In 1966, Japanese writer Yukio Mishima released a filmed representation of his ritual suicide, or seppuku. That same year, Angélica Liddell was in her mother’s womb. This coincidence has increasingly fuelled her fascination with the author’s writings and his life outside established social norms.

For her new creation, Liddell begins here, exploring an attraction to her own death, and the way suicide is perceived. Developed with actors from the National Noh Theatre in Tokyo, Seppuku. El funeral de Mishima unfolds as a theatrical experience. With her abrasive language and unique stage presence—merging her story, an adaptation of the 14th-century play Hagoromo, songs, and real blood-taking performed by nurses—Liddell overturns the very idea of suicide. She evokes not just the end of life, but what we face with every dawn, urged by a hyper-productive society to let our unruly inner force wither. A daily act of controlled bleeding in the service of efficiency.

In her first appearance at the festival, Liddell creates a hymn to the untameable side of life, presented at the end of the day or in the early morning: the hour of Mishima’s death, before the business of each day begins, still charged with the idle poetry of the night.

"The show transforms suicide into a poetic ritual, between mystical fervor and intimate vertigo." Olivier Frégaville-Gratian d’Amore, 2026, Coups d'oeil