A retelling of the life of the celebrated 17th-century painter through his brilliant, nearly blasphemous paintings and his flirtations with the underworld.
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In this Derek Jarman version of Christopher Marlowe's Elizabethan drama, in modern costumes and settings, Plantagenet king Edward II hands the power-craving nobility the perfect excuse by ... See full summary »
Director:
Derek Jarman
Stars:
Steven Waddington,
Kevin Collins,
Andrew Tiernan
Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both ... See full summary »
A dramatization, in modern theatrical style, of the life and thought of the Viennese-born, Cambridge-educated philosopher Ludwig Wittgenstein (1889-1951), whose principal interest was the ... See full summary »
A nearly wordless visual narrative intercuts two main stories and a couple of minor ones. A woman, perhaps the Madonna, brings forth her baby to a crowd of intrusive paparazzi; she tries to... See full summary »
Director:
Derek Jarman
Stars:
Tilda Swinton,
Johnny Mills,
Philip MacDonald
Reassigned to a lowly outpost, a Roman guard's Christian beliefs clash with his gay commander's desire for closeness. Being tortured becomes pleasurable.
Directors:
Paul Humfress,
Derek Jarman
Stars:
Leonardo Treviglio,
Barney James,
Neil Kennedy
Bo is a transexual prostitute in Brussels who left home after being abused by her father. She's now in an abusive relationship with a neighbor and suspected by the police in a series of ... See full summary »
Director:
Francis Girod
Stars:
Richard Bohringer,
Robinson Stévenin,
Stéphane Metzger
Joaquin (Polo Ravales), an unassuming fisherman, is forced to confront his homosexuality when his sex-starved wife Cynthia (Althea Vega) returns from her overseas job eager to get pregnant.... See full summary »
Director:
Joel Lamangan
Stars:
Polo Ravales,
Joseph Bitangcol,
Emilio Garcia
Young girl spends her adolescence in an institution for minors, developing some masculine traits in her personality. In this hostile environment, she can only find some sympathy in a ... See full summary »
Director:
Sergio Toledo
Stars:
Ana Beatriz Nogueira,
Raul Cortez,
Aida Leiner
Entertainment news, trailer drops, and photos abound at the 2017 San Diego Comic-Con. Check out IMDb’s coverage, featuring Kevin Smith as our host, celebrity interviewer, and captain of the IMDboat, July 20 to 22.
Fictionalized biopic of famed 17th century Italian painter Michelangelo Merisi de Caravaggio. As a young man, he gained the support of Cardinal Del Monte and Caravaggio proceeded to develop a new style of painting giving a more realistic view of the world in which he lived. He also begins love affairs with one of his models, Ranuccio as well as with Ranuccio's girlfriend Lena. Their relationship leads to murder and deceit. Written by
garykmcd
A typewriter is used, a saxophone is played, a train and steamship hooter are heard. In addition one of the characters plays with a (very advanced for the time of the movie) credit card-sized calculator with beeping buttons. These items are included deliberately as a stylistic decision of the filmmakers, not "goofs" of people unaware of the absence of these items in the 1500s and 1600s. See more »
What we know of Caravaggio suggests a strutting brawler with a healthy sense of entitlement who lived amongst whores and thieves and hustlers and put them on canvas. His works' themes were sex, death, redemption, above all, finding the sacred within the profane. He lived at a time where homosexuality carried a death sentence and political intrigue normally involved fatalities in a society defined by the maxim "strangling the boy for the purity of his scream".
You can't fault Derek Jarman for his cinematography, nor his recreations of Caravaggio's paintings and you certainly can't accuse the man of shying away from the homosexuality. But frankly, Jarman never strays beyond 80s caricature. Italian patronage becomes the 80s London art scene complete with pretty waiters and calculators. Sean Bean is a sexy bit of Northern rough oiling his motorbike. Tilda Swinton performs a transformation worthy of a Mills and Boons ("Why, Miss Lena, without that gypsy headscarf, you're beautiful..."). Jarman provides Caravaggio with a particularly trite motive for the murder which left him exiled.
This could have been a visually stunning treatment of a man whose life was dangerous, exciting, violent and decadent but who nonetheless elevated the lives of ordinary people to the status of Renaissance masterpieces, looked on by Emperors and Kings. Instead, what you get is Pierre et Gilles do Italy. The pretty bodies of young boys are shown to perfection, but never the men who inhabit them. Jarman appears to satirise the London art scene, showing it shallow and pretentious. To use Caravaggio and Renaissance Italy to make the point is to use a silk purse to make a pig's ear. In fairness, this film remains visually stunning, but ultimately as two dimensional as the paintings it describes.
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What we know of Caravaggio suggests a strutting brawler with a healthy sense of entitlement who lived amongst whores and thieves and hustlers and put them on canvas. His works' themes were sex, death, redemption, above all, finding the sacred within the profane. He lived at a time where homosexuality carried a death sentence and political intrigue normally involved fatalities in a society defined by the maxim "strangling the boy for the purity of his scream".
You can't fault Derek Jarman for his cinematography, nor his recreations of Caravaggio's paintings and you certainly can't accuse the man of shying away from the homosexuality. But frankly, Jarman never strays beyond 80s caricature. Italian patronage becomes the 80s London art scene complete with pretty waiters and calculators. Sean Bean is a sexy bit of Northern rough oiling his motorbike. Tilda Swinton performs a transformation worthy of a Mills and Boons ("Why, Miss Lena, without that gypsy headscarf, you're beautiful..."). Jarman provides Caravaggio with a particularly trite motive for the murder which left him exiled.
This could have been a visually stunning treatment of a man whose life was dangerous, exciting, violent and decadent but who nonetheless elevated the lives of ordinary people to the status of Renaissance masterpieces, looked on by Emperors and Kings. Instead, what you get is Pierre et Gilles do Italy. The pretty bodies of young boys are shown to perfection, but never the men who inhabit them. Jarman appears to satirise the London art scene, showing it shallow and pretentious. To use Caravaggio and Renaissance Italy to make the point is to use a silk purse to make a pig's ear. In fairness, this film remains visually stunning, but ultimately as two dimensional as the paintings it describes.