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This article explores how neutrality and fragmentation in film can act as forms of resistance against binary narratives.

January 22, 2026

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The Neutral and the fragment: Queer strategies of resistance in Sido Lansari’s Les Derniers paradis

EDEric DaffronRamapo College

Key Points

This article explores how neutrality and fragmentation in film can act as forms of resistance against binary narratives.
Analysis of the film Les Derniers paradis by Sido Lansari
Examination of the concept of the Neutral as defined by Roland Barthes
Interpretation of archival fragments within the film's narrative structure
The film's use of the Neutral challenges traditional binary choices in love and identity.
Archival fragments create a sense of irresolution, enhancing the film's resistance narrative.
Both elements—the Neutral and fragments—serve as innovative storytelling strategies in queer cinema.

Abstract

This article examines Les Derniers paradis ( The Last Paradises ), a fourteen-minute French-language film directed by Sido Lansari. The film concerns a Moroccan man who falls into and out of love with a Frenchman. Throughout, the former skirts binary choices – a gesture that Roland Barthes calls the Neutral. In addition, the film’s archival fragments interrupt the storyline and, like the Neutral, result in irresolution. The Neutral and the fragment, this article contends, can effectively serve as forms of resistance.

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Eric Daffron (Wed,) studied this question.

synapsesocial.com/papers/6971be2c642b1836717e2e3c https://doi.org/https://doi.org/10.1386/sfs_00139_1

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