Truth is a “bird of prey”: interpreting the postcolonial dialectic in Agustí Villaronga’s El ventre del mar (2021) with Frantz Fanon

Figures & data

Figure 1. Géricault’s The Raft of the Medusa in black and white, as part of Villaronga’s filmic collage. Still from El ventre del mar (© Agustí Villaronga 2021).

Painting representing a group of desperate people on a raft in the middle of an agitated ocean.

Figure 2. Image from The Belly of the Sea echoing Géricault’s The Raft of the Medusa. Still from El ventre del mar (© Agustí Villaronga 2021).

A group of agitated people on a raft.

Figure 3. Thomas and Savigny testifying before a symbolic tribunal. Still from El ventre del mar (© Agustí Villaronga 2021).

Thomas and Savigny testifying before the tribunal in an empty courtroom.

Figure 4. Thomas with his beloved Therèse (Muminu Diayo), the only woman on the raft. Still from El ventre del mar (© Agustí Villaronga 2021).

Thomas with his beloved Therèse looking at each other while eating.

Figure 5. Thomas threatening Savigny, the leader of the officers: a key moment in the rebellion against the officers. Still from El ventre del mar (© Agustí Villaronga 2021).

Thomas violently grabs Savigny from behind and threatens to cut his throat with a knife.

Villaronga, Agustí, dir. 2021. El ventre del mar. Barcelona: Testamento PCT et. al.

 Google Scholar