Andrei Konchalovsky on Sin, Michelangelo, Tarkovsky, and Andrei Rublev

Midway through our chat, Andrei Konchalovsky squints at his coffee and takes a brief pause. We’re in the restaurant of a cozy boutique hotel in Tallinn, Estonia. The restaurant is in the hotel’s basement floor; the 14th-century walls give the room a cave-like feeling, and a log fire sizzles behind our backs. Aside from us, the place is empty. Konchalovsky arrived in Tallinn to pick up a lifetime achievement at the 23rd Black Nights Film Festival (PÖFF), and to present his latest directorial effort, Sin, a portrait of Renaissance master Michelangelo Buonarroti, the sculptor, painter, architect, and poet behind such masterpieces as La Pietà, David, and the frescoes of the Sistine Chapel. Sin came out three years after Paradise, Konchalovsky’s 2016 Holocaust drama, which earned the Russian a Silver Lion for best directing at the 73rd Venice Film Festival.

Like Andrei Rublev (1969), a somber epic of Russia’s
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