La Nuit Obscure + Simona: Histoire de l’œil

[Sol] Cineclube
CICLO DE CINEMA – Res Nullius / Corpo de Ninguém
Quinta – Feira, 23 Outubro de 2014 às 21:30h
Rua do Sol, nº172 – Porto

«Sade’s ideas – of the person as a “thing” or an “object”, of the body as a machine and of the orgy as an inventory of the hopefully indefinite possibilities of several machines in collaboration with each other – seem mainly designed to make possible an endless, non-culminating kind of ultimately affectless activity. »

Susan Sontag, ‘The Pornographic Imagination’

«Although “Story of the Eye” features a number of named characters with an account  of their sex play, Bataille was by no means writing the story of Simone, Marcelle, or the narrator (as Sade, for example wrote the stories of Justine and Juliette). “Story of the Eye” really is a story of an object. How can an object have a story?
(…) Objects apparently quite remote from the eye ate thus caught up in the chain of metaphor, such as the bowels of the gored horse spilling “like a cataract” from its side. In fact (the power of metaphor being infinite) the presence of only one of the two chains makes it possible to summon up the other. Is there anything more “dry” than the sun? Yet, in the field of metaphor traced by Bataille almost in the manner of a haruspex, the sun need only become a disc and then a globe for its light to flow alike a liquid and join up, via the idea of a “soft luminosity” or a “urinary liquefaction of the sky”, with the egg, and testicle theme.
(…)There are no grounds for saying that the metaphor sets out from the genital to end up with such apparently asexual objects as egg, eye, or sun. The imaginary world unfolded here does not have as its “secret” a sexual fantasy. If it did, the first thing requiring explanation would be why the erotic theme is never directly phallic (what we have here is a “round phallicism”). But above all Bataille himself has doomed every attempt at deciphering his poem to partial failure by giving (at the end of the book) the sources (they are biographical) of his metaphor. This leaves us with no alternative but to regard Story of the Eye as a perfectly spherical metaphor: each of its terms is always the significant of another term (no term being a simple thing signified) without it being possible ever to break the chain. »

Roland Barthes, ‘The Metaphor of the Eye’

andre masson oeilIlustração de André Masson para “História do Olho” de Georges Bataille (1928)

Na próxima quinta-feira, dia 23 de Outubro, será exibido o sexto filme deste ciclo intitulado “Res Nullius”. Este ciclo tem por mote da sua materialização uma perspectiva ontológica acerca do lugar do Corpo nos domínios da sétima arte.
O filme central desta sessão intitula-se “Simona: Histoire de l’œil” (1974) e foi realizado por Patrick Longchamps. Como os meus caros leitores já se aperceberam, este filme é baseado na obra homónima de Georges Bataille, editada pela primeira vez em 1928.

“Simona: Histoire de l’œil”

Itália, Bélgica; 1974
Drama
91 Min., cor
Idioma: Italiano
Legendas: Português

André Masson, Le cimetiere, 1924André Masson, “Le Cimetiere” (1924)

O filme protagonizado por Laura Antonelli, será precedido pela curta-metragem, “La Nuit Obscure” (2011). Este filme a preto e branco, realizado pelo canadiano Pierre-Luc Vaillancourt, consiste numa ígnea revisitação de uma outra obra de Bataille, “O Morto”. Movendo-se nos domínios mais vanguardistas da nova geração de realizadores canadianos, Vaillancourt, apresenta-nos um universo repleto de um negrume erótico. Em suma, uma obra hipnótica que fará as delícias dos fãs de uma Lydia Lunch ou até mesmo de um Richard Kern.

Ígneos como uma tempestade solar constituem estes dois filmes, uma justa homenagem ao filósofo francês. Parafraseando de forma livre José Carlos González, apenas me resta acrescentar que o espectador de olhos bem abertos saberá onde está a luz, e o seu contraponto, a sombra!