Abstract: Caravaggio, directed by Derek Jarman in 1985, could not be reduced to a biopic of the roman painter. There, like a true convex mirror, the tableau vivant is staged as to reflect and reverse the depth of the cinematographic field. From porosity to emergence, from petrifaction to incarnation, Jarman hybridizes bodies, matter and images in one movement, under the erotic and plastic auspices of Narcissus, Medusa and Pygmalion.
