‘Tattoo’ – Review of the drama by Hilton Lacerda

Movie Tattoos

, by Hilton Lacerda, is a Northeastern drama that portrays the life of a cabaret theatrical group, entitled, in the midst of the dictatorial Brazil of the 70s. The feature arises under the martyrdom of repression, of characters between modesty and sin, and it scandalizes with such natural ease the oc *, for the time being an instrument of struggle; which is why it is not, by far, any film. And although it alludes to the past, it is much more a narrative that rises, in the now, the fire that burns us, but that also perpetuates the flame of hope that will take us alive to the future.

Movie Tattoos

In his introspections, the philosopher Gilles Deleuze affirms that “it is necessary that art, particularly cinematographic art, participate in this task: not to address itself to a supposed people, already there, but to contribute to the invention of a people” and also tells us that “the people who are missing are becoming, they invent themselves, in the slums and in the fields, or in the ghettos, in the conditions of struggle to which a necessarily political art must contribute”.

Thus, art generates a breaking point that enables politicization and unites a set of souls in the construction of the new, and from this perspective, it says a lot. By putting c * on the front line of the play, it not only generates tension by depraving the conception of the moral saying, but also raises a new conscience and puts utopia in dispute, for it delivers, in the ruin itself, the principle of revolution and the victory door: oc *. The c * establishes war, but it is also the propelling reason for glory, since redemption comes from the life that insults, from the raw body exposed to the sun, from the c * to the moon, even if it burns – “the only thing that saves, the only thing that unites us, the only possible utopia is the u * utopia of c * ”.

And perhaps this is what both the American poet Allen Ginsberg, one of the exponents of *, preached in declaring that “the world is holy! The soul is holy! The skin is holy! The nose is holy! Saints the language, op *, the hand, oc *! Everything is holy! Everyone is holy! Every place is holy! Every day is in eternity! Every man is an angel! The tramp is as holy as the seraph! The madman is as holy as you are, my soul is holy! ”. Howl *, perhaps his most sacred poem emerges as a biblical manifesto of pleasure, life, death and resurrection, which sacraments the voice out of the flesh and the flesh itself as the principle of revolution: the howl.

Or even, more recently, *, perhaps say this in a more consonant and abstract way to our ears, but no less symbolic. Thiago Pethit’s album is built on the prophecy of 9 songs and part of it is based on the myth of Orpheus, a Greek poet and musician who, after Euridice’s death, went down to hell for simply loving her, and even though he doesn’t have the rescued from the world of the dead, in the end, Orpheus was killed by baccats * and rested forever in the arms of his beloved.

It is worth understanding that every conception of death is very subjective, when, through death, one reaches paradise. And although, in the verses transcribed from the fourth song of the album, the lyrical self is eaten alive – “when the night comes, I am the lover you devour, backwards and forwards, like a great lick your teeth” -, it is I must remember that it is a journey and in the last song of the album, Pethit sullenly proclaims the rapture of the lyrical self to glory by the very devour of men – “devour me”. And, in this sense, perhaps the album as a whole speaks a lot about sacrificing bodies and skins, but also about redemption through one’s own hair and blood, about faith, about chewing on the forbidden fruit, surrendering naked to tragedy, but consecrating yourself holy in the end – because, in fact, it is and will be.

In the end, everything is about understanding for the sake of victory, the urgency of pain, the urgency of the body, the urgency of jouissance, the urgency of c *; and no less so than the urgency, because it is not a question of immorality, the maximum necessary subversion, eoc *, even though it is the punishment of men and bleeds dried, saved meat.


Beat Generation * – Counterculture literary movement that broke out in the USA in the 40/50s

Howl* – Poem by Allen Ginsberg

Tropics (Fall and Rise of Orpheus of Consolation) – Thiago Pethit

Baccats * – Nymphets who in Greek mythology killed Orpheus

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