The Pervert’s Guide to Cinema takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. The Pervert’s Guide to Cinema cuts its cloth from the very world of the movies it discusses; by shooting at original locations and from replica sets it creates the uncanny illusion that Zizek is speaking from ‘within’ the films themselves. Together the three parts construct a compelling dialectic of ideas. Described by The Times in London as ‘the woman helming this Freudian inquest,’ director Sophie Fiennes’ collaboration with Slavoj Zizek illustrates the immediacy with which film and television can communicate complex ideas. Says Zizek: ‘My big obsession is to make things clear. I can really explain a line of thought if I can somehow illustrate it in a scene from a film. _The Pervert’s Guide to Cinema_ is really about what psychoanalysis can tell us about cinema.’ — IMDb
Sophia Victoria Twisleton Wykeham-Fiennes (pron.: /ˈfaɪnz/; born 12 February 1967), known as Sophie Fiennes, is an English film director and producer.
Following a foundation course in painting at Chelsea School of Art, Fiennes worked with director Peter Greenaway from 1987–1992. She managed the UK based dance company, The Michael Clark Company from 1992–1994 and began making her own films in 1998. With Greenaway she worked on films and TV projects including Drowning by Numbers, The Cook, the Thief, His Wife & Her Lover and Prospero’s Books. She was commissioned by BBC 2’s radical arts series TX to make a film about her friend and collaborator Michael Clark. It was screened at film festivals in Monaco, Toronto and Sydney.
Because I Sing
The London contemporary arts organisation Artangel and Channel 4 (UK) commissioned the work. This film of Belgium choreographer Alain Platel’s Artangel London event brought sixteen diverse amateur London… read more
I actually was surprised: I thought this was just going to be a documentary with a lot of reviews about different movies but instead of that it explores the psychological themes and messages of different films with a really interesting analisis. Perhaps my only complain is that it reveals crucial plot points of some of the movies without any spoiler warning, but aside from that it was a nice experience.
What we get when a psychoanalyst turns his training to cinema is a series of very freudian analysis' of some of the greatest movies ever made. The problem with many of these arguments is that the directors themselves could tell our host Slavoj that they intended none of this and he could still say that Freud is not about conscious intentions. His theories are, therefor non-disprovable. They are also often farfetched.
But they are always engaging and interesting and I found myself agreeing with much of what he said, particularly the films of Hitchcock and his wonderful final analysis of City Lights, The introduction, featuring a scene from the movie "Possessed", is fantastic. I have never seen the film, but the scene depicted is a revelation and the accompanying analysis is wonderful. Props to Slavoj for beating Rob Ager to the mark by 2 years, but I still prefer Rob Ager. They cover many of the same films, and say many of the same things about them, but Ager is vastly more comprehensive and also vastly more convincing. Together the pair are a great introduction to those wanting to look at cinema with a very different perspective. 4/5.
Also: Borderline Films, Cagney and Zinneman.