Drawing on Greek drama and modern dance to interpret Christopher Marlowe’s 16th-century play, scholar B. Ruby Rich notes that “Jarman’s time travel” in Edward II “insist(s) on carrying the court into today’s gay world.” British filmmaker Derek Jarman’s output is as varied and rich as the movements within which his films are positioned. Considered at once experimental, queer, postmodern, and essayistic, Jarman’s films in fact exist within their own milieu.