This movie is basically a sequence of paintings in which image composition and the quiet moments in between action take centre stage. With limited dialogue, the profusion of humanity engulfed by its surroundings and the importance of colours in highlighting different environments (the greens and browns of the jungles, the blues of the seas and skies, the whites of the cities and dream sequences) make the experience of watching this movie akin to visiting an art gallery where an exhibition depicting the life of Magalhães is the key theme.

Another spot-on directorial choice is the avoidance of stridency. Obviously, the stillness of the camera makes that difficult, but still, it is quite obvious that this is an element that the team of Lav Diaz and Artur Tort try to address by showing violence not through sword-swinging but by presenting the after-the-fact consequences of brutality. Only on a couple of occasions, via whipping and rape, is actual violence presented, and even in those two occurrences, the acts are not clearly visible. Considering that, I believe they could have been completely avoided or presented more explicitly for maximum effect.

Another unfortunate aspect is that half of the film that takes place outside of the indigenous communities and the conflicts between them and the colonisers is considerably less interesting. The truth is that the part in which Magalhães has to deal with politics in Lisbon and Seville is quite dull, and the section in which he and his crew face starvation, descent into madness, and ongoing mutinies during their expedition becomes quite repetitive.