Abstract

Undoubtedly, the film Hedwig and the Angry Inch establishes a dialogue with the thesis of love exposed by Diotima of Mantinea in Plato's Banquet, in the sense of understanding love as a solitary adventure and primarily individual expansion. However, more than transferring the ideas of the Greek philosopher, the film opens a discussion about its validity and topicality in specific situations such as identity, ideology and gender. This is why anagnorisis becomes anamnesis in the film; dialectics is an agon, and identity, a becoming.