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The Agony and the Ecstasy
The film opens in documentary style, chronicling the work of Michelangelo Buonarroti.It then follows Michelangelo, a renowned Cinquecento sculptor of the Republic of Florence, in the early 16th century, and shows him at work on large-scale sculptures near St. Peter's Basilica. When Pope Julius II commissions him to paint the Sistine Chapel, Michelangelo resists because he finds the ceiling's paneled layout of the Twelve Apostles uninspiring. Nonetheless, he is forced into taking the job. During the initial attempt, Michelangelo is discontented with the results, and destroys the frescoes. He flees to Carrara, and then into the mountains where he finds inspiration from nature.
Michelangelo returns and is allowed to paint the entire vault in a variety of newly designed biblical scenes based on the Book of Genesis, which the Pope approves. The work proceeds nonstop, even with Mass in session. Michelangelo faces opposition and criticism from the Pope's cardinals, due to its depictons of nudity in the paintings. As months turn to years, Michelangelo's work is threatened when he collapses due to fatigue. He is nursed back to health by Contessina de' Medici, daughter of his old friend Lorenzo de' Medici. After recovering, Michelangelo returns to work after learning he is at risk of being replaced by Raphael, whom the Pope commissions to paint the reception rooms of the Papal palace.
Meanwhile, the Papal States are threatened during the War of the League of Cambrai. Preparing for battle and having reached the limits of his patience, the Pope terminates Michelangelo's contract, and has the scaffolding torn down. Raphael, impressed with the work in progress, asks Michelangelo to show humility and finish the ceiling. Michelangelo travels to see the injured and weakened Pope, and pleads for him to restore the patronage. Though the Pope believes an invasion of Rome is inevitable, he raises the money needed to resume work on the ceiling.
One night, Michelangelo finds the ailing Pope inspecting the portrait of God in The Creation of Adam, which the Pope declares "a proof of faith" yet doubts Michelangelo's conception of God as merciful and Adam as innocent, then the Pope collapses and becomes bedridden. Though everyone assumes that the Pope will die, Michelangelo goads him into having the will to live and to finish his work and asks permission to allow him return to Florence, a request the Pope refuses. As Michelangelo leaves, the Pope recovers and upon seeing the cardinals and the monks, as well the choir, he angrily shooes them away. The tide of war turns in favor of the Papal States, as allies (including England and Spain) pledge to assist the Pope.
A Mass is held in which the congregation is shown the completed ceiling, to a positive response. After the ceremony, Michelangelo asks to begin carving the Pope's tomb. Realizing he has a short time to live, the Pope agrees but changes his mind when he gives Michelangelo another commission to paint a new fresco behind the altarpiece to replace the dilapidated ones (and gives Michelangelo the choice of subject like the crucifixion or the last judgment). The Pope then admits that Michelangelo's conception of God is accurate before goading him to continue his work. As the Pope leaves, Michelangelo turns back to look at the space behind the altarpiece, where he will later paint his Last Judgement 25 years later.