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The movie does do some playing around with the timeline of events and with the major characters in the story, but most of this can be excused on dramatic grounds.
In the first half of the story the Prefect Orestes (Oscar Isaac) is depicted not just as one of Hypatia's students but also as the one who, according to the famous story, publicly declared his love for her and got rebuffed.
It's said the historical Hypatia rejected him by presenting him with rags stained with her menstrual blood and said "This is what you're in love with".
It would have been nice for nitpicky obsessives like me to finally see a movie set in the later Roman Period where the soldiers actually look like late Roman troops, but that was probably expecting too much.Finally, a fictional slave, Davus (Max Minghella), is introduced to provide the third element in an unrequited love triangle with Orestes and Hypatia.All these changes to the historical accounts are fairly tolerable, but where the "history" in the story goes widly off the rails is when Amenábar and fellow screenplay writer Mateo Gil begin their hamfisted sermonising. The Library That Never Was The screenplay includes sufficient elements and details from the actual historical story to indicate that Amenábar and Gil did enough homework to have been able to depict things as they actually happened.But this is a movie with a message and an agenda, so these elements get mixed around, downplayed, countered or simply distorted to suit Amenábar's objectives.More importantly, most of the elements that support the "message" the director is preaching are wholesale fictional inventions.
Agora has now been released in both the UK and US and so is attracting rather more attention.