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In this paper I offer a critical reading of some aspects of Heidegger's late philosophy and evaluate how these relate to his nationalist claim that we need to stay rooted in the soil of our homeland. In response to this claim, Žižek suggests thet being-rootless is the primordial state of being-human and that what we represent as our roots are secondary attempts to obfuscate this dimension. First, I will present Heidegger's philosophy of technology to elucidate his thesis that the essence of modern technology (Gestell) determinates the way we come to experience the totality of beings in our times as "standing reserve". In the second section, I expound his aesthetics where art is seen as a mode of approaching entities that follows a different logic to that of the Gestell. However, this analysis of Heidegger's philosophy of art will reveal a political dimension to the concept of earth which I take to be a reactionary attempt to neutralize the eventual dimension of the Gestell. In the third section, I offer a critical re-interpretation of Heidegger's philosophy following Žižek's clue. I argue that modern art is characterized by its self-reflexive character which can be deemed transcendental once we accept the ontological dimension of art following Heidegger. These works offer a rooting in our own rootless condition analogous to the grounding in the Abgrund of Hegel's absolute knowledge. Finally, I offer an analysis of Quentin Tarantino's Inglorius Basterds from the perspective of the conceptual framework developed in the previous pages. [ABSTRACT FROM AUTHOR]