MICHAEL

Arelatively unheralded gem from the silent era, Carl Dreyer’s drama is both a profoundly moving study of unrequited love and an early milestone in gay cinema. Commissioned to paint a portrait for a manipulative countess, an ageing artist (Benjamin Christensen) fails to notice his young muse (Walter Slezak) falling for her, ignoring the warnings of an old friend whose own feelings may run deeper. Christensen mesmerises as the crestfallen master; among the robust extras, an interview with the pioneering helmer proves equally compelling. Chris Schilling