This The recently approved ‘trans law’ has been generating many views for some time, but few are as authoritative as Paul B. Preciado’s.One of the world’s leading philosophers on gender theories and sexuality. “It seems to me a very narrow and very closed discussion in the spaces of political language, and I find it rather tiresome,” replies the author of important works on the subject, such as ‘The Contrasexual Manifesto’, ‘Testo Junkie’ and ‘Testo Junkie’. Dysphoria Mundi’. Right after that, yes, he adds: “The debate that strikes me as the most radical and far more interesting on a democratic level is the imperative, remove the phrase sexual difference in all administrative documents‘, confirms the man from Burgos. ‘I think it’s a legal form of discrimination. For example, no one will tolerate being identified as Christian, gay, or black by their identity. However, we remain determined to accept the regime of visual organization of bodies. And my discomfort with that was what ultimately drove me to make the movie.”
The feature film he is talking about is the reason that brought him to the Berlinale and represents his past. triumphant debut as a filmmaker. A simple way of describing ‘Orlando, ma biography politique’ is to think of it as an adaptation of Virginia Wolf’s 1928 novel about a transgender English nobleman for four centuries, but it is a work in any case. It is so resistant to classifications and classifications as its author that “in this time of subjectivity, XIX. It would not be unreasonable to take it in this sense. non-binary cinema.
Set in an uncertain region between autobiography, political manifesto, literary essay, social activism and meta-textual play, the film transfers Wolf’s story to the real world and transforms the protagonist into nearly thirty characters named Orlando; “Today’s world is full of Orlandos, and we’re changing the course of history,” Preciado’s voice-over says somewhere in the footage. Whether it’s staging excerpts from the book, opening up about painful personal experiences, or dancing to a technopop anthem for ‘trance’ – narrative filled with excellent lines like “Don’t let Freud and Lacan play with your mind” or “Who owns your own mind”? God? State? Psychiatry? Is it law?” lots of humor and great persuasion on the absurdity of sexism.
Whatever the case may be, the philosopher does not define ‘Orlando, ma biography politique’ as a trance film; However, he wants to reflect on the idea that the monumental ‘Disphoria Mundi’, which transcends all his written work, develops with a special brilliance: social, political and sexual paradigm shift as a result of “the collapse of the old regime’s institutions and forms of patriarchal, sexual and racial legitimation”. And he assures that the ideal audience for his film is “children and adolescents, because those who have experienced this great transformation more intensely and will continue to explore it in depth.”
is about, explains completely changing the stories we construct ourselves as a society, “finding different ways of expressing ourselves”. For himself, he admits that making films involves revising his own narrative as an academic, a thinker, a creator. “I found it to be much more authoritative and much more directive than philosophy and literature; the need to express everything with visuals is exhausting. On the other hand, a scene is told in the pages of a book, and that story can generate a lot of different interpretations among different readers. This is, again, a “But maybe I want to do something completely different from that, I don’t know how. This revolution we are immersed in is so great that there are a thousand ways to describe it, and they are all necessary.”