Diva by Delacorta with a cover using one of the posters from the Jean-Jacques Beineix film adaptation. Delacorta is the pen name of Zen Master Daniel Odier.
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Diva by Delacorta with a cover using one of the posters from the Jean-Jacques Beineix film adaptation. Delacorta is the pen name of Zen Master Daniel Odier.

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34-year-old Jean-Jacques Beineix‘s feature film debut, Diva, was released in France on 11 March 1981.
Based on Daniel Odier‘s 1979 novel (published under the pseudonym Delacorta), Diva was initially a critical and commercial failure in France, but once it received overwhelmingly positive reactions after its US release in 1982, the film found an audience back home.
Senza una connessione profonda con le cose, il Cuore non si apre. Tutto ciò che escludiamo dalla nostra esperienza, per principio, per credenza, per paura, per ideale, per ignoranza o per negligenza, alimenta il nostro sistema protettivo che si trasforma lentamente in prigione.
Daniel Odier
Slowness is a divine thing. We have lost the habit of it. With slow, regular, harmonious movement, the consciousness immediately finds its place. The body begins to enjoy the smallest thing. Attention is heightened. We take in the world's full freshness. We communicate. We open our senses to the plenitude.
Daniel Odier, Tantric Quest: An Encounter with Absolute Love (71)
...it is Thou who art called the Supreme Primordial Kalika...Resuming after Dissolution Thine own nature dark and formless, Thou alone remainest as One, Ineffable and Inconceivable.
Mahanirvana Tantra, from Tantric Kali: Secret Practices and Rituals by Daniel Odier

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STANZA 11 "How can this wonder-filled tantrika, who always comes back to his own fundamental nature as the source of all manifestation, be subject to transmigration?" *** The supreme state is not found outside of oneself, but is the original and intimate nature of our being. To abandon all seeking is the only way we can relax ourselves enough that the realization of our innate nature can flower. Desire freed from its state of tension no longer goes toward things, but everything quickens within desire like a continuous offering. This is the essence of the heart of the yoginis, the teaching of the simple fact of the beauty that pours out within us like a continuous ambrosia. The tantrika receives beauty like the earth receives the moon, the sun, and the rain, in the continuous sacred tremor of vibrating and living matter. There is nothing inanimate. All is radiating sacred tremoring—people, mountains, rivers, and emotions. The clouds and the body are atoms bound by wonder, like the sky uniting the stars. [...] the state in which a given tantrika finds himself, even within society, is exactly this state of joy, of marveling, of jubilation. All his experience is like a spring that is continually regenerating itself and encouraging him to come to know the limitless in the most banal experiences. Often we imagine that the mystic life involves intense moments of encounters with the divine. For tantrikas, the mystic life is drinking a glass of water, putting one’s feet in the river, sitting at the foot of a tree or on the terrace of a café, listening to the night, waiting for the bus, looking at the stars, walking, eating. Becoming an ordinary person again. Within the framework of society, it means living very normally. Tantric masters keep working, at the same time teaching a few disciples. Sometimes they have very simple jobs, because they are people from all walks of life: garbage men, butchers, civil servants, prostitutes, engineers. They find fulfillment in making sandals, cooking galettes, spinning pots, or selling lentils. It is thus truly possible to live this fulfillment in the most everyday reality. The ideal of the tantrika is to find the absolute, right there within the everyday—not to wait for fleeting revelations and so-called altered states of consciousness. Wonder occurs when we succeed in tasting the nectar of the loving relationship that we develop with each thing or person or object that is before us at this very moment. This is what changes life completely, because otherwise we are always in search of something more. And when we obtain it, we are still unsatisfied. We then seek something even more spectacular, and this is how we end up being continually unhappy. This does not mean, of course, that we must be satisfied with something that absolutely does not suit us. We must not confuse lifeless resignation with this ideal. If we can communicate completely with all the ordinary aspects of life, we are great mystics. The details then become much less important, as wonder, constant joy, and the sacred tremor are maintained by continued contact with the everyday, which ceases to be ordinary at the moment we really taste it. Stanza 11 considers the subject of transmigration—which occurs occasionally in the Tantric texts—and asks clearly: “How can a wonder-filled tantrika be subject to transmigration?” Does this mean that those who are not wonder-filled are subject to transmigration? No, this is a Tantric mystery. At times it is said that there is transmigration; other times it is said that the idea of transmigration is a “hitching post for asses” (Abhinavagupta). Do not count on me to tell you!
Daniel Odier, Yoga Spandakarika
Diva (1981)
'All beauty contains darkness.' -Daniel Odier | View more inspirational quotes at Jar of Quotes.