critical theory with slavoj zizek: In Taxi Driver, the final outburst of Travis (Robert de Niro)” is “against the pimps who control the young girl he wants to save (Jodie Foster). Crucial is the implicit suicidal dimension of this passage à l'acte: when Travis prepares for his attack, he practices in front of the mirror the drawing of the gun; in what is the best-known scene of the film, he addresses his own image in the mirror with the aggressive-condescending "You talkin’ to me?”. In a textbook illustration of Lacan’s notion of the “mirror stage,” aggressivity is here clearly aimed at oneself, at one’s own mirror image. This suicidal dimension reemerges at the end of the slaughter scene when Travis, heavily wounded and leaning at the wall, mimics with the forefinger of his right hand a gun aimed at his blood-stained forehead and mockingly triggers it, as if saying “The true aim of my outburst was myself.” The paradox of Travis is that he perceives HIMSELF as part of the degenerate dirt of the city life he wants to eradicate, so that, as Brecht put it apropos of revolutionary violence in his The Measure Taken, he wants to be the last piece of dirt with whose removal the room will be clean.