July 1993, Derek Jarman arrives in Rome for his film, BLUE, and for an exhibition of his paintings. L’AMORE VINCITORE is asynchronous, the sound does not keep up with the image, his body becomes landscape.
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L'amore vincitore. Conversazione con Derek JarmanDirected byRoberto Nanni
The artist as objet trouvé. Nanni doesn’t quote or sample Jarman’s works as is usual in art appropriation, but employs Jarman himself with an emphasis on his iconic status, which (the status) curiously casts a shadow over Jarman the subject and highlights him as a human-made, visual culture object. Not only the appearance of the artist documented in interviews or photographs is quotable material. His living entity is