Out – by Roee Rosen
The cruelty's exorcism by Roee Rosen
2010 | 30 - 35 | Documentary | Israel | Pain & Pleasure | Politics
Out (Tse) is the short film directed by Israeli artist Roee Rosen and winner of the Orizzonti Award at the 67th edition of the Venice Film Festival. These 34 minutes take place just in three scenes as its strength and impact on the audience don’t live in set or tecnicisms.
Out slowly drags the viewer inside the intimacy of two women – Yoana, 32, feminist and pacifist, and Ela, 25, right-wing militant raised by a racist family. The central part of the film depicts a domination/submission thrashing, set in a mundane living room. The scene is not acted but rather performed by Yoana and Ela, whose real-life preferences entail BDSM (Bondage-Domination-Sadism-Masochism).
We know that because of the ante-fact, an interview with the women that initially seems to be a normal documentary about their experiences in the Israeli sadomasochist scene, but it immediately becomes the transposition of a precondition to the actions of the film – one woman is possessed by the Devil and the other is an exorcist. But in this session, the painful blows meted out by the Dom (Yoana) cause the sub (Ela) to spew out sentences, all of which are quotes from Israel’s Minister of Foreign Affairs, Avigdor Lieberman, renowned as one of the most extreme right-wing politicians in the country.
Rosen’s ability is to put us in the position to enlarge our judgment’s prospectives on what we’e watching in the scene recognizing it as more universal. A representation of the place where the demons bring the human beings. And, we know that – we all have demons. Rosen puts us in the voyeur’s position and he can’t and doesn’t want to prevent us from judging what we’re seeing. Rather, as we can’t think ourselves as pure and purified from hate, we can give a more mature and informed judgment.
The final scene — a song set to the words of the Russian poet Esenin’s Letter to Mother — not only elevates and complicates the emotional resonance of what preceded it, but it’s also a direct, if twisted, tribute to the final scene of another film that deals with hybridity, radical sexuality and politics: Dušan Makavejev’s W.R.: Mysteries of the Organism. What we have seen is strange and unpleasant, annoying in a certain way. It baffles us, we don’t like it. But it’s hard to forget. Maybe because we can’t stop thinking about it, we arrive to a certain awareness of the negative ability of our judgment’s practice and, in the end, we’re the ones who have been exorcised.comments powered by Disqus