The references to Egypt within both the manga and the film are notably limited. Initially, while utilizing a modern toilet in Japan, Lucius contemplates the numerous slaves who may have contributed to its creation. At this juncture, he experiences a vision wherein an Egyptian papyrus materializes in his dreams. Subsequently, Lucius embarks on a journey across various provinces of the Roman Empire, ultimately arriving in Hadrian's Alexandria. The film recounts the narrative of Antinous, the beloved of Emperor Hadrian, who tragically perished in the Nile River. In this cinematic portrayal, it is Hadrian himself who articulates his profound sorrow and nostalgia for the joyous days shared with Antinous. The lush banks of the Nile are evoked, and its sacred crocodiles and the bountiful agricultural land that yields delectable fruits for the Romans highlighted. Hadrian's palace in Alexandria is depicted with distinctly Roman architectural features, devoid of any Egyptian elements, save for the exotic detail of keeping crocodiles as pets. According to Hadrian, one such crocodile embodies the reincarnation of Antinous.
With regard to the limited representations of Ancient Egypt, it can be observed that they appear primarily intended to impart an exotic element to the film's narrative while also highlighting the tragic event surrounding the death of Antinous. The film illustrates the significant degree of Roman influence present in Egypt during Hadrian's reign, as well as certain Egyptian customs and religious beliefs, such as the veneration of crocodiles—an animal sacred to Egyptian civilization linked to Sobek, the deity associated with the Nile.
Despite minimal references to Ancient Egypt, the ornamental details found in Hadrian's palace located in Alexandria are noteworthy. These decorations evoke memories of the elaborate sets characteristic of classic peplum films from the 1950s and 1960s, which aimed to create opulent visuals. In this context, several renowned sculptures from antiquity are replicated, including the Apollo of the Belvedere, currently housed in the Vatican Museums in Rome. Additionally, representations related to Alexandria are complemented by recreations of Hadrian's splendid villa situated in Tivoli, Italy.
The sets, evocative of classic peplums, can be attributed to the fact that the film was produced at the Cinecittà studios in Rome. The cast comprises Japanese actors; however, those portraying significant roles, including Hiroshi Abe as Lucius, were chosen for their nihonjinbanare, or non-Japanese, features. The film achieved remarkable commercial success, ranking as the second highest-grossing film in Japan in 2012. Nevertheless, critical reception was less favorable, with critics such as Olivia Saperstein highlighting concerns regarding the substandard quality of the props.

Author: Guillermo Juberías Gracia