Si può essere Medea. Ma si può anche non essere Medea. Médée Miracle by Tonino De Bernardi
Marco Grosoli

Si può fare. Ma si può anche non fare ‘It can be done. However, it can also not be done’. This claim is repeated, in turn, by the characters in a film by Tonino De Bernardi. In fact, what Giorgio Agamben defines as decreation (the revocation of a fracture between power and the act intended by Aristotle) has always seemed an elusive and hidden element as well as a central element of the author’s films. Perhaps, this element represents the point of unsurpassed evidence in Médée Miracle (2007). The choice of the subject is not random: Medea is the one who, in order to escape the powerlessness (not being able to do) which Jason, Creon and the others try to reduce her to, does not choose il poter non fare ‘being able to do nothing’ (which is characteristic of Antigone, another mythological heroine), but rather what Agamben specifically calls potere non non fare ‘not being able to do nothing’; she rejects the passive surrender of her children by actively killing them.