Caravaggio(1986) is probably the closest Derek Jarman came to a mainstream film. And yet the film is a uniquely complex and lucid treatment of Jarman's major concerns: violence, history, homosexuality, and the relation between film and painting. However, according to Leo Bersani and Ulysse Dutoit, Caravaggio is unlike Jarman's other work in avoiding a lover-boy sentimentalising of gay relationships and in making no neat distinction between the exercise and the suffering of violence.
Film-making involves a coercive power which, for Bersani and Dutoit, Jarman may, without admitting it to himself, have found deeply seductive. But in Caravaggio this power is renounced, and the result is Jarman's most profound, unsettling and astonishing reflection on sexuality and identity.
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Review: Caravaggio (BFI Modern Classics / BFI Film Classics)User Review - Andrew Bishop - Goodreads
A very good analysis of the political aesthetics of Derek Jarman's work as a whole as well as its ultimate expression in what the authors consider the director's best film. I've read many different ... Read full review