at derek jarman retrospective mk2 bibliotheque x centre pompidou, paris
before diving into jarman’s films, i attended a conference where tilda swinton said something that stuck with me: jarman isn’t a narrative filmmaker, he’s a painter. she mentioned parajanov as a reference, and it clicked here.in the tempest, jarman pulls a smart move: he takes shakespeare’s plot, dismantles it, placing it to the bottom and builds around it one of the coolest aesthetics i’ve seen. the story is there, somewhere, but it’s secondary, almost buried.what really matters is everything around it: the textures, the staging, the visual attitude, the double entendres, the new meanings that the shakespearean characters embody. and the costumes are PURE avant-garde.
at derek jarman retrospective mk2 bibliotheque x centre pompidou, paris
before diving into jarman’s films, i attended a conference where tilda swinton said something that stuck with me: jarman isn’t a narrative filmmaker, he’s a painter. she mentioned parajanov as a reference, and it clicked here.in the tempest, jarman pulls a smart move: he takes shakespeare’s plot, dismantles it, placing it to the bottom and builds around it one of the coolest aesthetics i’ve seen. the story is there, somewhere, but it’s secondary, almost buried.what really matters is everything around it: the textures, the staging, the visual attitude, the double entendres, the new meanings that the shakespearean characters embody. and the costumes are PURE avant-garde.
