{"id":40265,"date":"2021-04-28T06:00:00","date_gmt":"2021-04-28T04:00:00","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=40265"},"modified":"2025-12-04T22:25:18","modified_gmt":"2025-12-04T21:25:18","slug":"the-choice-of-the-half-empty-glass-in-drunk","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/en\/cinema\/films\/le-choix-du-verre-a-moitie-vide-dans-drunk\/","title":{"rendered":"The glass-half-empty choice in \u00abDrunk\u00bb"},"content":{"rendered":"\n<p><em>Les mercredis du cin\u00e9ma \u2013 Alice Bruxelle<\/em><\/p>\n\n\n\n<p class=\"has-drop-cap\"><strong>\u00abHymne \u00e0 l\u2019amiti\u00e9 et \u00e0 la vie\u00bb pour certains, <em>Drunk <\/em>(2020) collectionne les nominations: Cannes, Oscars, C\u00e9sar, Golden Globes. Et pourtant, le r\u00e9alisateur Thomas Vinterberg rate compl\u00e8tement son sujet principal: l\u2019alcool. Comme une bi\u00e8re en fin de journ\u00e9e,<em> Drunk<\/em> s\u2019appr\u00e9cie pour se vider l\u2019esprit.<\/strong><\/p>\n\n\n\n<!--more Lire la critique (en libre acc\u00e8s)-->\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=\"DRUNK Bande Annonce VOST (2020) Mads Mikkelsen\" width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/JsGbO9X-C-8?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>Si vous me connaissiez personnellement, vous sauriez probablement que je ne me refuse pas un petit verre de Fendant de temps \u00e0 autre et, je l\u2019avoue, plusieurs si affinit\u00e9s il y a. Un peu comme les personnages de <em>Drunk<\/em>, qui, eux, substituent le vin valaisan \u00e0 quelques litres d\u2019alcool dissimul\u00e9s dans leur gourde. S\u2019ils n\u2019ont pas le bon go\u00fbt de s\u2019enivrer avec les produits du terroir, c\u2019est parce que l\u2019\u0153uvre dont il est question est un film danois r\u00e9alis\u00e9 par Thomas Vinterberg, \u00e0 qui l\u2019on doit le premier film \u2013 <em>Festen<\/em> (1998) \u2013 du mouvement cin\u00e9matographique Dogme95, dont il est le co-fondateur. Une majorit\u00e9 de critiques dithyrambiques ont suivi la sortie du long-m\u00e9trage, concr\u00e9tis\u00e9es par une pl\u00e9thore de nominations et de prix: nomination notamment au Festival de Cannes et aux Golden Globes, ainsi que les r\u00e9compenses du C\u00e9sar du meilleur film \u00e9tranger et de l\u2019Oscar du meilleur film international. C\u2019est donc sous le brouhaha des applaudissements que l\u2019on tentera de glisser un peu d\u2019eau dans le vin de <em>Drunk<\/em>, non seulement pour amortir la cuite qu\u2019il nous r\u00e9serve, mais aussi pour se rendre compte du vide laiss\u00e9 derri\u00e8re lui une fois celle-ci pass\u00e9e.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Une r\u00e9alit\u00e9 ponc\u00e9e au papier de verre<\/strong><\/h3>\n\n\n\n<p>Selon la th\u00e9orie du psychologue norv\u00e9gien Finn Sk\u00e5rderud, si le d\u00e9ficit de 0,5 grammes d\u2019alcool pr\u00e9sent selon lui naturellement dans le sang \u00e9tait combl\u00e9, l\u2019\u00eatre humain verrait son existence consid\u00e9rablement am\u00e9lior\u00e9e dans tous les domaines. Au nom de la science, quatre amis enseignants, dont Martin, d\u00e9pressif et incarn\u00e9 par Mads Mikkelsen \u2013 qui retrouve Vinterberg, avec qui il avait tourn\u00e9 <em>La Chasse <\/em>(2012) \u2013 d\u00e9cident de l\u2019op\u00e9rationnaliser. Cette exp\u00e9rience les conduit \u00e0 s\u2019enivrer durant la journ\u00e9e en augmentant au fur et mesure les doses jusqu\u2019\u00e0 se retrouver aux confins de leurs limites. La th\u00e9matique de l\u2019alcool n\u2019est pas un choix hasardeux de la part du r\u00e9alisateur. En effet, aussi paradoxal soit-il, entre les fronti\u00e8res du second pays \u00able plus heureux du monde\u00bb, l\u2019alcool est un fl\u00e9au, bien d\u00e9montr\u00e9 d\u00e8s la sc\u00e8ne d\u2019ouverture dans laquelle des lyc\u00e9ens se vautrent dans l\u2019ivresse et le vomi dans une d\u00e9sinvolture totale. Si le cin\u00e9aste n\u2019a voulu prendre aucun parti concernant cette probl\u00e9matique \u2013 l\u2019alcool n\u2019est ni de l\u2019eau, ni le signe avant-coureur de la perdition de la soci\u00e9t\u00e9 \u2013 cette libert\u00e9 accord\u00e9e au spectateur de se forger sa propre opinion aurait d\u00fb supposer de ne pas \u00abtrahir l\u2019essence des choses, de les laisser d\u2019abord exister pour elles-m\u00eames librement\u00bb comme a \u00e9crit tr\u00e8s justement Andr\u00e9 Bazin. Cela ne se traduit en tout cas pas dans le film. Le choix de nous couper d\u2019un certain nombre d\u2019outils pour appr\u00e9hender la r\u00e9alit\u00e9 laisse m\u00eame un relent de trahison am\u00e8re dans la bouche.<\/p>\n\n\n\n\n\n<p>Dans une interview accord\u00e9e \u00e0 <em>Euronews<\/em>, Thomas Vinterberg d\u00e9crit son long-m\u00e9trage comme \u00abun film qui parle de la vie\u00bb. Dans un article du <em>Parisien<\/em>, il s\u2019agit d\u2019\u00abun hymne \u00e0 l\u2019amiti\u00e9 et \u00e0 la vie\u00bb pourvu de sc\u00e8nes qui s\u2019\u00e9tirent \u00abavec beaucoup de r\u00e9alisme\u00bb. Si, en effet, l\u2019un ne va pas sans l\u2019autre, c\u2019est-\u00e0-dire qu\u2019il est n\u00e9cessaire d\u2019avoir un certain effet de r\u00e9alisme pour r\u00e9aliser un film \u00abqui parle de la vie\u00bb, <em>Drunk <\/em>manque la marche et ne fait qu\u2019\u00e9dulcorer la r\u00e9alit\u00e9.<\/p>\n\n\n\n<p>M\u00eame si les mouvements de cam\u00e9ra port\u00e9e \u2013 l\u2019une des caract\u00e9ristiques du Dogme95 \u2013 font miroiter un l\u00e9ger effet documentaire \u2013 comme si l\u2019on se trouvait au c\u0153ur de la d\u00e9tresse des personnages \u2013, le reste n\u2019est qu\u2019un hachoir pour toute pens\u00e9e digressive qui s\u2019\u00e9carterait de la trame narrative horriblement lin\u00e9aire. Il y a en premier lieu un probl\u00e8me, ensuite la solution et la fin est une synth\u00e8se ti\u00e8de des deux; rien de surprenant, donc. De plus, <em>Drunk<\/em> sous-entend une pens\u00e9e binaire qui \u00e9carte toute tentative de complexit\u00e9 du r\u00e9el. Mads Mikkelsen, malgr\u00e9 sa pr\u00e9sence corporelle, se r\u00e9fugie dans une dichotomie banale: il adopte soit le comportement du <em>loser<\/em> le plus path\u00e9tique ne r\u00e9ussissant pas \u00e0 exister face \u00e0 ses \u00e9l\u00e8ves, ses coll\u00e8gues et sa femme, soit celui du super-h\u00e9ros. Une fois la pr\u00e9cieuse potion salvatrice ingurgit\u00e9e, il ma\u00eetrise en effet sa classe de fa\u00e7on magistrale, se r\u00e9concilie \u2013 en une soir\u00e9e \u2013 avec sa femme et retrouve le chemin de son existence. Jamais de plans sur les effets ind\u00e9sirables de l\u2019alcool, aucune gueule de bois. C&#8217;est la solution, point barre.<\/p>\n\n\n\n<p><strong>A lire aussi | <a href=\"https:\/\/leregardlibre.com\/litterature\/leurs-enfants-apres-eux-un-goncourt-social\/\" data-type=\"post\" data-id=\"20175\"><em>Leurs enfants apr\u00e8s eux<\/em>: un Goncourt social<\/a><\/strong><\/p>\n\n\n\n<p>L\u2019apoth\u00e9ose aurait pu se trouver dans le moment le plus tragique de la narration: celui de la mort. Mais cette derni\u00e8re se passe en hors-champ, Thomas Vinterberg ne nous laissant m\u00eame pas le temps de nous familiariser avec l\u2019enjeu majeur de la d\u00e9pression, l\u2019enjeu m\u00eame du film: la lucidit\u00e9 sur notre propre finitude, celle qui nous pousse \u00e0 d\u00e9boucher des bouteilles pour oublier l\u2019\u00e9coulement in\u00e9luctable du temps. Couvrez cette mort que je ne saurais voir; cela fait venir des pens\u00e9es coupables.&nbsp;<\/p>\n\n\n\n\n\n<h3 class=\"wp-block-heading\"><strong><em>Feel good movie<\/em> avant tout<\/strong><\/h3>\n\n\n\n<p>Le film ne parle donc aucunement de la vie, et ne brosse aucun tableau du r\u00e9el. La vie est interd\u00e9pendante de la mort et la soustraire revient donc \u00e0 \u00e9liminer la vie. \u00abLe r\u00e9el me donne de l\u2019asthme\u00bb \u00e9crivait Cioran, et pourtant la conclusion du long-m\u00e9trage est une invitation au \u00abl\u00e2cher-prise\u00bb, \u00e0 la danse, \u00e0 la joie. C\u00e9der \u00e0 quelque chose qui n\u2019existe pas: le vide existentiel. Et c\u2019est l\u00e0 o\u00f9 se vautre <em>Drunk<\/em>: il se pare d\u2019airs philosophiques \u2013 notamment en citant un autre danois, Kierkegaard, au d\u00e9but et \u00e0 la fin \u2013 mais le fond rel\u00e8ve plus du sympt\u00f4me nihiliste.<\/p>\n\n\n\n<p><strong>A lire aussi | <a href=\"https:\/\/leregardlibre.com\/cinema\/the-peanut-butter-falcon-ne-compte-pas-pour-des-cacahuetes\/\"><em>The Peanut Butter Falcon<\/em> ne compte pas pour des cacahu\u00e8tes<\/a><\/strong><\/p>\n\n\n\n<p>Le succ\u00e8s s\u2019appuie sur d\u2019autres codes: celui du <em>feel good movie<\/em>. Les protagonistes, en atteignant les limites de la soci\u00e9t\u00e9 contemporaine et de leur classe sociale \u2013 le fameux triptyque boulot, maison, mariage \u2013 parviennent \u00e0 d\u00e9passer leur condition par un \u00e9l\u00e9ment compl\u00e8tement artificiel, une solution toute faite \u00e0 la port\u00e9e de n\u2019importe quel quidam. Le film grise. D\u2019une part parce que la situation des quatre amis peut entrer en r\u00e9sonance avec la n\u00f4tre. La d\u00e9pression \u00e9tant la maladie du si\u00e8cle, la balayer d\u2019un revers de manche, \u00e0 l\u2019image du traitement de la question sur la mort, r\u00e9conforte par son aspect utopique, voire autistique. D\u2019autre part, parce qu\u2019il \u00e9carte la possibilit\u00e9 de devoir se changer soi-m\u00eame, et donc d\u2019entamer un processus laborieux et co\u00fbteux. Bousculer un <em>status quo<\/em> est effectivement moins s\u00e9duisant que d\u2019oublier sa propre souffrance en dansant.<\/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 DU REGARD LIBRE<\/h4> <span>Recevez nos articles chaque dimanche.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Votre inscription \u00e0 notre infolettre hebdomadaire a \u00e9t\u00e9 enregistr\u00e9e avec succ\u00e8s !<\/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=\"Email\"> <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"S\u2019inscrire\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>En fin de compte, <em>Drunk<\/em> s\u2019aligne parfaitement avec son sujet: il fabrique de l\u2019oubli. Se vider la t\u00eate par une cuite ou \u00abl\u00e2cher-prise\u00bb devant un <em>feel good movie<\/em>, \u00e0 vous de choisir.&nbsp;<\/p>\n\n\n\n<p><em>Ecrire \u00e0 l\u2019auteure:&nbsp;<a href=\"mailto:alice.bruxelle@leregardlibre.com\">alice.bruxelle@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1707\" height=\"2560\" src=\"http:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled.jpg\" alt=\"\" class=\"wp-image-40272\" srcset=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled.jpg 1707w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-200x300.jpg 200w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-683x1024.jpg 683w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-100x150.jpg 100w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-768x1152.jpg 768w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-1170x1755.jpg 1170w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-585x877.jpg 585w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-300x450.jpg 300w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2021\/04\/Affiche_Drunk-scaled-600x900.jpg 600w\" sizes=\"(max-width: 1707px) 100vw, 1707px\" \/><\/figure><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Les mercredis du cin\u00e9ma \u2013 Alice Bruxelle \u00abHymne \u00e0 l\u2019amiti\u00e9 et \u00e0 la vie\u00bb pour certains, Drunk (2020) collectionne les&#8230;<\/p>","protected":false},"author":332,"featured_media":40275,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[4090036,644356603,644356599,644340898,644356602,940893,644356604,644356600,644356606,644356605,56926,644356601],"class_list":["post-40265","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-cesars","tag-dogme95","tag-drunk","tag-feel-good-movie","tag-festen","tag-festival-de-cannes","tag-finn-skarderud","tag-golden-globes","tag-la-chasse","tag-mads-mikkelsen","tag-oscars","tag-thomas-vinterberg"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Le choix du verre \u00e0 moiti\u00e9 vide dans \u00abDrunk\u00bb<\/title>\n<meta name=\"robots\" content=\"index, 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