This video says about itself:
Eisenstein In Guanajuato – Official Trailer
8 February 2015
A film by Peter Greenaway, 2015, Netherlands/Mexico/Finland/Belgium, 105′
On 27 July 2015, I went to see the film Eisenstein In Guanajuato.
In this film, movie director Peter Greenaway reconstructs the stay of his famous Soviet colleague Sergei Eisenstein in Mexico in 1931. Eisenstein then made recordings, intended for a film on Mexico and the Mexican revolution, entitled ¡Que viva México!
In his reconstruction, Greenaway had to consider that some of the facts in this part of Eisenstein’s life are known. Some others are not certain, but maybe, with some fantasy (Greenaway made a feature film, not a documentary), might be deduced from known facts. And many other things about Eisenstein’s Mexican episode are completely unknown.
Greenaway’s film ‘plays fast, loose and salaciously with the facts’, according to film critic David Robinson.
Robinson points out, inter alia, that Eisenstein was a workaholic, while Greenaway depicts him as hardly ever leaving his hotel bedroom. Eisenstein did not drink alcohol, while Greenaway depicts him as drunk.
The central theme in Greenaway’s film is that Eisenstein was a virgin, until his initiation into gay sex in Guanajuato at 33 years of age. Very improbable, according to Robinson.
Was Eisenstein gay? Maybe, we don’t know for sure.
However, there are so many and such obvious inaccuracies in Eisenstein In Guanajuato that, rather than being results of Greenaway’s supposed ignorance or sloppiness, one may suspect that Greenaway included them on purpose to indicate the film is not about the historical Eisenstein, but about an Eisenstein of his own post-modernist imagination.
Eisenstein as a film role in Greenaway’s work speaks about lots of famous filmmakers and other artists he supposedly had met. A list so long that it looks a bit incredible. Is this not really a list of Peter Greenaway’s favourites in film history and art history?
One can see that Eisenstein In Guanajuato is by someone who was originally a visual artist, and an admirer of the imagery of Eisenstein’s films. Greenaway’s imagery in this film is good. So is the acting. However, Greenaway undeservedly makes the issues in Eisenstein’s films, Russian revolution and society, Mexican revolution and society, etc. play a very second fiddle to aesthetics.
At least one review of this film has a historical inaccuracy of its own: Variety magazine in the USA writes that Lenin underwrote Eisenstein’s expenses while in Mexico. Lenin had died in 1924. While the Variety article also spells ‘Guadajuato’ which should have been Guanajuato.