The end of the experience - "Bliss Feast"

In 1973, Marco Ferreri's film "The Bliss" does look a bit shocking in terms of content, but the emergence of a large number of similar films in the 1970s has weakened the strange features of "The Bliss", "The 120 Days of Sodom", "Sensual World", "Caligula" and many other famous names were born in this period. These perverted, erotic, dirty-looking films wrote the art film score of the seventies, they were so out of place with the films of the previous era, they were reckless, they flouted the rules, they destroyed tradition, they created a Unique film of the seventies. The appearance of these jaw-dropping films is not some kind of historical accident. The revival of social thought for Bataille, Baudelaire, Sade and Nietzsche created the artistic atmosphere in which such films appeared, and incorporated such creative thinking. of directors produced these works of art directly. From Nietzsche's Dionysian spirit to Baudelaire's Flower of Evil, the glorification of human nature leads to contempt for hypocritical moral codes, and the pursuit of absolute freedom embraces the evils of all moral natures. Thus, "dirty things" in various traditional senses became the "gospel poetry" of radical humanists. In this case, the appearance of Sade's dirty literature must be logical. Bataille, known as the source of postmodern thought, directly inherited the legacy of several rebellious predecessors. His fascination with Sade-style pornography, sexual abuse, and excretion directly influenced humanistic thought in the mid-20th century. Although he died in the 1960s, the excavation of his ideas by his successors reached a peak in the 1970s and 1980s, so it is not surprising that directors and writers with social ideological sensitivities put out these weird films collectively in the 1970s. Strange.
In the film, the roles played by four top European actors are endowed with distinct social symbols by the director. Pilots, chefs, judges, electrical engineers are typical members of the "middle-class career club". They have the strength and it is necessary to complete this gluttonous carnival. As a social group with a carefree life, novelty has become a thing of the past, so they need to experience adventure and shock, this Benjaminian adventure and shock point to entertainment, to a sensual pleasure. And this kind of perceptual pleasure summons the individual's freedom again, so that the individual gets the feeling of being alive in the constant stimulation. Food and sex are the two basic impulses of human animal instinct, and they are also the foundation of human culture. The amusement of these two acts can achieve the most primitive and authentic pleasure, and at the same time can complete the experience of all human cultures. However, just having sex and eating will not complete the experience. What they need is some kind of extreme madness, so the pornography and excretion of Sade and Bataille are resurrected here. The scruples express all this, and the protagonist is also experiencing it without scruples. At this moment, the director and the actors become the spokespersons of Sadeism, and behind them stand Baudelaire and Nietzsche proudly. The most primitive and free calling ceremony of human beings. However, after this ritualized gluttony and promiscuity, the experiencers have such a problem. When the experience is over and the experience has become the past, if the carnival ends at this time, the individuals who return to the original point will The shackles put on themselves again. So the experience must go on, and at the top of the pyramid of shock and adventure experience must be death, which, as Levinas put it, is the real "other," which is in uncharted territory that human beings can never understand and means absolute uncertainty. Experiencing at this origin will burst out the most brilliant life force. At this moment, freedom becomes a mark and will be imprinted forever. At the moment of death, experience the feeling of life (Heidegger). Therefore, from the beginning, the death of the experiencers is inevitable. So as the director of the film Marco Ferreri said: they finally discovered the unavoidable truth about death in the extreme behavior---that is, in the end, everyone will die anyway, and the only problem that needs to be solved is How to end life.

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