The The politic of love: (de)subjectification of bodies in Love, by Gaspar Noé

Abstract

This article proposes a reading of the film Love, by Gaspar Noé, observing the movements of (de)subjectification of the characters, from the perspective of control over life established by biopolitics. In the course of its scenes, the film production under analysis empties a possible subjectivism that could be suggested by the title, so that love is built as a purely bodily relationship. This desubjectification, more than a thematic aspect, is incorporated into the very aesthetic composition of the film, whose photographs and frames, when promoting the hyperexposure of sex scenes, operate a fusion of bodies that leads to the dissolution of individuals. The article wishes to demonstrate, in this way, that there is in this aesthetic construction a staging of violence implicit in sexual relations and in the very idea of love, since both are encoded by speeches that presuppose, ultimately, the control of life and death. Finally, we try to show that Gaspar Noé's production takes on a political dimension in which, by bringing to the stage the hyperexposure of obscenity, promotes a reconfiguration of the sensitive that allows us to glimpse possibilities of reunion between the subject and the body.