Derek Jarman's approach to Caravaggio's life is deliberately anachronistic: cars, typewriters and calculators show up in renaissance Rome, as a way both of imitating Caravaggio's own approach to history, and insisting on the enduring relevance of Caravaggio's life. As a painter, Jarman was drawn to Caravaggio's approach to light, colour and theme; as a gay man, Jarman identified with Caravaggio's passionate approach to art and life. The result is Jarman's most profound, unsettling and astonishing reflection on art, sexuality and identity.
source: Calgary Cinematheque
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