Jarman exemplified a new direction in British independent filmmaking: a queer cinema, sensual, theatrical. Imagining October, in his textured, slow-motion Super-8 style, is – at the same time – a visual meditation on a trip to Moscow (and Eisenstein’s apartment), and a passionate denunciation of Thatcher’s Britain. The ground-breaking experimental narrative Borderline, which was rediscovered some five decades after its making, depicts the inner state of its characters involved in an inter-racial triangle, and also hints at a homoerotic subtext.