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O poço, de Galder Gaztelu-Urrutia: a distopia de um panóptico contemporâneo
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Abstract(s)
Para além de tematizar a luta de classes - de forma orgânica e extremamente
violenta - O poço (2019), dirigido pelo basco espanhol Galder Gaztelu-Urrutia, é um filme
cujo protagonista se assemelha a um herói medieval. A fim de alimentar igualmente os
detentos dos 333 andares de uma prisão vertical, Goreng, interpretado por Iván Massagué,
é o mártir do enredo, sacrificando-se pelo “bem comum”, ainda que isso custe outras
vidas. Repleto de intertextualidades com clássicos literários, como Dom Quixote e A
divina comédia, a longa se ambienta nesse território claustrofóbico de privação de
liberdade. A proposta dessa recensão é analisar a narrativa na perspectiva de Michel
Foucault, para o qual o sistema carcerário atual, embora tenha apagado o corpo
supliciado, esquartejado, amputado, nos seus dispositivos mais explícitos, ainda aplica
certas medidas de sofrimento físico. No filme, o vigiar e punir - como propõe a estrutura
do panóptico - também é reflexo das relações de poder, não apenas entre uma
administração invisível que prepara banquetes que nunca chegam aos últimos andares,
como no trato entre os pares que dividem as celas e entre aqueles que estão nas
plataformas superiores e inferiores.
Beyond to focusing on class struggle - in an organic and extremely violent way - The platform (2019), directed by the Spanish Basque Galder Gaztelu-Urrutia, is a film whose protagonist looks like a medieval hero. In order to feed equally the prisoners of the 333 floors from a vertical prison, Goreng, played by Iván Massagué, is the plot martyr, sacrificing himself on behalf of “common good”, even if it costs other lives. Full of intertextualities with literary classics, such as Don Quixote and The divine comedy, the movie takes place in this claustrophobic territory of liberty privation. The purpose of this review is to analyze the narrative from the perspective of Michel Foucault, for whom the current prison system, although it has erased the pleaded, quartered, amputated body, in its most explicit devices, still applies certain measures of physical suffering. In the film, watching and punishing - as proposed by the structure of the panopticon - is also a reflection of power relations, not only between an invisible administration that prepares feasts that never reach the last floors, as in the handling between the pairs that share the lockups and among those on the upper and lower platforms.
Beyond to focusing on class struggle - in an organic and extremely violent way - The platform (2019), directed by the Spanish Basque Galder Gaztelu-Urrutia, is a film whose protagonist looks like a medieval hero. In order to feed equally the prisoners of the 333 floors from a vertical prison, Goreng, played by Iván Massagué, is the plot martyr, sacrificing himself on behalf of “common good”, even if it costs other lives. Full of intertextualities with literary classics, such as Don Quixote and The divine comedy, the movie takes place in this claustrophobic territory of liberty privation. The purpose of this review is to analyze the narrative from the perspective of Michel Foucault, for whom the current prison system, although it has erased the pleaded, quartered, amputated body, in its most explicit devices, still applies certain measures of physical suffering. In the film, watching and punishing - as proposed by the structure of the panopticon - is also a reflection of power relations, not only between an invisible administration that prepares feasts that never reach the last floors, as in the handling between the pairs that share the lockups and among those on the upper and lower platforms.
Description
Keywords
O poço Cinema Michel Foucault Panóptico Panopticon . Faculdade de Artes e Humanidades
Citation
Machuca, J. (2020). O poço, de Galder Gaztelu-Urrutia: a distopia de um panóptico contemporâneo. Universidade da Madeira. https://doi.org/10.34640/UNIVERSIDADEMADEIRA2020MACHUCA
Publisher
Universidade da Madeira