Abstract

In 1965, Claude Chabrol created La Muette – a fifteen-minute homage to Paris’s sixteenth district. In this short movie, Chabrol uses silence to ask some fundamental questions about the nature of human coexistence: the movie is seen, or better heard, from the perspective of a boy who, ignored by his parents, does not manage to say a word throughout; provoked by this imposed restriction, the boy decides to become not only “mute” but also “deaf.” His decision, however, results in tragic consequences. In La Muette, Chabrol reminds us that the question of coexistence already posed by Virgil in his Eclogues, and signified by sound that freely resounds, has never ceased to be asked. In this Collision, I use the term “post-pastoral” to connect Virgil and Chabrol, and to open a discussion on sonically signified freedom