Paper presented at the “Cinema and Subjectivity: Movements and Movies in Bioethics” Symposium, which took place November 24, 2011, in Buenos Aires within the framework of the III International Congress on Investigations and Professional Practices in Psychology, attended by the author and María Cristina Biazus (UFRGS). The papert originates from a research project, Movements and Movies in Bioethics, between the University of Oslo and the University of Buenos Aires, and coordinated by Jan Helge Solbakk and Juan Jorge Michel Fariña.
 The Concert ( Radu Mihaileanu, 2009) tells the story of a Tchaikovsky concerto for violin and orchestra, performed by the Bolshoi Orchestra, which in the fiction of the film, had not played together for thirty years. The musicians arrive on the evening of their debut at the Chatelet de Paris without having rehearsed – the beginning of the concert is disappointing. The orchestra sounds out of tune to the point where both audience and musicians feel uncomfortable. But everything changes when a violin makes its entry. Singularly inspired that evening, its timely entry saves the rendition and turns it into a masterly, unforgettable performance.
 See Michel Fariña, Bibliographic Dossier on Mental Health and Human Rights, UBA editions, 1992, pp10-11. On the cover of Vesalio’s book, the doctor is shown operating in front of a large auditorium full of spectators and at the foot of the image the barbers are depicted crying and the monkeys fleeing gleefully. The first because they are losing their jobs – they were the ones who did the dissections while the doctors read Galen out loud. The second, because they are finally escaping from the tragic destiny of the operating table.
 See Gutierrez, C. “The decision in face of death in Blade Runner.” In (Bio)ética y Cine: Tragedia griega y acontecimiento del cuerpo, Michel Fariña y Solbakk (Ed.). Buenos Aires, Letra Viva, 2012.
 According to J. Hardy (Hardy, 1932, p16), there is no fragment more famous in Greek literature than this one of Aristotle’s, taken from Poetics, where in few words catharsis is dramatically characterized as interrelated with the painful emotions of pity (eleos) and fear or terror (phobos). The reference is taken from Solbakk JH, Catharsis and Moral Therapy II: An Aristotelian account, Journal of Medicine Healthcare and Philosophy, 2006;9(2):141-153.
 For the Greeks, the punishment of Gods are inexorably imposed, and this is one of the teachings of tragedy: while human laws have punishments that require worldly intervention, violation of the laws of the Gods means inevitable punishment by the gods themselves. In the case of Laius, the curse is fulfilled and Oedipus is the instrument of that punishment. That is why the curse is transmitted to three generations, till there is nobody left to continue transmitting it.
 Finally, on the reverse of his phantom, impotency with regard to his wife – who seeks Zeca to satiate her sexual appetite - is being played out. The late, futile lust for Vera, then only after, and because, he had seen – propitiated- the brutal rape his blood brother inflicted on her.
 For an analysis of this film, from the clinical perspective, see article by Julieta Loza “Units of Help: professional responsibility in face of subjectivities razed by disfigured faces”. In minutes of I International Congress on Ethics and Movies, extracted 11/20/11 http://www.eticaycine.org/Vanilla-Sky