Beyond Exoticism: Two Perspectives on Spirituality. The Works of Pierre Loti and the Documentary “Verso Benares”
Introduction
In the world of literature and cinema, the mystical allure of distant cultures has been a recurring theme. The French author Pierre Loti and the Italian directors G. Vignali and G. Prata represent two different expressions of this fascination. Although Loti never wrote novels set in India, his descriptive prose and romantic style shaped the Western perception of exoticism. This article aims to compare Loti’s literary approach with the visual and documentary perspective of the film “Verso Benares” (2022), demonstrating how both, despite using different mediums and subjects, explore the search for meaning in places considered “other.”
“Verso Benares”: The Documentary as a Spiritual Journey
The film “Verso Benares” is not a fictional drama, but a poetic documentary from 2022. It does not tell the story of a single protagonist, but captures the authentic essence of Varanasi, its spirituality and its daily life. Vignali and Prata use the camera to document the ghats, pilgrims, and ascetics, exploring the concept of moksha (liberation) in a non-narrative way. The film is a testament to the Western interest in the East as a place of inner search, a work that offered the public a visceral and direct portrait of a profoundly different culture.
The Literary Exoticism of Pierre Loti: A Conceptual Comparison
The works of Pierre Loti, such as Madame Chrysanthème (set in Japan) or Aziyadé (set in Turkey), are imbued with evocative descriptions and a deep melancholy. His literary style, although not about India, offers a conceptual parallel to “Verso Benares.” Loti romanticizes foreign cultures, describing them with an almost photographic attention to sensory details, but always observing them from an emotional distance. This literary “distance” of Loti is comparable to the aesthetic perspective of the Italian directors, who, while celebrating the spirituality of Varanasi, do so through the gaze of external observers.
Two Perspectives, a Shared Fascination
The comparison between the cinema of “Verso Benares” and the literature of Pierre Loti demonstrates how the fascination with the exotic is not limited to a specific place but is a recurring trait of Western art. Vignali and Prata use the camera for a documentary exploration of reality, while Loti relies on the pen to construct romantic and imaginary worlds. Both, however, offer the public a travel experience that goes beyond a simple geographical destination, inviting reflection on the role of spirituality, culture, and identity. In this sense, both the Italian documentary and Loti’s works are an artistic legacy that continues to explore the deep and lasting appeal of the East.