Since, according to the twitchy Zizek, we are all perverts by virtue of our having been taught "how" to desire (unnaturally), the conclusions he draws about cinema are worth reconsidering. Equally likable and detestable, Zizek, who casually admits that he lied his way through his first psychotherapy experience, revels unashamedly in the contradictions of his considerable ego.
The most hated pop-philosopher of the world leads a viewer into the ideological labyrinths of cinema. Probably not worthwhile for a true student of film theory and gets quite complicated for an ordinary viewer. Still an enjoyable and informative affair in the end.
Excellent introduction into Marxist theory through psychoanalyzing film. Zizek excels in making complex topics approachable through using popular culture. The way this film was shot, inserting him in the films he discusses makes the viewing experience really nice.
I would love this so much more as a half-hour television series, since there are some truly fascinating film analyses being applied here. But perhaps because of the movie's bloated length or Slavoj Zizek's own verbal meandering serving as the backbone of the film, it's hard to stay completely engaged the entire time. Still though, it helped pad out my "must-see" movie list so that's something.
Fascinating deconstructions of ideologies we see in films, advertising, and the real world. Things are kept interesting through clever and provocative aesthetics: violence, nudity, social upheaval, good advertising campaigns, and more. The subject matter really is dense, but I wouldn't mind watching it all a second time.
"We should draw a line of distinction within the very field of our dreams. Between those wh[ich] are the right dreams pointing towards a dimension effectively beyond our existing society and the wrong dreams: the dreams which are just an idealised consumerist reflection mirror image of our society." - Žižek
Ponderous. Meandering. Unfocused. This film concerns itself with answering the big questions that were never asked in the masterpieces that it draws from. Nor should those questions ever be asked. The director and her subject are so concerned with pursuing these social critiques that are readings of the films that are not otherwise there. It confounded me as the viewer. Watch the classics they draw from instead.