Teorema’s Death Drive
This chapter offers a reading of Pier Paolo Pasolini’s Teorema (1968), not only as a major queer film, but as an early work of queer theory. Made in 1968, Teorema appears at a moment of political upheaval, and yet confoundingly discards a narrative of class struggle in order to focus on a series of sexual encounters between a handsome, unnamed stranger (played by Terence Stamp) and every member of a wealthy Milanese family. Does Pasolini’s first film to explicitly depict homosexuality entail a failure of his Marxist politics? Exploring the film’s political aesthetics, the chapter argues that what is at stake in Teorema is an aesthetic inscription of what Guy Hocquenghem, a few years later, would call “homosexual desire.” Far from describing a socially intelligible sexual orientation, this term names a movement towards dissolution and revolution, both material and metaphysical.