Werckmeister Harmonies (Béla Tarr, 2000)
The Torment of Saint Anthony - Michelangelo (attributed to) (c. 1487-88)
All three images are from ‘Cabala, Speculum Artis Et Naturae In Alchymia’ by Stephan Michelspacher (1654 edition; originally published in : 1615)
Nosferatu the Vampyre (Werner Herzog, 1979)
Something must be real, or else the concept of irreal means nothing. Then we ask, ‘What is the real like? And how do we find it?’ and we ask, ‘How did this irreal world come into being? And how did we get imprisoned here?’ and then we ask, ‘What is our real nature?’
If reality, rationality and goodness are not here, where are they? And how do we get from here to there? If this is a prison, how do we escape?
We learn of a mysterious savior who camouflages himself to outwit our jailers and make himself and his saving Gnosis known to us. He is our friend and he opposes this world and its powers on our behalf as our champion, and ‘one by one he takes us out of this world.’
Maledizione Diurna by Nicola Samorì
[The sub-man] is afraid of engaging himself in a project as he is afraid of being disengaged and thereby of being in a state of danger before the future, in the midst of its possibilities. He is thereby led to take refuge in the ready-made values of the serious world. He will proclaim certain opinions; he will take shelter behind a label; and to hide his indifference he will readily abandon himself to verbal outbursts or even physical violence. One day, a monarchist, the next day, an anarchist, he is more readily anti-semitic, anti-clerical, or anti-republican. Thus, though we have defined him as a denial and a flight, the sub-man is not a harmless creature. He realizes himself in the world as a blind uncontrolled force which anybody can get control of. In lynchings, in pogroms, in all the great bloody movements organized by the fanaticism of seriousness and passion, movements where there is no risk, those who do the actual dirty work are recruited from among the sub-men. That is why every man who wills himself free within a human world fashioned by free men will be so disgusted by the sub-men. Ethics is the triumph of freedom over facticity, and the sub-man feels only the facticity of his existence. Instead of aggrandizing the reign of the human, he opposes his inert resistance to the projects of other men. […] The sub-man experiences the desert of the world in his boredom. And the strange character of a universe with which he has created no bond also arouses fear in him. Weighted down by present events, he is bewildered before the darkness of the future which is haunted by frightful specters, war, sickness, revolution, fascism, bolshevism. The more indistinct these dangers are, the more fearful they become. The sub-man is not very clear about what he has to lose, since he has nothing, but this very uncertainty re-enforces his terror. Indeed, what he fears is that the shock of the unforeseen may remind him of the agonizing consciousness of himself.
Simone De Beauvoir, The Ethics of Ambiguity (via sunrec
Dio Lau - The Fabricated Body (2005)