| Sumario: | This article aims to analyse François Ozon's film Gouttes d'eau sur pierres brûlantes/Water Drops on Burning Rocks (2000) as a cultural product eliciting mechanisms of nostalgia within wider discourses on sexuality. Rainer Werner Fassbinder and his cinema are the direct referents for Ozon, who promotes and inscribes his author persona within the contemporary French cinema landscape, to the extent that the German director provides the essential elements of a camp aesthetics that are ripe to be updated for the currect epoch. Firstly, Fassbinder provides a textuality (the theatrical work entitled Tropfen auf heiße Steine [1965], staged for the first time in 1985 and published in France in 1987) from which Ozon draws his hyper-text according to a queer sensibility. Secondly, the German director suggests a style in which representation becomes a form of content able to convey ideological perspectives on sexuality and gender relations. Finally, Fassbinder represents a paradigmatic example through which popular culture and the high-cultural concept of authorship combine to produce a new kind of public sphere when it comes to social identities.
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