Leonardo da Vinci's life gets a full arc treatment here, opening in Florence where he apprentices under Andrea del Verrocchio and picks up the technical grounding that would later show up in his anatomical studies and engineering sketches. Art historians and Renaissance scholars appear throughout, walking through the construction of the Mona Lisa's sfumato technique and the damaged, much-restored surface of The Last Supper in Milan's Santa Maria delle Grazie. The film treats da Vinci less as a solitary genius and more as a working painter operating inside patronage networks, guild training, and the artistic rivalries of Florence and Milan, tracing how commissions shaped what he finished and what he abandoned. Notebooks and preparatory drawings get close attention as evidence of how he actually solved problems on the page before touching a panel. By moving between biography and close visual analysis, the film builds a picture of a working method as much as a mythology, letting the interviewed experts disagree occasionally about intent and technique rather than presenting a single settled account.