![]() Jarman’s approach was to fuse the mechanics of the painter’s art with a fleshly lament for the artist’s brutal, hedonistic life: the sight of Nigel Terry shoving coins into Bean’s mouth is still an amazingly lascivious scene. His films since the mid-70s had dominated British experimental cinema – and my favourite of his films is still the first one I saw in the cinema: his mid-80s fever-dream vision of baroque painter Caravaggio, with a cast that looks even more jaw-dropping in retrospect (Tilda Swinton! Dexter Fletcher!! Sean Bean!!!). ![]() ![]() Although lionised by the New Queer Cinema movement in the early 90s – then the cuttingest edge of the cutting edge – Derek Jarman in those heady days was hardly a new phenomenon in fact (sad to say), by then he was approaching his personal endgame.
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