Abstract
The article focuses on the late Pasolini's complex investigations of jouissance and revolt by combining an analysis of Porcile (both the 1969 film and the homonymous theatrical piece) with the essay 'Il cinema impopolare', as well as by drawing on Lacan's psychoanalytic theory, with a particular emphasis on his interpretation of the tragedy Antigone. The article argues that Porcile illustrates that complicity with power is embedded at such a deep level in the human psyche so as to be constitutive of eros and subjectivity. While jouissance alone fails to inaugurate a dimension beyond the sway of power, I also suggest that Pasolini's conceptual torsions in the essay 'Il cinema impopolare' provide a modality of suspension of all libidinal investment in the law and its transgression, thus undermining their connivance.
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