If freedom, according to traditional morality itself, is a fundamental ethical value, the very basis of ethics, one must be aware that the creation o… - Julio Cabrera

At least two different ways of receiving the European legacy could be clearly formulated: (1) Continue to expose and spread the thought generated in Europe; or: (2) Try to receive this legacy in order to assume the same creative attitude that the Europeans have taken to build, value and spread their own philosophy. In option (1), Europe bequeathed us an object of study; in the alternative (2), Europe bequeaths us an attitude. Assuming the first alternative, we present the contents of European philosophy; assuming the second, we try to make philosophy as the Europeans did theirs.

Pessimism seems to have an existential density that optimism - even non-naive optimism - does not have. In Bernardo Bertolucci's famous Last Tango in Paris (1972), the unknown (Marlon Brando) whose wife has just committed suicide, wanders around Paris and casually meets Jeanne (Maria Schneider), with whom he has a rich and violent physical and existential relationship, in an unfurnished apartment, where conventions and the name of things or people do not matter (...) But the moment he can get out of the pit and get back into life, dress well and resume the exercise of usual conventions, knowing her name, marrying and being happy, it becomes a conventional caricature and his relationship with Jeanne abruptly ends (...).

Cinema does not eliminate the requirement of truth and universality, but (...) redefines them within the logopathic phenomenon (...) the universality of cinema is peculiar, it belongs more to the order of possibility than to necessity. Cinema is universal, not in the sense of "necessarily happens to everyone", but in the sense of "could happen to anyone"