Filmes onde a morte paira: duas faces: Solaris e o quarto do filho

Given the sheer relevance that the decisive phenomenon of death has held within the Judeo-Christian belief system, from its very outset, cinema has always set out narratives revolving on such realities. While sometimes approached via interrogation and perplexity, on other occasions death inducing violence is displayed as spectacle. A more specific death type conveyed by the means of cinema arose with the war genre. Within this framework, many directors use film to show the stupidity war as a vehicle of destruction and death. Taking Solaris by Tarkovski, and La Stanza del Figlio by Moretti as its examples, this paper analyzes two films that, in a variety of ways, take up a philosophical stance, in the former case, existentially, and in the latter case addressing the presence of death in the living world.