o would be more at home on Tinder than at a Roman Cathedral, gallivants through the streets like brush strokes to become a Baroque 16th century icon.

The year is 1604 and Michelangelo Merisi da Caravaggio is a superstar, his blockbuster paintings packing the pews of Rome. Caravaggio should be reveling in prosperity, but the artistic trailblazer and nefarious street-brawler is his own worst enemy. While the genius paints masterpieces, the ruffian in him can't stay out of jail. Caravaggio is a man at existential odds with himself until falling in love with Lena Antognetti, the prostitute modeling his newest Virgin pictures. Caravaggio paints Lena into a life of wealth and celebrity, but the power couple's provocative fame earns them a horde of resentful and jealous enemies.

I, Caravaggio dramatizes the superstar's psychological unraveling under the sexual and political pressures of the Catholic Reformation.