La "bestia" che accompagna Abramović nelle sue opere rappresenta il lato oscuro e primitivo della sua personalità, e simboleggia la sua creatività, la sua passione e la sua capacità di sopravvivere alle difficoltà.
“He’s hurting,” Elena said simply. “I can feel it in my bones. Same as the night Carlo died.”
It is a Jungian exploration of the Anima and Animus . morbida marina e la sua bestia work
The financial success of the work led to a poorly received, loosely associated sequel in 1985, Marina e la sua bestia 2 , directed by Renato Polselli. The sequel relied on artificial latex props and lacked the distinct arthouse framing that Sacco brought to the original entry. Film Element Morbida... Marina e la sua bestia (1984) Marina e la sua bestia 2 (1985) Arduino Sacco Renato Polselli Narrative Structure Meta-fictional, nested daydreams Linear, conventional exploitation Cinematography Stylized lighting, underground auteur approach Low-budget, standard home video aesthetic
: The relationship between Morbida Marina and her beast could symbolize an internal struggle, a common theme in literature and psychology where an individual grapples with their darker half or their shadow, as coined by Carl Jung. This duality could represent Marina's fight with her inner demons or her attempt to reconcile her opposing qualities. La "bestia" che accompagna Abramović nelle sue opere
This was the dangerous part. One wrong move, one moment of hesitation, and those claws could slice her in two. But Marina was the master of the soft touch. She worked with the confidence of someone who knew that true power lay not in claws, but in connection.
: The film was reportedly based on an idea stolen from director Sergio Pastore, who originally intended to make a film about the historical figure Joanna I of Naples (Giovanna D'Angiò). Same as the night Carlo died
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