Normally, opening this review with the bold revelation that the central character changes sex midway through the movie, might mean that the big twist has been cruelly exposed.

However, Orlando’s ambiguous sexuality (played throughout by the terrific Tilda Swinton) is not the question, even if her transformation in the pursuit of a soulmate may be the answer.

The remainder of this film is more direct, if only slightly more conventional, and does not linger in the realm of the supernatural -- except that Orlando barely ages a day in 400 years, of course, but that is as far as your suspension of disbelief will be tested.

Also tested for their acuity will be your senses, with a dazzling visual and aural experience laid out resplendently before you like a banquet set down for Elizabeth I, in whose court the story commences.

This is an appropriate starting point considering this film is an experience, as if walking through a masterwork of the renaissance. The scenes throughout are magnificent. Meticulously planned and prepared, with rich colour and sound. Grand, exotic and a narrative that maintains focus and propels the viewer through 400 years in the life with pathos, charm and wit.

We have known Orlando for 200 years before the change, and we are prepared for this, making the transition a comfortable one, for Orlando remains a constant even if her sex does not.

The central theme, that men and women are human and that gender is unimportant, reminds us that it is our consciousness that defines us, not our sex, and Orlando is the literal representation of this ideal. Direct-to-camera comments from Swinton are used to reinforce this meaning, but are contrived and unnecessary and assume the viewer cannot work it out for themselves. It is a shame because the storyline is self evident and these brief monologues are the weakest parts of the film.

Sally Potter has paid notable attention to detail with a range of fascinating characters, in a strong adaptation of the Virginia Woolf novel. Framed by stunning imagination and a soul-searching musical score, this is simply one of the best films of the 1990s.

1.85:1 widescreen is available, and is a great asset for such a grand movie. The picture and two-channel stereo is very sharp and consistent throughout. It's a very thoughtful presentation; even the main menu captures the essence and beauty of this film (a little better, I thought, than the original theatrical trailer).

Orlando goes to Russia (30 minute documentary).

Not so much a ‘making of’, more an insight into the long term preparation, such as location scouting, design and cinematographic planning, which is mixed with scenes from the film to give context. Uniquely, there is a twist in the tail of this film-makers journal.

Orlando in Uzbekistan (40 minute documentary). More like a conventional ‘making of’, focussing on the challenges of Eastern location production, including the everyday catering and bribing of Uzbekistani officialdom. It is a refreshingly low key approach, void of the slick and shameless self promotion so typical of the usual Hollywood ‘making of’ genre. Yes it is different, because the actors get very little screen time even if they have valuable contributions to make.

Venice Film Festival (Press Conference – 15 minutes). Sally Potter in triumph; there are questions both smart and stupid, followed by very insightful responses.

Jimmy was an Angel. A quick little 8 minute grab on the shooting of the final scene, it is effectively a quirky music video of the Jimmy Sommerville tune that closes the movie.

To tell you any more than this might be a little like revealing the ending, but Orlando is an amazing film where the ending is almost immaterial, a given, for it is the journey that matters most.

Orlando feels longer than its 90 minutes but this is a compliment to that rare quality in movies, of a story we hope will just keep going. Only towards the end does it feel rushed but isn’t that how coming to the end of 400 years might feel? It is a busy story, but the plot is really a backdrop to Orlando's slow path to love, set amongst an at time surreal depiction of grand old Europe: of Death, Love, Poetry, Politics, Society, Sex and finally, Birth.