Abstract
In today’s audiovisual ecosystem, one of the recurring themes is that of drug use. The Congress (dir. Ari Folman, 2014) is a film that deals on this topic in a particular way, by offering a reflection from science-fiction on the relation between individual, drugs and society in a movie about the future of cinema. This text presents an analysis of this piece, taking categories from the psychoanalytic theory of cinema proposed by Slavoj Žižek (suture, Real, interface), reflections from futurologist Jacques Attali, and some ideas from Marxism and clinical psychoanalysis to establish the importance of saving cinematographic process from collectivity instead of the exaltation of individual experience.
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