ABSTRACT
“No art can be imitative or figurative,” for art is reality as such. If art is capable of overthrowing the regime of the subject, negatively extrapolated from the flow of desire, it is because of its radical power of abstraction, impersonality and allegiance to the realm of the sensible. “The artist stops the world, and strives to escape it so as to capture life in its pure state”- immanent world in its vital movements and becomings- the world as desire. Effectively overthrowing the regime of negative representation, the films awaken political activism and prompt a radical decentering. Utterly real, desire emerges as “this untranscendable horizon which, once posited, has the effect of rendering everything else immanent to it”. Desubjectification inevitably affects the realm of sexuality. Disavowing dualism, desire triggers an intensive becoming-sexual which both socially and affectively disrupts ideology of a couple.
