Ridley Scott (‘Gladiator’, ‘Prometheus’) provides us with ‘Napoleon‘the possibility of seeing a film, a show, that is outside of time, that does not belong to this era. Getting involved in a production of this nature, of these (excessive) ambitions and of such dimensions is an act of admirable stubbornness on the part of its director and, today, an exotic experience for the viewer. Scott’s film about the figure of Napoleon is interesting for that reason alone, because it is unusual and obstinate. But that is not his only attraction.

It is an essential condition to understand it as a free approach to the character, without demanding the precision and historical rigor that Scott has decided to handle as he pleases. It is the best way to enjoy his sordid and hallucinated portrait of Napoleon, played by Joaquin Phoenixwhich shines especially when it explores the most grotesquely childish and selfish dimension of the character.

Also to face the story, tremendous and with very stimulating edges, of the relationship between the protagonist and Josefina (Vanessa Kirby, imposing): toxicity, dependency, a very strange way of understanding commitment and devotion. But, issues of focus aside, Napoleon has his main asset in the spectacular battle scenes. In times of bad digital rehashes, it is a pleasure to contemplate sequences so well conceived, so well choreographed, so lavish and forceful.