Le cinéma français contemporain explore la possibilité des relations humaines après un décès : la mélancolie et le traumatisme

Exposé Arts & média Cinéma

Date de publication :

19/01/2009

Langue :

Anglais

Format :

.doc

Nombre de pages :

5 pages

Niveau :

avancé

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Melancholy's definition by Freud
Loss, melancholy and trauma illustrated in François Ozon's movies
Two typical reactions: hate and denial

Résumé :

Classic but always delicate for film-makers as well as for actors, the subject of loss has been widely exploited in the twentieth century cinema. Yet, since dealing with the loss is very personal and so hardly reproducible on a film stock, the undertaking is risky. It is difficult to find the right interpretation for a person submitted to a post-loss trauma and even more to depict it into his social environment without exaggerating or being mistaken. Human relations are indeed deeply moved by a loss, especially when the mourning is made difficult for any reason. French contemporary cinema is alleged to paint correctly how they evolve when a person is subject to a loss followed by a trauma and melancholy. Two movies, both directed by François Ozon can be particularly relevant in discussing this idea. The first one "Regarde la mer" came out in 1997 and depict the encounter between Sasha, a British mother bored by her housewife life, and Tatiana, a rude and frightening backpacker. The viewer learns later that she has lost a baby in an abortion. The second one "Sous le sable" came out in 2000 and is about Marie and Jean, a couple in their fifties and the way that Marie deals with the loss when his husband comes to disappear in the sea.
In both cases, the loss of a loved being is the triggering factor of the story. When this loss is sudden or traumatizing, the mourning cannot go right and the individual is plunged into melancholy.