{"id":14206,"date":"2018-02-07T11:17:52","date_gmt":"2018-02-07T10:17:52","guid":{"rendered":"http:\/\/leregardlibre.com\/?p=14206"},"modified":"2025-12-04T22:50:20","modified_gmt":"2025-12-04T21:50:20","slug":"la-douleur-quand-le-flou-dit-tout","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/la-douleur-quand-le-flou-dit-tout\/","title":{"rendered":"\u00abDer Schmerz\u00bb, wenn die Unsch\u00e4rfe alles sagt"},"content":{"rendered":"

Mittwochs im Kino - Loris S. Musumeci<\/em><\/p>\n

\u00abWas sicher, offensichtlich ist, ist, dass dieser Text hier, es scheint mir nicht denkbar, ihn w\u00e4hrend des Wartens auf Robert geschrieben zu haben.\u00bb<\/p>\n

Juni 1944. Marguerite ist Schriftstellerin. Sie wartet auf ihren Mann, Robert Antelme. Als Widerstandsk\u00e4mpfer wurde er von den Kollaborateure<\/em>. Im immer noch besetzten Paris h\u00e4lt die junge Frau an ihrem Engagement f\u00fcr das Widerstandsnetzwerk fest. Dort arbeitet sie an der Seite von Dyonis, dem besten Freund ihres Mannes, mit dem sie eine Liebesbeziehung zu haben scheint; distanziert, zweideutig, aber sinnlich.<\/p>\n

Um Informationen \u00fcber Robert zu erhalten, trifft sich Marguerite mit dem franz\u00f6sischen Gestapo-Agenten Pierre Rabier, den sie verachtet. Er hingegen scheint von ihren Augen, ihrer Handschrift und ihrem geheimnisvollen Auftreten angetan zu sein. Trotzdem versucht er, ihr Informationen \u00fcber das Widerstandsnetzwerk zu entlocken. Sie bleibt diskret und vorsichtig, so dass sie vor Angst krank wird. \u00abIch bin sein Polizist\u00bb, sagt sie sich innerlich, als die Angst sie verl\u00e4sst und sie glaubt, Macht \u00fcber den Polizisten zu erlangen. Da sie sich beide von einander bedroht f\u00fchlen, h\u00f6ren sie auf, sich zu treffen. Was bleibt, ist das qu\u00e4lende Warten auf einen Ehemann, der vielleicht tot ist, vielleicht lebt, vielleicht geliebt, vielleicht gehasst wird.<\/p>\n

<\/p>\n

Le flou, un personnage en soi<\/h3>\n

Le r\u00e9alisateur, Emmanuel Finkiel, a adapt\u00e9 le roman \u00e0 caract\u00e8re autobiographique de Marguerite Duras, La Douleur<\/em>, sans privil\u00e9gier la fid\u00e9lit\u00e9 historique \u00e0 l\u2019art cin\u00e9matographique. Son travail est lou\u00e9 pour le film, \u00e0 raison. Le choix des acteurs est une premi\u00e8re r\u00e9ussite. M\u00e9lanie Thierry, interpr\u00e9tant Marguerite, porte, dans sa physionomie m\u00eame, une force de femme, digne d\u2019une Duras. Sa m\u00e2choire est large et dure, ses yeux tant\u00f4t absents, tant\u00f4t percutants. Son jeu, impeccable. Les autres acteurs font, \u00e0 moindre mesure, \u00e9galement preuve d\u2019un bon niveau. Ce point p\u00e8che pour les sc\u00e8nes de groupe, o\u00f9 les dialogues se font creux.<\/p>\n

L\u2019utilisation du flou, \u00e0 elle seule, r\u00e9cup\u00e8re cependant tout \u00e9ventuel manquement. Le flou est, en r\u00e9alit\u00e9, un personnage en soi, qui, implacable, guide le spectateur tout le long du film, m\u00eame quand Marguerite s\u2019\u00e9gare. Il fait l\u2019\u00e9l\u00e9gance de Paris, comme il marque aussi la distance entre les \u00eatres\u00a0; le r\u00e9cepteur \u00e9tant flou face au locuteur. Il cr\u00e9e, en outre, une naus\u00e9e bouleversante qui provoque l\u2019\u00e9garement de Marguerite et l\u2019agonie d\u2019un spectateur, qui peut ainsi toucher, de loin, \u00e0 l\u2019exp\u00e9rience d\u2019une vraie douleur, de La Douleur<\/em>. Le r\u00e9alisateur ma\u00eetrise ce proc\u00e9d\u00e9 technique avec excellence.<\/p>\n

La complexit\u00e9 des \u00eatres<\/h3>\n

Il en va de m\u00eame pour le ph\u00e9nom\u00e8ne de duplication des personnages par les miroirs. Pour Marguerite, il n\u2019h\u00e9site pas d\u2019ailleurs \u00e0 filmer deux silhouettes en une, aux v\u00eatements diff\u00e9rents, \u00e0 l\u2019attitude oppos\u00e9e. Il expose de la sorte la subtilit\u00e9 de l\u2019esp\u00e8ce humaine, capable de vivre deux vies, deux pens\u00e9es, deux \u00e9tats d\u2019\u00e2me\u00a0; mais dans un corps meurtri, qui peu \u00e0 peu se d\u00e9chire. Avec Marguerite, c\u2019est particuli\u00e8rement la femme en tant qu\u2019entit\u00e9 qui se r\u00e9v\u00e8le dans une complexit\u00e9 infinie. Emmanuel Finkiel lui laisse une place principale. La douleur, dont traite le film, est remise entre les mains des femmes. C\u2019est \u00e0 travers leur regard que l\u2019on sent l\u2019indiff\u00e9rence des gais, la solitude des m\u00e8res, l\u2019espoir qui s\u2019effrite en refusant d\u2019accepter la mort tout en la pleurant sous ses yeux.<\/p>\n

La Douleur<\/em>, au bout du compte, ne raconte pas tant la guerre que les passions humaines sous celle-ci. Le long-m\u00e9trage, de plus, fait voir comment ces passions s\u2019exportent jusqu\u2019en temps de paix, comme un zoom arri\u00e8re finissant en plan a\u00e9rien. La vie humaine serait-elle tragique parce qu\u2019il y a la guerre\u00a0? C\u2019est parce que la vie est tragique que vient la guerre, annoncent plut\u00f4t Duras et Finkiel. Sous ce constat, personne ne sort indemne de la salle comme du livre. Angoisse et douleur collent \u00e0 la peau.<\/p>\n

\u00ab\u00a0Plus de douleur\u00a0; je n\u2019existe plus.\u00a0\u00bb<\/p>\n

Schreiben Sie dem Autor : loris.musumeci@leregardlibre.com<\/a><\/em><\/p>\n

Cr\u00e9dit photo : \u00a9 Path\u00e9 Films<\/p>","protected":false},"excerpt":{"rendered":"

Les mercredis du cin\u00e9ma \u2013 Loris S. Musumeci \u00ab\u00a0Ce qui est s\u00fbr, \u00e9vident, c\u2019est que ce texte-l\u00e0, il ne me…<\/p>","protected":false},"author":18,"featured_media":14269,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[410438,1993863,44367499,18416556,94209,1832568,949843,61091,1005614,150154,698072,91927,1910235,238233,8610,604876931,42727,15950983],"class_list":["post-14206","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-angoisse","tag-attente","tag-dyonis","tag-emmanuel-finkiel","tag-femmes","tag-flou","tag-gestapo","tag-guerre","tag-la-douleur","tag-marguerite","tag-marguerite-duras","tag-mari","tag-melanie-thierry","tag-occupation","tag-paris","tag-pierre-rabier","tag-resistance","tag-robert-antelme"],"acf":[],"yoast_head":"\n\u00abLa Douleur\u00bb, quand le flou dit tout<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/leregardlibre.com\/de\/kino\/filme\/la-douleur-quand-le-flou-dit-tout\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00abLa Douleur\u00bb, quand le flou dit tout\" \/>\n<meta property=\"og:description\" content=\"Les mercredis du cin\u00e9ma \u2013 Loris S. 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