{"id":46262,"date":"2022-02-23T16:05:47","date_gmt":"2022-02-23T15:05:47","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=46262"},"modified":"2025-12-04T22:23:40","modified_gmt":"2025-12-04T21:23:40","slug":"madeleine-collins-la-tromperie-nest-quapparence","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/madeleine-collins-la-tromperie-nest-quapparence\/","title":{"rendered":"\u00abMadeleine Collins\u00bb: Die T\u00e4uschung ist nur scheinbar echt"},"content":{"rendered":"<p class=\"has-drop-cap\"><strong>Kann man Ehebruch und das Phantasma des Doppellebens im Kino noch (wieder) erleben? <a href=\"https:\/\/www.imdb.com\/name\/nm1201906\/\">Antoine Barraud<\/a> beantwortet die Frage mit Ja und nimmt den Zuschauer mit in einen Thriller, in dem der Wahnsinn lauert, getragen von einer Virginie Efira, die das Thema der Identit\u00e4tsst\u00f6rung wieder aufgreift <a href=\"https:\/\/leregardlibre.com\/de\/kino\/mise-en-scene-sybilline\/\">erforscht in <em>Sybil<\/em><\/a>. Sie liefert eine brillante Darstellung als feurige und hartn\u00e4ckige Frau.<\/strong><\/p>\n\n\n\n<!--more-->\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"MADELEINE COLLINS Bande Annonce VF (Thriller 2021) Virginie Efira, Bruno Salomone, Jacqueline Bisset\" width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/5Zc8c_3lz0c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>La semaine, elle se fait appeler Judith Fauvet. Elle vit en France, a deux enfants d\u00e9sormais adolescents et est mari\u00e9e \u00e0 Melvil (Bruno Salomone), chef d\u2019orchestre prestigieux. Leur vie de couple est rythm\u00e9e par les nombreux concerts \u00e0 l\u2019\u00e9tranger de ce dernier, qui attend d\u2019ailleurs une promotion \u00e0 l\u2019international. Depuis maintenant trois ans, Judith est devenue, elle aussi, adepte des voyages d\u2019affaires. Elle se rend \u00e0 Rome, en Italie ou encore en Espagne pour effectuer des traductions et suivre des colloques avec l\u2019ONU. Ce train de vie cache cependant une autre r\u00e9alit\u00e9, celle d\u2019une petite fille et de son p\u00e8re Abdel (Quim Guti\u00e9rrez) r\u00e9sidant en Suisse. Abdel est las de la situation, son comportement commence \u00e0 \u00eatre distant envers Judith. Les tromperies et ces deux identit\u00e9s pourront-elles cohabiter encore longtemps?<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-une-redite-non-un-detournement\"><strong>Une redite? Non, un d\u00e9tournement<\/strong><\/h3>\n\n\n\n<p>Rien de nouveau dans la galaxie cin\u00e9ma. La th\u00e9matique de l\u2019adult\u00e8re et de la double vie est largement pr\u00e9sente dans les films de fiction. Elle est d\u2019ordinaire exploit\u00e9e dans un sch\u00e9ma contraire \u00e0 <em>Madeleine<\/em> <em>Collins<\/em>, \u00e0 savoir que c\u2019est le protagoniste masculin qui est responsable et acteur de l\u2019adult\u00e8re. Une m\u00e8re au foyer \u00e9plor\u00e9e, l\u2019apparition soudaine d\u2019une baby-sitter ou d\u2019une nouvelle coll\u00e8gue\u2026 et la triangulation magique appara\u00eet.<\/p>\n\n\n\n<p>Mais les \u00e9pouses infid\u00e8les ne sont bien entendu pas en reste. Cette posture de la femme adult\u00e8re s\u2019est en particulier symbolis\u00e9e dans l\u2019imaginaire collectif \u00e0 travers la figure de la femme fatale, personnage st\u00e9r\u00e9otyp\u00e9 et st\u00e9r\u00e9otypant des films noirs et de son reflet contemporain du n\u00e9o-noir. Plus r\u00e9cemment, de grosses productions ont \u00e9galement \u00e9voqu\u00e9 cette figure. C\u2019est le cas de Rosamund Pike incarnant l\u2019h\u00e9ro\u00efne vengeresse dans <em>Gone Girl<\/em> de David Fincher. La repr\u00e9sentation de ce personnage, garce attachante et manipulatrice justici\u00e8re, a d\u2019ailleurs \u00e9t\u00e9 au c\u0153ur de nombreux d\u00e9bats concernant un discours et une projection misogyne des femmes\u2026<\/p>\n\n\n\n<p>C\u2019est cependant sous un tout autre terrain que <em>Madeleine Collins<\/em> embarque son spectateur. Le film d\u00e9passe all\u00e8grement les questions de genre et les st\u00e9r\u00e9otypes pour d\u00e9construire les attentes du public.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"h-le-fil-de-la-perdition-et-de-la-folie\"><strong>Le fil de la perdition et de la folie<\/strong><\/h3>\n\n\n\n<p>En effet, tout le d\u00e9but de la narration \u00e0 un go\u00fbt de <em>d\u00e9j\u00e0-vu<\/em>: les mensonges et les allers-retours de Judith trompent son entourage, mais aussi le spectateur. Ce qui semble \u00eatre, au premier abord, une relation passionnelle pr\u00eate \u00e0 imploser se d\u00e9voile dans une perspective renouvel\u00e9e et transform\u00e9e par les indices diss\u00e9min\u00e9s dans la fiction; les couches de lecture se superposent. Les indices et la progression du film divulguent alors les ficelles de cette romance entre la France et la Suisse sous un angle familial, o\u00f9 les responsabilit\u00e9s de chacun ne sont que les cons\u00e9quences des actes des autres. Seuls le spectateur et Judith sont finalement dup\u00e9s par leurs propres attentes. La duplicit\u00e9 de la protagoniste se transforme en une qu\u00eate; celle d\u2019une m\u00e8re accabl\u00e9e par la tourmente des charges qui p\u00e8sent sur sa condition et son devoir.<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\" \/><input type=\"hidden\" name=\"key\" value=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBmNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5; padding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-main_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-size:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid #E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight: normal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block; background-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\"> <h4>NEWSLETTER DES FREIEN BLICKS<\/h4> <span>Erhalten Sie unsere Artikel jeden Sonntag.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Ihre Anmeldung f\u00fcr unseren w\u00f6chentlichen Newsletter wurde erfolgreich registriert!<\/h4> <p> <a href=\"#\" class=\"inf-btn\">\u00ab<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta = \"1\" data-inf-error = \"Merci de renseigner une adresse email\" required=\"required\" placeholder=\"E-Mail\" > <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"Anmelden\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>Quant au titre, sa signification nous est r\u00e9v\u00e9l\u00e9e \u00e0 la toute fin du film, lorsque les masques et les non-dits sont bris\u00e9s. Madeleine Collins n\u2019a plus, comme le spectateur, qu&#8217;\u00e0 se r\u00e9inventer dans une autre existence.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><a href=\"http:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1.jpg\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1280\" height=\"1707\" src=\"http:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1.jpg\" alt=\"\" class=\"wp-image-46267\" srcset=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1.jpg 1280w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-1170x1560.jpg 1170w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-585x780.jpg 585w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-300x400.jpg 300w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-600x800.jpg 600w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-112x150.jpg 112w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-225x300.jpg 225w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-768x1024.jpg 768w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/02\/Affiche_Madeleine-Collins_V1-1152x1536.jpg 1152w\" sizes=\"(max-width: 1280px) 100vw, 1280px\" \/><\/a><\/figure>","protected":false},"excerpt":{"rendered":"<p>K\u00f6nnen Ehebruch und das Phantasma des Doppellebens im Kino noch (re-)besichtigt werden? Antoine Barraud bejaht dies und entf\u00fchrt den Zuschauer in einen Thriller, in dem der Wahnsinn lauert. Virginie Efira kn\u00fcpft an das Thema der Identit\u00e4tsst\u00f6rung an, das sie in \u00abSybil\u00bb erforscht hat. Sie liefert eine brillante Darstellung einer feurigen und hartn\u00e4ckigen Frau.<\/p>","protected":false},"author":97,"featured_media":46266,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[644341146,5022245],"class_list":["post-46262","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-critiques-cinema","tag-virginie-efira"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.9 (Yoast SEO v26.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>\u00abMadeleine Collins\u00bb: la tromperie n\u2019est qu\u2019apparence<\/title>\n<meta name=\"description\" content=\"Madeleine Collins: Virginie Efira renoue avec le th\u00e8me du trouble identitaire explor\u00e9 dans Sybil. 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