The story unfolds through a series of theatrical segments, creating an enjoyable portrayal of the celebrated philosopher while also offering a diverting look at what “philosophy” itself could entail. The possibility is raised because the interactions between him (eventually played by Karl Johnson), Bertrand Russell (Michael Gough), and John Maynard Keynes (John Quentin) suggest that certainty is elusive. His central argument revolves around language’s shortcomings as a tool for conveying meaning, and while I must concede that many of the concepts flew right over my head, they are presented in a rather captivating way. It remains to be seen whether it's genuinely profound or simply an elaborate deception. On a personal level, he is gay and involved in a relationship with “Johnny” (Kevin Collins), who consistently wears brightly colored jumpsuits—though I’m unsure if this has any philosophical significance or connection to Derek Jarman’s vision. The episodic format allows for glimpses into his life presented as discrete moments rather than strictly chronologically, offering scenes featuring Tilda Swinton in an exaggerated but delightful performance as Lady Ottoline and a memorable turn by Clancy Chassay as a younger Wittgenstein with a distinct personality that elicited laughter. Michael Gough was a frequent presence in British films during the sixties and seventies; while perhaps not known for his range, he delivers some good lines and expressive eyebrow movements as he and a friend acknowledge an inevitable separation. It’s difficult to imagine anyone else devising a dramatization of an Austrian academic from Cambridge that combines intellectual discussions with homosexuality (though devoid of explicit sexual content or nudity), extravagance, and ultimately left me feeling somewhat intellectually lacking. This felt like one of the director's more approachable films, and I did find it enjoyable.

Source on TMDB