Reality and fiction – Tarantino’s filmography on the couch*

Introduction

Working in psychoanalysis keeps us in touch with the most intimate human conflicts. Such conflicts carry with them individual experiences resulting from different stages of life, along with the overload of the intersection with culture. However, the two-way road established by mutual influences between what is pertinent to the individual and what is cultural – which could be a way to access knowledge – is undergoing a transformation process and often takes the opposite role, the one of inner ignorance.

The main theme of the 30^th Latin American Congress of Psychoanalysis – realities and fictions – prompted us to think of art as a resource to understand the current culture, about which we tend increasingly not to think. We live in a time without time, a time that demands immediate responses, and in which the moments for reflection are being extinguished. The consequences appear in the form of intolerance to frustration, and not recognizing the other, both icons of our time.

The audience that comes to us is embedded in this culture, and our role as psychoanalysts is to build with them the possibility of maintaining their human condition with a quality of life that satisfies them. It seems essential, therefore, to understand as profoundly as

possible the resources used to express affections. With less time for reading and museums (art temples), going to the movies – an attractive, fast form of entertainment – is part of our daily lives and, perhaps, tailored for that function.

The cinema, with all its potential for artistic expression, touches the viewer beyond sensory pathways, with images and sounds of aesthetic impact. Currently the screens are able to provide a range of features that, with technological advances, put us face to face with imag