Psychoanalysis and Film: Unraveling the Complex Human Mind on the Silver Screen

Since the birth of cinema, filmmakers have continuously sought ways to delve into the depths of the human psyche, exploring the intricacies of emotions, desires, and unconscious motivations. Amidst this endeavor, the fascinating intersection between psychoanalysis and film has emerged. Sigmund Freud's groundbreaking theories on the human mind and the unconscious have significantly influenced the language of cinema, creating a powerful artistic tool to portray, interpret, and explore the complexities of human behavior. Some film directors like Nolan or Wes Anderson are good at creating stories that fluctuate between reality and dreams while exploring these complexities.

Psychoanalysis, as conceptualized by Freud, revolves around the idea that human behavior is profoundly influenced by unconscious desires, fears, and conflicts. These elements, hidden from conscious awareness, play a significant role in shaping who we are and how we navigate the world. Film, with its ability to depict visual narratives, soundscapes, and symbolism, serves as an ideal medium to externalize these internal psychological struggles.

One of the fundamental aspects of psychoanalysis integrated into film lies in the use of symbolism and metaphor. Through visual and auditory cues, filmmakers can evoke deep emotions and buried memories from the audience, tapping into the collective unconscious shared by all human beings. Carl Jung, a key figure in the psychoanalytic field, expanded on the concept of the collective unconscious, proposing that certain symbols and archetypes are universally understood and resonate with individuals across cultures and time. Filmmakers often harness this power, employing symbols and archetypes to convey meaning beyond the surface of the story.

Dream sequences in films also mirror the dream analysis technique used in psychoanalysis. Dreams, according to Freud, are the "royal road to the unconscious," providing insights into a person's hidden desires and fears. Directors skillfully incorporate dream-like sequences to explore their characters' internal struggles and bring to light the deeper aspects of their personalities.

Moreover, psychoanalysis has had a significant impact on character development in film. By applying Freud's theories on defense mechanisms, such as repression and denial, filmmakers create multifaceted characters who grapple with internal conflicts and emotional turmoil. The audience becomes immersed in the characters' psyches, understanding their struggles, and perhaps even recognizing elements of themselves in the process.

Alfred Hitchcock, often referred to as the "Master of Suspense," brilliantly integrated psychoanalytic concepts into his films. In the classic "Vertigo" (1958), Hitchcock explores themes of obsession, loss, and identity. The protagonist, Scottie, wrestles with repressed desires and unresolved trauma, ultimately leading to a psychological unraveling. Through visual storytelling and carefully crafted suspense, the film reflects Freud's theories on the unconscious and the complexities of the human mind.

Psychoanalysis in film extends beyond individual characters and can be applied to the narrative structure itself. Non-linear storytelling, fragmented narratives, and unreliable narrators are techniques frequently employed to mirror the dissonance found in the human psyche. Such techniques challenge the audience to actively engage with the film, unraveling the layers of meaning embedded within the story.

While psychoanalysis has played a significant role in shaping film, it is essential to acknowledge that films are not meant to be therapeutic interventions. Instead, they serve as mirrors that reflect and amplify our shared human experiences. The emotional resonance and psychological depth offered by the marriage of psychoanalysis and film create a unique and impactful cinematic experience.

In conclusion, the relationship between psychoanalysis and film has given birth to a rich tapestry of artistic expression. As filmmakers continue to draw upon the insights of psychoanalytic theories, they offer audiences a window into the human psyche, enabling us to explore the depths of our emotions, fears, and desires. This convergence of art and science opens new avenues for introspection and empathy, reminding us of the profound power of storytelling and its ability to uncover the enigmatic nature of the human mind on the silver screen. 

film & architecture

The other day I saw "El Hombre de al lado" (English: The Man Next Door) a very good Argentinian film if you ask me. The entire movie takes place in this location (seen on the photos) "Casa Curutchet" is the only house Le Corbusier* built in South America. It's located in La Plata, capital city of the province of Buenos Aires. Do you like it?




 *Le Corbusier (October 6, 1887 – August 27, 1965), was an architect, designer, urbanist, and writer, famous for being one of the pioneers of what is now called modern architecture. He was born in Switzerland and became a French citizen in 1930. His career spanned five decades, with his buildings constructed throughout Europe, India and America. He was a pioneer in studies of modern high design and was dedicated to providing better living conditions for the residents of crowded cities.

alchemy

At some level, it's all about love and passion, nothing more or less.

Un- complicate

- F: Pleasure is never simple, as you very well know.
- J: It is, until we decide to complicate it.

Freud to Jung on the film A Dangerous Method.

The Tao

We recently found a copy of the Tao Te Ching by Lao Tsu. Have you read it? if you haven't, we recommend it. The book was a gift from Michelle's father. In the dedication, he noted that, as a boy, he had the chance to be in a lecture by a famous physicist at the university. He was 16 then. Her father asked the physicist what book would he recommend if he could only choose one. To which the physicist replied: the Tao.

It is, in our opinion a difficult book to understand, at first. Perhaps, a good idea is to read it a couple of times. We value the teachings of the Tao because of how different they are to Western values. We were taught, for example, that when we feel that change is necessary, it can be achieved through effort and perseverance. Contrary to this thought and more aligned with the theory of Acceptance, the Tao, says that we should accept what is in front of us without wanting the situation to be other than it is.

We should study the natural order of things and work with it rather than against it, for to try and change what is, only sets up resistance. It teaches us that nature provides everything without requiring payment or thanks. The idea behind the Tao is to let yourself flow as freely as possible.

Whatever you're trying to accomplish, it will happen more naturally if you stop looking for results and value the "trip", walk that path.

If your mind is calm you will come to "understand" which means "to stand under". Te - which may be translated as "virtue" or "strength" lies always in Tao, or "natural law" in other words: Simply be.

To Westerners who may disagree, or are not willing to accept a different perspective, this may just be a "Chineese tale*"!

But, a good one to think about.



*Chineese tale is the translation for "Cuento Chino" an Argentinian Film with Buenos Aires- born actor, Ricardo Darín

madness

When you fall in love, it is a temporary madness. It erupts like an earthquake, and then it subsides. And when it subsides, you have to make a decision. You have to work out whether your roots have become so entwined together that it is inconceivable that you should ever part. Because this is what love is. Love is not breathlessness, it is not excitement, it is not the desire to mate every second of the day. It is not lying awake at night imagining that he is kissing every part of your body. No... don't blush. I am telling you some truths. For that is just being in love; which any of us can convince ourselves we are. Love itself is what is left over, when being in love has burned away... (Iannis to Pelagia)


From Captain Corelli's Mandolin film; directed by John Madden and based on the novel of the same name by Louis de Bernières

Film @ Malba

Malba Museum, Buenos Aires.


A film is an art form based on the present. It’s also an experience that we are unable to process 100%. A good film has the virtue of making us think. It contains stories, poetry and images that we can often relate to. This is what the critics that organize the Simultaneous Film Festival 4 + 1 say.

The idea of this festival is original. The project consists of presenting the same films simultaneously, in different countries: Argentina, Brazil, Colombia, Mexico and Spain. The idea is to approach the audience with these amateur films that have been awarded but have not had enough diffusion.

For the curious minds interested in good films- regardless of their popularity - head to Malba from October 26th to 30th.

about a horse

I'm sure many of you have seen Secretariat? it's a film about an incredible, American race horse who won the Triple Crown and his owner, Penny Chenery Tweedy.

Aside from the fact that the film is entertaining, and that I absolutely adore that horse, there are other things that it made me think about:

Dynamics, chemistry, connection, synergy are some words that come to my mind. Sure, the horse had the genes, but it was the combination of that and the love of Penny that made him be the most he could be and her as well. It's so magical when that profound connection takes place between people (ok, in the film it's a horse) but you know what I mean. In Spanish there is a word - "cómplice" it's about the other person being with you, it's about collaboration. The English translation is "accomplice".

Preparation. Some people wonder why some things do not turn out the way they want. Well, a few questions that may help in understanding why are: are we prepared? have we done all that we can to learn as much as we can on a certain matter? have we practiced as much as possible and surrounded ourselves with people who know about our specific field/s of interest, in order to learn from them?

Believe in yourself and trust your instincts. Seems obvious, BUT do we always trust ourselves? Throughout the film we see Penny (the owner of the horse) face difficult situations with no support from family or friends cause they do not believe that she can do what she wants to do. Do what you want to do. You can listen to others, but do what makes you feel good. Often, it is those close to us that tell us that what we want is not possible to achieve. Be true to yourself and to your passions. There is a quote from Penny which I loved: "This is not about going back. This is about life being ahead of you and you run at it! Because you never know how far you can run unless you run".

Someone once said to me "if you do really well, people will not like you. If you do really, really well, people will be inspired by you". Secretariat is a story of love and extraordinary courage. That's inspiring. The horse and the owner both did really, really well. Against all odds.

A good team is crucial. Penny managed to put together a team of great people - the horse trainer, her father's secretary, jockey, stable hand, to name a few of the people that worked with her. They not only loved the horse, believed in him and her, but also worked relentlessly towards the same goal, giving Secretariat all the stamina to win the triple crown.

I hope you saw the film so that you can share with us the things that you loved or did not like about it.

xx

El Secreto de Sus Ojos - Film

El Secreto de sus Ojos (The secret of your Eyes) from Argentina, goes to the Oscars!! nominated as best foreign film!

I am so excited that this film did so well. Honestly, when I saw it I was quite surprised. The film is brilliant! it evokes all sorts of emotions from start to end, you feel sadness, love, fear, excitement, and curiosity. It's brave and mysterious, It's romantic... touching subjects like friendship, alcoholism and obsessions, with care and sensibility. Plays with your expectations. Truly a work of art.

Once again, Campanella's has done an amazing job! this is his second nomination for the Oscars. In 2001 he competed for the prize with “El hijo de la novia”

Regarding Argentine cinema this is the seventh film that has been nominated. The first was La Tregua in 1974, and the only winner was La historia oficial in 1985.

Bravo!!