Within the narrative of the film

Within the narrative of the film, the first thing that catches my attention is the lack of proper names and the suppression of these by mere labels. This represents the self-reference that is present among the couple or the high probability of avoiding some memory that is painful for the two characters.
At a first sight the female character seems to be very passionate and a truly affected by the dead of her son. But at the path of the film her reality towards into a sadistic person. In a personal point of view, the intrinsic loving relationship that must exist in a marriage had been transformed to a constant aggressive sexual relationship were the characters allude to been in love.
Una de estas pulsiones de objeto, la sádica, se destacaba sin duda por el hecho de que su meta no era precisamente amorosa, y aún era evidente que en muchos aspectos se anexaba a las pulsiones yoicas, no podía ocultar su estrecho parentesco con pulsiones de apoderamiento sin propósito libidinoso. (Freud, 1930)
In the whole film, there were a scene that is very interesting to me where they are having sex and suddenly she starts to nibble him and after made the damage conscious she asks if he really love her, in my opinion, looking for the love she does not feel for herself.
En el sadismo, notorio desde hacía tiempo como pulsión parcial de la sexualidad, se estaba frente a una liga de esta índole, particularmente fuerte, entre la aspiración de amor y la pulsión de destrucción. (Freud, 1930)
Also, she remains in a condition of social grief or anguish that is visible where the fault of the bloody masturbation in the last minutes of the film where the anxiety and fault begins a transformation of the anguish for the loss of love or protection that he provides or avoiding the lost.
Lo malo es, en un comienzo, aquello por lo cual uno es amenazado con la pérdida de amor; y es preciso evitarlo por la angustia frente a esa pérdida. … Suele llamarse a este estado «mala conciencia», pero en verdad no merece tal nombre, …sino angustia frente a la pérdida de amor, angustia «social». (Freud, 1930)
On the other hand, the male character is a clear example of a neurosis case applied to the libido theory. Along the film it is visible the constant effort from the husband to try to make a change in his wife. This endless determination of disguised help gives rise to the manifestations of neurosis, such as hallucinations and the presence of others that in this case are the three beggars that truly never arrived in a human shape but in a representation of the phases confronted by the marriage derives from the duel and resolution of the sadist behave.
La teoría de la libido referida a las neurosis … del hombre primitivo el hecho que creyera en la omnipotencia de sus pensamientos y por eso pretendiera influir sobre los eventos del mundo exterior mediante la técnica de la magia. … El yo se siente incómodo, tropieza con límites a su poder. … Y estos huéspedes extraños hasta parecen más poderosos que los sometidos al yo; resisten … la voluntad. … El yo se dice que eso es una enfermedad, una invasión ajena, y redobla su vigilancia; … no puede comprender por qué se siente paralizado de una manera tan rara. (Freud, 1917)
In the same way, the male character is located in a perversion condition, not only because of the deviation of his sexuality according the relation to his wife in trying to overcome the duel, but in a way to demonstrate his real vulnerability to the inability to attend his wife, as a patient, as well as to overcome the loss
Es en este sentido, … el ejecutor en la experiencia sádica, quien opera identificado al instrumento de tortura, de goce … rechaza hacia el Otro, el dolor de existir, transmutándose él mismo en un objeto eterno. La ostentación sádica del perverso en sus pasos al acto disimula, sino oculta, su posición de sumisión absoluta, a las máximas de una voluntad a la que responde como el objeto. (Rostagnotto, 2015)
Finally, many of the scenes that are present in the film, are the result of some dream or trance of the psyche of the characters, where not only the most internal fears of them are present, but it gives way to the conscious to the unconscious where discovers, her husband, the reality of her hysteria.
descubre en el sueño una representación simbólica del cuerpo, sabemos que se trata del rendimiento de determinadas fantasías inconscientes, que obedecen, probablemente, a impulsos sexuales y que no se manifiestan únicamente en él, sino también en las fobias histéricas y en otros síntomas. (Freud, 1900)
These last ascertain gives way to aggressiveness, contradiction, transference and the sexual difference suffered by the relationship of marriage.
If to the figure of these factors we add the problematic relationship, therapist-patient, that her husband is determined to consolidate a guilt disguised as help.

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