Abstract This article examines Le Père de mes enfants (Mia Hansen-Løve, 2009) as a family melodrama and as an example of the cinema of precarity. The article defines both of these terms and applies them to Le Père de mes enfants, arguing that the film effectively combines pathetic melodrama with the cinema of precarity. More specifically, it is argued that Le Père de mes enfants constitutes situation and impasse as they are defined by scholars of film melodrama and the cinema of precarity. Impasse is given particular substance by Le Père de mes enfants’ central figure, Grégoire; and via Grégoire as a maximised type, it is argued that Le Père de mes enfants vividly combines melodrama, impasse and charisma. Charisma is defined, and it is argued that this term can be linked to established accounts of film melodrama, as well as to the expectations made of precarious subjects. As well as Grégoire, the article considers Le Père de mes enfants’ distinctive form, and its later focus on Sylvia. In all these respects, it is argued that Le Père de mes enfants constitutes a distinctive form of impasse and the cinema of precarity, as well as an emergent form of family melodrama.

中文翻译：

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轻快和疲劳：我的孩子的父亲，因为情节剧，pre不安和僵局

摘要本文考察了勒佩尔·德梅斯的孩子们（米娅·汉森·洛夫，2009年），作为家庭情节剧，也是流浪电影院的一个例子。本文定义了这两个术语，并将它们应用于LePèrede mes婴儿，并认为这部电影有效地将可悲的情节剧和不稳定的电影院结合了起来。更具体地说，有论点认为，电影情节剧和电影电影的学者定义的LePèrede mes婴儿是处境和僵局。LePèrede mes婴幼儿中心人物Grégoire赋予了僵局特别的内容。并通过格雷戈尔（Grégoire）作为一种最大化的类型，有人认为LePèrede mes婴儿生动地融合了情节剧，僵局和感召力。魅力的定义，有人认为该术语可以与电影情节剧的既定叙述联系起来，以及对不稳定主题的期望。除了Grégoire之外，本文还考虑了LePèrede mes婴儿的独特形式，以及后来对Sylvia的关注。从所有这些方面来看，人们都认为，勒佩尔·德梅斯的孩子们是僵局和动荡电影的一种独特形式，也是家庭情节剧的一种新兴形式。