G. Deleuze, while describing the contemporary audiovisual culture, points
out to a paradox. The man has lost the sense of his own, authentic life,
and is stuck in the world as if he found himself in a pure optical and sound
situation instead. The philosopher ponders how to recover man’s faith in
the world and reconnect him with what he sees and hears, how to make
him sensitive to issues that are the most vital for his existence, such as
love and death.
The philosopher-cineaste proposes something apparently absurd,
namely encourages us to watch a good movie. Deleuze is not interested
in a film performance offered by entertainment cinema, he is looking for
films which will make us think and teach us, how to believe in the reality
of the world again. Such belief should find its source in corporeality
discovered by the cinema: both the common and the celebrated ones. The
center of the world in this philosphy is the belief in the body as a germ of
life and death. In my analyses, referring to the thoughts of the French philosopher,
I suggest taking into account three documentary films: Obrzędy
intymne (1984) by Zbigniew Libera, Balsamista (2001) by Ewa Świecińska
and Istnienie (2007) by Marcin Koszałka. These three stories about life
and death do not leave the viewer indifferent.
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