![]() This essay engages the recent films Arrival (Denis Villeneuve), Aniara (Pella Kågerman and Hugo Lilja) and High Life (Claire Denis) in order to consider subversive questions relating to time, taboo and the death drive in the vastness of the universe. More than just concerns with the gaze, desire and ideology as is traditionally associated with Lacanian film theory, cinema can offer scope to think through psychoanalytic and philosophical questions in a way that empirical research simply cannot. Given its shared ability to engage the unconscious and allow us to experience (as dreams so often do) forms of time and space altering logic, often the way to approach these questions is through cinema. ![]() The persistent mischaracterization of psychoanalysis as reducing grand theoretical, political and philosophical concerns into petty subjective questions of personal experience has meant that the radical conceptual possibilities of it are missed. ![]() Psychoanalytic theory is often wrongly accused of being a ‘humanism’ and therefore not capable of addressing the new conceptual challenges that the post-human, post-apocalyptic, post-Anthropocenic era may present us with. ![]()
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