Hellen I like the storyline of this show,it attract me so much

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Roman Sampson One of the most extraordinary films you will see this year. Take that as you want.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Kirpianuscus the seduction. this is the purpose and the basic virtue. ambiguous, strange, cold, sarcastic, a garden of dialogues, colors and emotions. a thriller and chronicle of use of the other as simple tool. a film of its director. so, nothing surprising because the eccentricity, the fireworks of few scenes, the grotesque and its bizarre poetry are present as marks of a style. like the humor, costumes, clash between a young painter and an obscure universe of interests , plans and contracts. a film who seems be one of stories about sins in the too clear manner. and this could be its basic source of seduction.

anninabillyjoe It's everything that can be wrong in a movie. All based on dialogue - boring dialogue -, "important" details that are weird and intricate and not underlined at all, bad acting or most probably just poor stylistic choices, allegories and metaphors not understandable, repetitive images, plot that jumps from one thing to the other, stupid characters with no purpose whatsoever... The murder mystery is hinted at and not central at all, as well as the fertility myth and plot line. Greenway just wanted to make a movie about someone who drew a house "as he saw it and not as he knew it" (by his own admission in the extra of the DVD) and added all the other elements because of necessity, so he really didn't care a lot about them and it shows. What was supposed to be funny wasn't, what was supposed to be scandalous was pretty plain and what was supposed to be a big reveal or twist did not have an effect at all because it came after two boring hours and it happened to characters I did not care one bit about. Overall I found this movie not enjoyable at all. It probably wasn't the intention of the makers to make it so, but at this point they probably should have just made an art documentary.

framptonhollis Peter Greenaway's classic comic murder mystery is a parade of fanciful language, English accents, long, white wigs, and beautiful countryside. It is a period piece that, at times, oddly and indescribably recalls fantasy and science fiction. It is a heavily stylized and artistic film that is surreal, witty, and dark all at once. The surrealism present is always subtle and hard to describe, which makes the atmosphere feel even stranger. It is almost uncomfortably unique and bizarre, which makes it all the more impossible to look away from. While this film is highly artistic and, at times, feels almost like a step into an 18th century painting, it balances style with substance gloriously. The story and characters are engaging, and their conversations are often witty. It is a film that requires attention and intelligent from the viewer, you must grasp what each character is saying to follow the hidden jokes, as well as the obvious ones. Michael Nyman's score is one of the finest in motion picture history. My jaw practically dropped the second the film began. How can music sound this damn good? It compliments the film's stylistic characteristics with elegance and grace as well as a sly wickedness that feels almost darkly humorous.For fans of stylized, art-house cinema, there are few films that capture this mood nearly as well as "The Draughtsman's Contract". It cares about great story and characters as much as it does great atmosphere and music.

chaos-rampant This is like a chestbox full of fantastical treasures, most of them pertaining to image and meaning. An amazingly rich film upon which to ponder cinematically on the hidden realities of the frame.We have the sketch artist at the centre of this, the man commissioned to represent reality. By this whim, he has the ability to empty the landscape of people or place them within it as he sees fit, which is to say the world he sketches is a replica born in the mind. What starts by this process as representation inadvertently becomes creation.But there is more to it. Within his image and unbeknownst to him, find their way various shadowy allegories which may be simple pictorial conceits or keys to a sinister plot involving murder and worse. By having sketched these anomalies of perception, the things that shouldn't be where they are, he becomes complicit in their implied meaning.The most fascinating thing about all of this, is that the film is perfectly aware of everything that transpires in it. It knows and points out that it does as meant to entangle itself in the folds of this so that it can be disentagled again.Tantalizing double entendres (some of the best in film) among politely aggressive dinner companies, an animate statue who unsuccessfully tries to mingle with the routine, sexual inappropriateness as contractual obligation, all these humorous or deviant stratagems mirror the effects of duplicitous meanings.Each of these elements merits a film of its own, Greenaway however weaves them together in a ribald pastiche. Of the pastiche itself I'm not too sure, whether the whole adds or subtracts upon the individual meanings, but it's an enjoyable one.All you need to make cinema in my opinion is not story or characters but a point of view (and of course the view to which it points). Two forms of consciousness, one which is the cinematic representation and the other the navigation within it. This one has several, each working upon the others to make them equally possible or equally moot.By the end of this, Greenaway rather fatalistically shows us the destruction of both creator and creation. At the hands of a spoiled plutocracy no less.