Autonomous selves incarcerated under hegemonic binaries invent new forms of language. Performance of desire transforms all body parts into independent and unrestricted meaning-making machines. Consequently, state-sponsored, syntactic language dismantles, and a silent, schizophrenic rhythm is created. Genet’s objective in Un Chant d’Amour is to claim this primal silence of sexual bodies and their identities through symbolic metamorphosis of objects, dance, fantasies and longings. Originally conceptualized as an image film with no script and dialogue, Genet’s tour de force exhibits sexuality and performing bodies as brute force rupturing the veil of the big Other. The film unfolds inside a Foucauldian Panopticon-like prison cell, where the Guard observes, interrogates, tortures, and simultaneously derives voyeuristic pleasure out of the inmates’ sexual acts carried out under ‘enclosure’. The Guard is not only the measuring rod which bears the mark of state capitalism, but is also a divided subject, split between his duties toward the order and his native libidinal responses. Genet’s film is attuned to the subversive Postmodernist ambience of the 1950s’ Europe when the ‘centre’ was dismantled leading to a proliferation of multiple centres, multiple truths and thus multiple sexualities. In my proposed paper, I would look at theatre artist Jean Genet’s only (silent ) film Un Chant d’Amour (“A Song of Love”), released in 1950 and subsequently banned, and investigate how in its presentation of homosexuality, Genet adheres to as well deviates from Foucault’s ‘sexuality’, considered as the most powerful starting point of Queer Theory. This paper would further delve into the various aporias generated in the text, and the absence of language as a tool for restructuring and re-writing.