Saturday, March 16, 2019

Film on Aguéli seeks funding

Peter Östlund, a Swedish film-maker, has put together a pilot for a film about Ivan Aguéli, the Swedish painter who introduced René Guénon to Sufism. The pilot, which can be watched here, consists largely of readings from Aguéli's correspondence, mostly in Swedish, which will limit the film's international appeal. The pilot lasts 11 minutes, and has quite appealing photography and music. The opening scene is in Spain at the end of Aguéli's life, from where the film moves to the young Aguéli paining on the Swedish island of Gotland.

The Swedish title, "Frände av Ljus," may be translated "Kin of Light." The text on the home page reads: "The film revolves around the dramatic life of Ivan Aguéli, his versatility, genius and experimental painting. We want to show Aguéli as the multifaceted man he was, with strengths and weaknesses. A seeker, both after real life and higher things. The continuation of the project now depends on funding. In that process we are also seekers..."

My thanks to Anthony Fiscella for drawing the film to my attention.

1 comment:

Anonymous said...

Ivan Aguéli said in one of his articles :

"History does not know any other practical form of the human integrality: Experience is an irrefutable proof of the universality of Islam: thanks to Arab formulas, there is a perfect way of understanding between all the possible races between the Pacific and the Atlantic. It is hardly possible to find greater ethnic distances than those which exist, for example, between the Sudanese and the Persian, the Turk and the Arabian Chinese and Albanian, Indo-Aryan and Berber. No religion or civilization does the same, so Islam can be said to be the best agent of spiritual communication in Europe. Europe can only establish the material international. It's something, but that's not all. Again it is not Christianity that operates this work, but Western positivism, not to say free-thinking."
Source : "Écrits pour la Gnose"

Nobody translated this article collection, as far as I know.

But I have a feeling that the movie, and subsequent "uses" of Aguéli might omit such assertions. What do you think ?