A family affair, the film of Spinozian joy
A family affair is a film of Spinozian joy, unleashing the power of action of the men of poverty by definition. Because through the description of this family nucleus, we are shown the intimate nature of the man made of miseries, fragilities and a permanent effort to stand and live simply. We are spared no baseness, the object is not to idealize the poor that we no longer call proletarian, but on the contrary to reveal the nakedness and contradictions of the essence of the man who is that desire, like Adam moving here in the working-class neighborhoods of a Japanese city, crunching every day in the apple of life, in the fruit of sin, just to live.
And this family has no legitimacy to exist, having no transcendental blood link. However, it self-determines through its affects, imagining its own reasons to exist. It is the primitive nucleus of society that is thus shown to us. The mutual assistance of the family members increases the power of acting of each one, at the origin of an individual and common joy, creating the community of friends, foundation of polis. Like Spinoza, the primary role of society is to ensure the security of each member, allowing them to flourish and express their power to act. The society of the affects determines its own morality, its ethics. From this family base, a real plan of immanence, the imagination invents other affects that only aim to increase the power of action of each member of the family. Thus arises love or the feeling of paternity. As a true naturalist, the director does not spare us sad affects, lies, theft, murder, etc. that are part of our society of affects. These sad passions weaken and challenge the legitimacy of this imaginary construction. The society of affects is not an ideal society, it is just society as it is. The affects of joy and sadness permanently irradiate us, they are the fuel of the production of the real. And, by real and perfection, I hear the same thing.
There is no dialectic in Spinoza, the production of reality is not the result of a confrontation between active affects and sad passions, the latter not having a negative intensity but a lower intensity.
The end of our family affair reveals to us that the society of the affects not having a transcendental legitimacy engraved in the tablets of the law, is a construct much more fragile, like any democratic corpus. The revelation of the imaginary (and thus fictional) construction of our family affair will enable us to confront the ethics of our family with the transcendent morality of Japanese society. The legitimacy of our case will be challenged by moral representatives such as justice, the police and … the media. We understand quickly through the alleged abandonment of the body of the grandmother, that the Japanese morality has no more legitimacy than the ethics of our family. But there is not necessarily anything to revolt. It is indeed natural that the ethics of the greatest number, that is to say of the whole of Japanese society, is imposed, asserts itself in relation to the laws that our family nucleus had defined because of the difference of potentia. So our heroine can leave the parlor and return to her prison cell, a smile of joy on her lips, because she is well aware that despite her sterility, she participated in the production of the world.
And that is the universality of this film.
6 infos on the film inspired by “the Flactif Affair”
1. Adapted from real facts
Éric Guirado’s feature film , Possessions , is inspired by the “Affaire Flactif” , a variety that made headlines in 2003. Originally from Haute-Savoie, not far from the scene of the drama, the director was intrigued by David Hotyat and his statements about his neighbors disappeared in front of the television cameras.
4. The character of Marilyne by the director
” She is the pivot of the film, this woman who was probably beautiful and who chose the bad knight, who bites his fingers. It’s Lady Macbeth, who pushes her husband to murder, “says Eric Guirado on the character played by Julie Depardieu .
In the manner of Christian Bale , Jérémie Renier does not hesitate to change physically for a role. For this feature film, the actor has taken eighteen pounds.
5. Drama of our society
“Possessions is an allegory of the world we live in, ” says the director. It was important for him to show the social divide between the very poor and the very rich, but especially without taking a party. It was also imperative to show the excesses of the consumer society. ” Advertisers manipulate the desire of the man, the motto is” I have so I am “. […] I am struck by the shameless use of certain words to make people fantasize: “unlimited” for example, because the problem of the man is the limit, the death that one wants to retreat ” he continues.
In the spring of 2010, the filming of Possessions was held in Albertville, Briançon, Chantemerle, Méribel, Saint-Chaffrey and the Lyon Saint-Exupéry airport.
In Possessions , Alexandra Lamy and Lucien Jean-Baptiste play the Castang, the wealthy owners. While Jeremie Renier and Julie Depardieu, currently in Alexandra Ehle , interpret the Caron, just from the north of France in the hope of a better life.
Affaire Le Flim