This autumn the Screen Shot partnership presents Dual Delights, an evocative film programme across Brighton and Hove. Exploring the subversive and stylistic legacy of rewnowned directors Powell and Pressbuger, Dual Delights investigates transgressive presentations of gender and sexuality with the power of cinema and performance.

Fabrica will be hosting a two-parter event in response to our Powell and Pressburger screening Oh...Rosalinda! The event features a life drawing session and film screening inspired by British filmmaker, gardener, & activist Derek Jarman. Tickets can be bought for both parts or for the screening only.

PART 1: 6.30 - 7.30 - LIFE DRAWING: Exploring Colour with Derek Jarman

The session will be untutored, but led by film programmer and artist Piers Courtney, exploring colour through Jarman’s book ‘Chroma.’

Written a year before his death and with his eye-site almost gone, Jarman’s Chroma explores colour through poetry and lyrics in an attempt to memorialise colour even when it was receding from his own life. The session links colour to poses and emotions and celebrates colour as Powell & Pressburger had, with their brilliant use of technicolour.

After the session, each participant can enjoy Jarman’s queer biography of one of the greatest painters in history: Caravaggio.

PART 2: 7.30 - 9.30 - FILM: Caravaggio / 1986 / 1hr&33mins / Rated 15

This beautifully lit and vibrant fictional portrait of Italian Renaissance artist Michelangelo Merisi da Caravaggio, reflects the world and look of his paintings.

The film is told in a segmented fashion, and follows the painter as he wanders the streets. Caravaggio works with homeless people as models for his work, and takes on two different lovers Ranuccio and Lena. Caravaggio leads a complicated life in spite of his relative success, with his reckless behaviour steering him towards an early death.

"Jarman's film is bit of a curate's egg. Arguably the most accessible of his films, it remains a testament to his distinctive visual style. Taking a leaf out of Pasolini's book, Jarman jettisons period authenticity in favour of highly aestheticised spaces, filled with beautifully composed and lit pictorial tableaux. The theatrical acting and dialogue, as well as the occasional token anachronism - designed to emphasise the artificiality of it all" Andrew Puilver, Guardian