On March 4th, the third psychoanalysis and cinema evening of ARTS-Connexion was successfully held at the Ariel cinema in Mont Saint-Aignan meeting with . A large and attentive audience came to discover, or riscover Oipus Rex, a dazzling film by Pier Polo Pasolini, an autobiographical and styliz adaptation of the ancient tragy by Sophocles. Our guest, Fabrice Bourlez, philosopher and psychologist, author of a book entitl Pulsions pasoliniennes [2] came to share with us his passion and enthusiasm for this extraordinary artist.
Together we question meeting with the scope
of this strange and magnificent film, both by its singular, poetic and baroque treatment of the myth itself, and by the ever-current questions it raises: would the modern Oipus resemble this man running, screaming, sweating phone number list under a burning sun in front of the camera, fleeing knowlge, a real plaything in the hands of his impulses, battling endlessly against a lawless reality? Pasolini mixes the fabulous and realism, the quest for the sacr and the caring for the image in corporate material exploration of impulses, referring in essence to the strangest of references: the absolute Elsewhere of dreams. He moves the myth to .
Sophocles in his tragy shows us
his Oipus “determin to his own destruction, according to Lacan, by his obstinacy in solving an enigma, in wanting the truth. Everyone tries to hold him back, especially Jocasta, who tells him at every moment – that’s enough, we know enough.
Only he wants to know, and ends up knowing [3] “. In Pasolini’s film, Oipus jostles the Sphinx and kills him without trying to solve the enigma, “I don’t want to know, I don’t want to betting email list see you, I don’t want to hear you” he shouts. Oipus is here portray in childish attitudes – he cheats, bites his hand like a child facing loss, separation – and adopts rebellious postures, defiant in the face of authority with sudden impulse discharges as evidenc by the murder of Laius and his guards, moments interspers with long escapes into the desert.