Neon Genesis Evangelion: The End of Evangelion

Neon Genesis Evangelion: The End of Evangelion ★★★★★

“The concept of sickness unto death must be understood, however, in a peculiar sense. Literally it means a sickness the end and outcome of which is death. Thus one speaks of a mortal sickness as synonymous with a sickness unto death. But in the Christian understanding of it death is a transition unto life. In view of this, there is from the Christian standpoint no earthly, bodily sickness unto death. For death is doubtless the last phase of the sickness, but death is not the last thing. If in the strictest sense we are to speak of a sickness unto death, it must be one in which the last thing is death, and death the last thing. And this precisely is despair.”

“Yet in another and still more definite sense despair is the sickness unto death. It is indeed very far from being true that, literally understood, one dies of this sickness, or that this sickness ends with bodily death. On the contrary, the torment of despair is precisely this, not being able to die. So it has much in common with the situation of the moribund when he lies and struggles with death, and cannot die. So to be sick unto death is not to be able to die — yet not as though there were hope of life; no the hopelessness in this case is that even the last hope, death, is not available. When death is the greatest danger, one hopes for life; but when one becomes acquainted with an even more dreadful danger, one hopes for death. So when the danger is so great that death has become one’s hope, despair is the disconsolateness of not being able to die.”
- Søren Kierkegaard

“Dante and Brakhage believed that ‘all the momentous dualities and minute conflicts in life are really only passages in a vast cosmopoetic process tending towards unity’ […] In The Dante Quartet, according to Elder, the hellish part of the film represents the fear of loneliness, of being distracted by the delusory light of a solipsistic art, while the heavenly part represents a state of joyous communion.”

“In Brakhage’s intentions, art exceeds its commonly perceived boundaries, becoming a sort of cosmic activity connecting the human with the divine, and expressing a precise view of reality as a whole. A work of art such as a film is then designed to movie the viewer towards spiritual meditation, and eventually towards a spiritual revelation, without defining such phenomenon or experience; it is intended to point the viewer towards what is outside and beyond the rational, which is not simply irrational but rationally ineffable.”
- Marco Lori

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