Records life in Anthony Harwood’s Sloane Square apartment where Derek Jarman lived during the period that he made Sebastiane. Long sequences in stop frame pixilation animate the interior. The middle part is a “removal party” held when Derek was finally evicted.

An imaginary Arabian garden made out of old postcards of Alexandria, Egypt, is adorned with costumed figures and filmed through discarded footage from an old swords-and-sandals epic.

A long car journey to the great Neolithic stone circle and its surroundings at Avebury in Wiltshire, filmed through a yellow filter which creates a map of a landscape saturated in gold: a path, fields, trees, sheep, cows, and the stones.

Fire Island in New York is filmed and reimagined through a glass prism held in front of the camera: waves, the beach, plants, jutting wooden posts, and a man holding a starfish.

Being Blue was made on a residency at Prospect Cottage, the former home of Derek Jarman. Fowler sought to consider both the landscape of Dungeness and Jarman’s life and work during his time there. The film touches impressionistically on themes of sexuality, art making and nature, and features newly discovered recordings of Jarman, as well as music from Simon Fisher Turner and Bruce Gilbert.