FILM

In many ways a companion piece to The Last of England, Jarman’s first feature of the 1990s is a highly personal, almost dialogue-free “dream allegory” reflecting on the hostility and violence faced by gay, queer and trans people in the aftermath of the AIDS epidemic. Drawing together a collage of scenes filmed at Jarman’s cottage in Dungeness, numerous references to classical and popular culture, and a bold retelling of the Passion of the Christ featuring a gay couple in the lead role, it is one of Jarman’s most startling meditations on mortality, loss and queer politics.