- À PERDRE LA RAISON: " TRAILER" (VOSTEN) - " TRAILER" (VF) -
Un Certain Regard " À PERDRE LA RAISON " (OUR CHILDREN) Directed by: Joachim LAFOSSE Country: BELGIUM, LUXEMBOURG, FRANCE, SWITZERLAND Year: 2012 Duration: 114.00 minutes Credits: Joachim LAFOSSE - Director Joachim LAFOSSE - Screenplay Thomas BIDEGAIN - Screenplay Matthieu REYNAERT - Screenplay Jean-François HENSGENS - Cinematography Anna FALGUERES - Set Designer Sophie VERCRUYSSE - Film Editor Henri MAIKOFF - Sound Ingrid SIMON - Sound Thomas GAUDER - Sound Actors: Niels ARESTRUP - Docteur Pinget Emilie DEQUENNE - Murielle Tahar RAHIM - Mounir Synopsis: Murielle and Mounir love each other passionately. Ever since he was a boy, the young man has been living with Doctor Pinget who provides him with a comfortable life. When Mounir and Murielle decide to marry and have children, the couple’s dependence on the doctor becomes excessive. Murielle finds herself caught up in an unhealthy emotional climate that insidiously leads the family towards a tragic outcome. *** Un généreux médecin ramène en Belgique un jeune garçon marocain qu’il élève comme s’il était son fils. Quand le garçon, devenu adulte, tombe amoureux et fonde une famille, sa jeune épouse se retrouve enfermée dans un climat affectif irrespirable qui mènera insidieusement à une issue tragique. Au fil de la naissance des enfants, la dépendance du couple envers le médecin devient excessive. L'altruisme sans limite du docteur se mue en pouvoir. © Les films du losange. © Versus productions - Kris Dewitte. INTERVIEW WITH JOACHIM LAFOSSE / Where is this story from? You didn't make it up! I was freely inspired by an incident that occurred in Belgium in 2007. I was in my car when I heard a dramatic report on the radio about a woman who had killed her five children. I immediately felt that this harked back to Greek tragedy and that the incident offered me the possibility to go deeper into what I spoke about in my previous films: excessive love and its consequences, debt, perverse bonds, dysfunctional families, the question of limits… Some choices imposed themselves from the outset: neither illustrate nor document the incident, but take possession of it with my subjectivity, my point of view as an artist. Integrate the idea that in every family story, one person's truth is not the next person's. My task is not to seek out the judicial reality and respect it or to relate it with the objectiveness of a reporter. These tasks have already been carried out and they illustrate their own truths, among others. My task as a filmmaker is different. The goal is to offer an interior and interrogative view of what remains a human tragedy whatever the responsibilities. My role is to allow audiences to share the life of the characters that I have filmed and to allow them to perceive the drama from a fresh angle.I wanted to show that such an act, described as "monstrous", is no accident. People often call the crime of infanticide "unthinkable": my goal is to incite the audience to consider something that is too often described as inexplicable, to offer a different view, via fiction, and to arouse questions about the perception of reality, as much through my own gaze as through that of the audiences who view the film. / How did you choose the music? For the first time, I really wanted to use music in a film. It's an art that speaks directly to the audience's subconscious. The musical language is extremely useful in revealing the perversion that worms its way in and lurks behind the images and deeds. Filming a perverse bond means filming what hides. Music can help to show it without being explicit. I use music each time a transgression occurs. Scarlatti underlines this bond. Baroque music is perfect because it carries us beyond psychology. / And the title? I don't think any other title would work! Murielle cannot carry out her act without toppling over the edge.