Derek Jarman’s 1990 film isn’t without hope that we can regrow a paradise.
The film isn’t driven by quality dancing, but by the unstated inclusiveness of the Benjy’s dance floor.
There’s something potentially erotic about nocturnal, and body-less, interaction with strangers even if the hotline isn’t overtly sexual in nature.
Rage, bitterness, sorrow, and beauty, all in unison against the dying of the light.
The 1992 release of Orlando propelled director Sally Potter to forefront of independent filmmakers.
Jarman’s response to a restrictive culture that denies gay sexuality is, in his films and his writings, to be open, to be honest and forthright and at times outright confrontational.
“Sweet love, renew thy force.” A commendable collection of a maverick’s final films.