Beautifully lit, vibrant colours and carefully designed Caravaggio, has an immediate aesthetic appeal that links it more easily with the history of arthouse filmmaking than Jarman’s other, more jagged, rough-and-ready works. The film is about the world as represented in Caravaggio’s paintings and was made to look just like them. Jarman clearly identified with the reputedly gay Renaissance painter, who had an ambiguous relationship with his patrons and instead preferred to mix with and paint the people from the street.
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Caravaggio (1986)
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