Viewer Rating
Combines user and critic ratings from four sources
The painter Picasso awakes from the dead, steals one of his paintings from a psychiatrist's and his wife's kitchen and wanders through Munich, where he meets the psychiatrist's patient, Takla Bash, and falls in love with...
The painter Picasso awakes from the dead, steals one of his paintings from a psychiatrist's and his wife's kitchen and wanders through Munich, where he meets the psychiatrist's patient, Takla Bash, and falls in love with...
The film's highly experimental, surreal, and deeply personal exploration of artistic struggle and identity does not align with or explicitly promote any specific political ideology. Its focus on existential and cultural themes, rather than political ones, places it firmly in the neutral category.
This 1978 German film, consistent with its era and the director's distinctive style, features casting that is predominantly traditional without any explicit DEI-driven race or gender swaps. The narrative does not engage with modern DEI themes or offer a critical portrayal of traditional identities, focusing instead on the director's unique artistic vision.
The film 'Picasso in München' by Herbert Achternbusch does not appear to contain any explicit LGBTQ+ characters or themes in its widely available descriptions. Therefore, there is no discernible impact on LGBTQ+ representation.
The movie does not contain any action or adventure elements.
The film features Herbert Achternbusch portraying the historical artist Pablo Picasso. As both the historical figure and the on-screen portrayal are male, no gender swap occurs.
The film depicts a fictional visit of the historical artist Pablo Picasso to Munich. Picasso was historically a white Spanish man, and the actor portraying him, Herbert Achternbusch, was a white German man. There is no evidence of a race swap for Picasso or any other established character.
Combines user and critic ratings from four sources