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embodies Cesare Borgia, the son who inspired Machiavelli's The Prince . Reviewers noted his portrayal as perhaps slightly over-the-top in its machismo, but compelling nonetheless in capturing Cesare's frustrated warrior spirit trapped in ecclesiastical robes.
The narrative tracks how Rodrigo uses his four children as human chess pieces to secure alliances across a highly volatile, fragmented Italy:
Standing opposite him was his son, Cesare Borgia. Cesare was a terrifying contrast to his father. While Rodrigo was heavy with age and indulgence, Cesare was lithe, clad in black leather and velvet, his face a mask of cold calculation. He wore the robes of a Cardinal no longer; he was now the Duke of Valentinois, the military fist of the family. The Borgia -2006-2006
However, the most consistent criticism leveled at The Borgia is that its story is simply . At just 120 minutes, the film is often described as feeling like a "beautiful sketch" or a "cold spectacle," struggling to properly develop its characters or build narrative tension. Many critics felt that the condensed theatrical cut lacked the space needed for proper characterization, noting that "the characters aren't properly developed". This sentiment is echoed by a reviewer who wrote that "the film is too correct" and that the performances feel somewhat "theatrical" and limited.
The show's impact on popular culture can be seen in several areas: embodies Cesare Borgia, the son who inspired Machiavelli's
However, the project began with a dual purpose. It was initially shot as a three-hour miniseries for television, but it was then re-edited into a 120-minute feature film for theatrical release. This unusual path would ultimately shape many of the film's critical reception points. Director Antonio Hernández, known for his more intimate dramas like En la ciudad sin límites , described the jump to such a large-scale production as moving "from playing checkers to playing chess". The film was picked up for international distribution by the Spanish mini-major Filmax, which acquired worldwide rights outside of Italy and Spain at the Berlin International Film Festival, signaling a major vote of confidence in the project.
The miniseries covers the years , beginning with the death of Pope Innocent VIII and the subsequent, notoriously corrupt papal conclave that elected Rodrigo Borgia as Pope Alexander VI. Unlike the later Showtime version, which luxuriated in camp and visual opulence, the 2006 adaptation took a more austere, psychological approach. Cesare was a terrifying contrast to his father
As Pope Alexander VI, Rodrigo orchestrates an ever-expanding web of marriages, military campaigns, and assassinations. The film depicts the Borgias as nothing less than an aristocratic mafia, using the resources of the Holy See to consolidate territory, eliminate rivals, and build a dynasty that could unify the fractured Italian peninsula under Borgia control. But their very success breeds enemies, as Cardinal Giuliano della Rovere (Eusebio Poncela) and other powerful rivals conspire to bring down this upstart Spanish family.
The Borgia family's story—Spanish outsiders who conquered Rome from within, who nearly unified Italy before being destroyed by their own ambition—deserves serious cinematic treatment. Antonio Hernández's The Borgia may not be the definitive statement on this controversial family, but it remains a worthy, thoughtful, and visually stunning contribution to their ever-fascinating story, one that captures the ambition, passion, and power that defined them.
The series focuses on the meteoric rise of Rodrigo Borgia (played with a weary, calculating menace by Lluís Homar) and the subsequent fall of his children. It follows a condensed but surprisingly accurate timeline:
While the film is a "deep piece" on their 15th-century reign, it grapples with the historical truth of the family: