Mourning the Self: Treatment of the Unrepresentable Dimension of the Reality of Death in Cinema by Benhaim, Michèle, Broda, Vladimir

“…Does this mean that the death of one, of all, cannot be represented? Or rather, more profoundly,does this mean that the death announced cannot be apprehended? …”
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The Kid by Michel Fariña, Juan Jorge

Subjects: “…Death drive…”
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Notes on Alain Badiou and the cinema by Laso, Eduardo

“…These ideas are presented in conjunction with various films: The Birth of a Nation (Griffith, 1915), Pasaron las grullas (Kalatozov, 1957), Last Year at Marienbad (Renais, 1961), Death in Venice (Visconti, 1971) , False Movement (Wenders, 1975), Stalker (Tarkovski, 1979), Barton Fink (Coen and Coen, 1991), 2001: A Space Odyssey (Kubrick, 2001), Joker (Phillips, 2019) and Nomadland (Zhao, 2020).…”
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Frida Kalho: the look of cinema by Scotto Di Vettimo, Delphine

“…It recounts the tumultuous life of the artist since his young student life,his accident and his passionate relationship with the muralist Diego Rivera.Numerous references to Frida Kahlo’s paintings are included in the scenography and recall the richness and complexity of her work: more than onehundred and forty paintings, of which fifty are self-portraits, which come in different themes: politics, Mexicanism, love, nature, suffering, femininity or even death.It is from the analysis of a particular scene [which galvanizes the radicality of the abortion test and offers a framework for the expression of the temporality specific to this event, which I qualify as traumatic] that this article, which stands at the crossroads of cinema and psychoanalysis, explains adecisive stage in the creative process in Frida Kahlo.Here, the examination of the dialectic between creative process and trauma, allows us to grasp, in the nascent state, the implementation of modes ofpictorial creation which sign a new temporality in his pictorial art.Beyond that, the challenge of the biopic is to succeed on the one hand in weaving, modeling, staging and images the life of this extraordinary artist;and on the other hand to allow the spectator to discover the entanglement between the creative subjectivity of the artist and his work.…”
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