Depending on one’s view, the philosopher and academic superstar Slavoj Žižek is a genius, madman, contrarian, clown, sensationalist, radical leftist, scourge of liberals, or all the above. What he never fails to be is wildly entertaining and provocative. Director Sophie Fiennes reunites with the very funny provocateur Žižek for the sequel to their collaboration The Pervert’s Guide to Cinema. Žižek examines film clips, both famous and obscure, for their overt and hidden ideological implications, tracing their connections to current times, while Fiennes does a masterful job editing Žižek’s commentary into film scenes and placing him into clever recreations of famous film sets. Fiennes and Žižek (making his first visit to the Festival) will engage in an onstage discussion following this world premiere screening. –TIFF
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
The main mantra is related to a fairy misunderstood concept. Since it is not an open air manifesto, but a subtle-triggered trap, Ideology maintains its value only if the lie stays in a benevolent context, curbing and yet alluring. The dialectic of false freedom and the urgency to desire are magistrally explained without parabolic efforts, through the higher goal: to unveil the Big Other mechanism.Gimme moar.