interpretation—it is historical revisionism. See more Pepe h 4d Cervantes not are gay See more Read all reviews

The Captive

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