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Melancholia gnostica |
Critica de film |
Scris de Ninel Ganea |
Duminică, 11 Decembrie 2011 22:14 |
Filme precum “Melancholia”, regizat de Lars von Trier, vin ca o confirmare suplimentara a tezei lui Eric Voegelin, potrivit careia modernitatea consfinteste triumful gnosticismului. Cel mai probabil, regizorul danez nu are vreo cunoastere amanuntita sau in linii mari a ereziei, dar acest lucru nu prezinta vreo relevanta, cata vreme interpretam gnosticismul ca o rescriere radicala a traditiei crestin-clasice. In acest sens, toata modernitatea, inclusiv nihilismul ilustrat cinematografic de von Trier, capata trasaturi anticosmice si dualiste. Filmul pune in evidenta, direct si indirect, antropologia, morala si eshatologia specific gnostice. Personajul principal, interpretat de Kirsten Dunst, nu e doar un tip psihologic nevrotic, melancolic, bolnav sufleteste. E mult mai mult, e o revoltata din cea mai “sanatoasa” traditie romantica, ce arunca la gunoi toate conventiile mai mult sau mai putin artificiale ale societatii, o “creativa” din industria publicitatii. Si, ca atare, nu face nicio distinctie intre regulile de desfasurare ale unui eveniment si regulile morale mai tari. Drept urmare, in noaptea nuntii se culca cu unul dintre invitati, practic un necunoscut, ca un act in aparenta pur gratuit, si face aproape tot ce-i sta in putinta pentru a face un fiasco din nunta sa. Cheia intelegerii filmului si a regizorului, desi nu in directia dorita de autor si admiratorii sai, consta in concluzia “The earth is evil. We don’t need to grieve for it. Nobody will miss it”, rostita de Kirsten Dunst. E un rezumat perfect al pozitiei gnostice si de aici deriva consecintele morale si eshatologice. Daca viata pe pamant este un rau, atunci normele morale nu au nicio valoare deoarece ele inseamna supunere fata de o ordine malefica, asa ca libertinismul se transforma din capriciu in program filozofic: “The idea that in sinning something like a program has to be completed, a due rendered as the price of ultimate freedom, is the strongest doctrinal reinforcement of the libertinistic tendency inherent in the gnostic rebellion as such and turns it into a positive prescription of immoralism ” (Hans Jonas – The Gnostic Religion) Salvarea din aceasta situatie de instrainare si exil a omului (“I know we’are alone”) consta, in mod logic, intr-o anihiliare completa a Pamantului, ceea ce rezolva si tensiunea eshatologica. Reactiile personajelor secundare fata de apocalipsa iminenta sunt revelatoare pentru filozofia generala a regizorului. Familia burgheza, prospera, cuminte, clacheaza lamentabil, in timp ce personajul tulburat si destramat interior se pliaza adecvat pe momentul sfarsitului. "Melancolicii sunt mult mai echilibraţi decât oamenii obişnuiţi în faţa unui dezastru", spune Lars von Trier. E o nota de simpatie evidenta pentru un nihilism radical, intelegand aici rasturnarea totala a tablei de valori clasic-crestine. “In mod sincronic, s-ar putea spune ca nihilismul modern porneste de la o optiune aflata la extrema opusa afirmarii dualiste a valorilor, pentru a ajunge la concluzii formal identice in ce priveste cerinta de a neantiza, de a anihila conceptul comun (iudeo-crestin) de valoare. Diferenta sta in faptul ca, in majoritatea manifestarilor dualismului, Dumnezeul iudeo-crestin nu-i decat un intermediar falacios intre sistem si metasistem, iar pentru nihilismul modern el este expresia directa a metasistemului, care merita sa fie daramat de vreme ce a incetat a mai fi garantul valorilor mundane” (Ioan Petru Culianu – Gnozele dualiste ale Occidentului).
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