There is an amazing sequence in the Japanese 'making-of' documentary of Tilda Swinton signalling to someone off-camera, becoming more and more frantic and distraught as the scene draws on. Sadly, only a few seconds of this sequence are used in the finished film. Nonetheless, the memory of this performance is so powerful that it overshadows every other image in the film itself.
Generally affecting, if occasionally heavy handed, parabolic tapestry around themes of homosexual persecution and guilt. The sequences of light – more personal moments as Jarman tends his own garden – are more finely judged than the more ponderous allusions to Gethsemane, original sin, etc. Possibly the best of Jarman’s latter-day montage films, although not a conclusive whole.