The subject of Danièle Huillet and Jean-Marie Straub’s Der Tod des Empedokles (The Death of Empedocles, 1987) is the Greek pre-Socratic philosopher Empedocles (c. 490 BC – 430 BC), who lived in the Greek colony of Agrigentum in Sicily. His theories are mentioned in several of Plato’s dialogues. He maintained that all matter is made up of four irreducible elements: water, earth, air and fire. A mystic and a poet, he is considered to be the founder of classical rhetoric. He is also thought to be the last Greek philosopher to write in verse; two fragments of his works survive: Katharmoi (Purifications) and Peri Phuseôs (On Nature). An advocate of democracy, he came into conflict with his fellow citizens of Agrigentum and, as result, was banished with his young disciple, Pausanius. When he was asked to return, he preferred to commit suicide by throwing himself into the active volcano at Mount Aetna. The German writer Friedrich Hölderlin wrote two versions of Der Tod des Empedokles in 1798 and 1800, and a final third version in 1820, all three ultimately unfinished. They were conceived as five-act tragedies and all three differ in plot. According to Michael Hamburger, Hölderlin’s English-language translator, the main reason why Hölderlin finished no version of the play must be that he remained too closely identified with Empedocles, at the very period in his life when his own view of the poet as philosopher, prophet and priest – and as tragic hero – was subject to perpetual crisis and re-examination. Huillet-Straub’s The Death of Empedocles is based on Hölderlin’s first version (the longest of the three), whereas Black Sin is based on the third version. The film explores themes of exile, philosophy, and the tragic fate of the intellectual through Straub and Huillet’s signature austere and minimalist style, emphasizing the text and natural settings. Their adaptation remains faithful to Hölderlin’s poetic language while translating its philosophical depth into cinematic form. The film’s deliberate pacing and sparse visuals invite contemplation of Empedocles’ ideas and his ultimate sacrifice, reflecting both the historical figure’s legacy and Hölderlin’s own artistic struggles. The Death of Empedocles stands as a significant work in the filmmakers’ oeuvre, exemplifying their commitment to rigorous intellectual engagement and their unique approach to adapting literary and philosophical texts. It serves as a meditation on the intersection of art, thought, and mortality, resonating with audiences interested in both classical philosophy and avant-garde cinema.
《恩培多克勒之死》剧情简介
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