This article is, for the time being, only available in Spanish: Aún no han visto nada o el amor, la muerte, la mirada
NOTAS
MARCH 2014
Abstract
A dozen of actors goes to the funeral of a theatre director and found out he left them a wish: they would have to appreciate “Eurydice’s” performance by a young new company. While they are watching the tape, they start acting, since they’ve been actors in it before. This Eurydice’s version shows us three simultaneous stagings. Moreover, in this film Eurydice and Orfeo have to fight against their jealousy, and also to their parent’s wishes. Hades, hell’s god, has a special role, he is who seems to know about live and dead, and when the love ends. Resnais, at his 90’s, calls this film — by now his last one — paraphrasing some words said by the principal actor in his first film (Hiroshima, mon amour, 1959): “You have not seen nothing in Hiroshima, yet”. These enigmatic words will make us look this film in many different gazes.
Key words: Love | gaze | Eurydice | Orfeo | Lacan | Resnais
This article is, for the time being, only available in Spanish: Aún no han visto nada o el amor, la muerte, la mirada
NOTAS
Volumen 4 | Nº 1
Etica y Cine (Ethics & Films) is a Peer Reviewed Quarterly Journal Edited by
Department of Psychoanalysis and Department of Deontology, School of Psychology, National University of Cordoba, Argentina
Department of Psychology, Ethics and Human Rights, School of Psychology, University of Buenos Aires, Argentina
With the collaboration of:
Center for Medical Ethics (CME), Faculty of Medicine, University of Oslo, Norway
Under the auspicious of:
The International Network of the UNESCO Chair in Bioethics.