Rocco (2016): Film Review
Co-Directed: Thierry Demaizière and Alban Teurlai
The motion picture Rocco (2016) is based on the pornographic life of Rocco Siffredi, a hard core porn star born in Italy and rose to fame during 1990s and 2000s. His performances were mainly based on analingus, anal, rough sex and extreme which are now elevated into celebrity and cult following. The movie dives into the erotic life of the porn industry and unsurfaces the paradoxical truth of pain and pleasure in it. He is presented himself as a violent and savage sadomasochistic performer who could return to the sadistic history of Romans who tortured Christ. The salvation of the female subject is presented to be founded in the same pain gesture that Christ too underwent in the cross. A careful observer can see that the same pain is demanded by the female subject in Anti-Christ directed by Las Von Trier. The cure for feminine depression derives from fathomless pain and the only remedy for them to 'live' or 'escape' from death and melancholia is pain. 'The truth' and 'meaning' in existence is believed to be found in a shock that entails trauma which separates the link between truth and meaning (Zizek, Only a Suffering God can Save Us). Zizek says, 'truth is so traumatic that it resists being integrated into the universe of meaning'. The excessive evil of man (Auschwitz or Gulag) is harshly regenerated on stage by Siffredi over female body to question the infinite impotence of good God. Silence of God remains forever a misty when he subjectivises female body to the very extreme of religious pain in the inertia of God. Zizek says, not only Christ but even God is as helpless as man who cannot control his own madness (the madness that he inherited from the madness of God).
Woman, on the other hand, becomes the unquestioning subject of pain that is sadistically executed by man. Therefore, she too stands further away from the enlightened rationality of modernity. The dark continent of her unsignifiable desire still remains a mystery within modernity, which is why 'modernity is still an unfinished project'. To finish its cause towards a perfect rationalization is still a human fantasy and the woman stands as a Real in that pathway of perfection since her desire is still mask. There is something that is 'not-all' within the phallic function of so called patriarchal universality and she resists the name-of-the-father (may be hysterically). Rocco is caught in the vertex of her unsignified and bottomless desires and functions as a sadist healer of her never ending hysteria (and melancholia). Hence he is true subject of Capitalism, who sinks deep into the unsubmitted phallic function of her existence. And there is no turning back!
Co-Directed: Thierry Demaizière and Alban Teurlai
The motion picture Rocco (2016) is based on the pornographic life of Rocco Siffredi, a hard core porn star born in Italy and rose to fame during 1990s and 2000s. His performances were mainly based on analingus, anal, rough sex and extreme which are now elevated into celebrity and cult following. The movie dives into the erotic life of the porn industry and unsurfaces the paradoxical truth of pain and pleasure in it. He is presented himself as a violent and savage sadomasochistic performer who could return to the sadistic history of Romans who tortured Christ. The salvation of the female subject is presented to be founded in the same pain gesture that Christ too underwent in the cross. A careful observer can see that the same pain is demanded by the female subject in Anti-Christ directed by Las Von Trier. The cure for feminine depression derives from fathomless pain and the only remedy for them to 'live' or 'escape' from death and melancholia is pain. 'The truth' and 'meaning' in existence is believed to be found in a shock that entails trauma which separates the link between truth and meaning (Zizek, Only a Suffering God can Save Us). Zizek says, 'truth is so traumatic that it resists being integrated into the universe of meaning'. The excessive evil of man (Auschwitz or Gulag) is harshly regenerated on stage by Siffredi over female body to question the infinite impotence of good God. Silence of God remains forever a misty when he subjectivises female body to the very extreme of religious pain in the inertia of God. Zizek says, not only Christ but even God is as helpless as man who cannot control his own madness (the madness that he inherited from the madness of God).
Woman, on the other hand, becomes the unquestioning subject of pain that is sadistically executed by man. Therefore, she too stands further away from the enlightened rationality of modernity. The dark continent of her unsignifiable desire still remains a mystery within modernity, which is why 'modernity is still an unfinished project'. To finish its cause towards a perfect rationalization is still a human fantasy and the woman stands as a Real in that pathway of perfection since her desire is still mask. There is something that is 'not-all' within the phallic function of so called patriarchal universality and she resists the name-of-the-father (may be hysterically). Rocco is caught in the vertex of her unsignified and bottomless desires and functions as a sadist healer of her never ending hysteria (and melancholia). Hence he is true subject of Capitalism, who sinks deep into the unsubmitted phallic function of her existence. And there is no turning back!
No comments:
Post a Comment