Directed by Derek Jarman
93 minutes
In English

In a way, this is the story of the life of the infamous 17th-century Italian painter Michelangelo Merisi da Caravaggio, who was also a convicted criminal and murderer. But let's be clear, although this flick does trace the painter's life and interests, it is certainly not a normal bio-pic. Its approach is startlingly unique, incorporating some of the very same approaches that Caravaggio had towards painting, and using them in its cinematic style. So, for example, since the painter caused a scandal for dressing his characters in contemporary clothing in his historical paintings, you shouldn't be surprised when you see a black leather jacket or two appear in Jarman's vision of Caravaggio.

This was a kind of sacred project for the director. He raised money to finally make it, but before he could start shooting it several of his early movies were shown on British television and caused a scandal—they were attacked for being radically queer. Therefore funding for this movie was withdrawn, and it took him seven years to finally complete it.

Jarman was a painter himself, so he approached this movie as if it was a canvas, giving himself all the liberties and creativity he would for a painting. Jarman's and Caravaggio's interests had many overlaps, so you can expect this film focuses on the concerns shared by both men—themes of sexuality, transgression, love, passion, creativity, persecution and politics. It is also a meditation on the nature of art, what inspires it, and also the connection between art and commerce. At the heart of it all is a love triangle between the painter Caravaggio, a sex worker and her lover. The tempo is relaxed but vivid and engaging, and the gold-and-black chiaroscuro cinematography is breathtaking. The music soundtrack is by Jarman regular Simon Fisher-Turner (Deux Filles). 

This is also the debut feature of Tilda Swinton—so this is where it all started. Also starring Nigel Terry, Sean Bean, Michael Gough, and Robbie Coltrane.