Great film. Dumb title. This a tour de force of intellectual passion and sheer irrepressible enthusiasm displayed by Slavoj Zizek, Slovenian psychoanalyst, sociologist and philosopher. Zizec applies his psychoanalytic concepts to the interpretation of cinema as a serious and cathartic art form. His obvious love of movies drives his highly persuasive deep analysis of technique and directorial psychological and aesthetic perspective. Even if one resists the validity of his psychoanalytical interpretation is some cases, in others it is wholly convincing. Especially in the cases of Hitchcock and David Lynch. Indeed it is the first time I have ever felt any insight into Lynch’s more obscure movies like Lost Highway and Blue Velvet. Given the widespread recourse to psychoanalysis of many Hollywood directors, it may be that without the kind of insights Zizek provides in these cases, much of the imagery used by those directors in their films will defy comprehension.

Essentially three digitally shot, 1 hour TV programmes strung together, there is real benefit in seeing them back-to-back to follow the continuity of what are at times stimulating but challenging ideas. Zizek relishes illustrating his analyses and insights with a marvellous selection of clips from some of the most influential films in cinema. Director Fiennes sensibly gives the man his head, but with a fine sense or irony and dramatic impact, films him doing so from the actual or recreated sites and sets of the movies he is discussing.

Too many ideas to discuss. So this is ‘found poem’ stringing together some of Zizek’s key ideas. The ideas are his, only the selection, structure and linkage are mine.

If you love film, this is a must see. And don’t let the dumb title put you off. Though be warned, this is a serious adult analysis and therefore some of the illustrations are graphic.


Zizek’s Movies

Anxiety alone
does not deceive
Subjectivity is to see
what is missing from reality
Libido need fantasy
to sustain itself
before the abyss
of another mind
Fantasy realised is nightmare
but the final nightmare
is immortality not death

Desires are not given
but acquired
and men struggle
with the desire
for their fathers
to be dead
Masculinity is illusion
man is terrified
of his own power
afraid of what he might do
because he can

There is too much
in feminine fantasy
for men to match
so they feel threatened
The paradox of pornography
if all can be shown
without restraint
we must render it unreal
to feel safe
Only willed constraint
empowers us
to explore the truth
so we choose not to show
all that can be seen

Film is not an escape
from reality
but a safe place
to explore
what terrifies us