Abstract Writer/director Catherine Breillat’s most recent film, Abus de faiblesse (2013), explores an important moment of bodily transition: the change from able to disabled body. This semi-autobiographic film follows the story of film director Maud (Breillat’s alter ego), who forms a destructive relationship with a conman, Vilko, after she suffers a disabling stroke. This film shows consistency with Breillat’s previous work in its exploration of the constructed nature of the female body onscreen. In the past the filmmaker has portrayed moments of trauma and transition (such as childbirth, loss of virginity or rape) to subvert processes of objectification. The article argues that Abus de faiblesse challenges and subverts representation of the post-menopausal and disabled body onscreen. The film interrogates binary oppositions such as able/disabled and independence/dependency to challenge representations of the disabled body as ‘other’. With reference to scholarly work on disability and the ageing female body, the article suggests that Maud’s sadomasochistic relationship with Vilko is driven by a quest to retain her subjectivity after her stroke. The article demonstrates that the film dissects the feared and the unknown territory of the ageing female body.

中文翻译：

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《是我但不是我》：凯瑟琳·布雷拉特（Catherine Breillat）的《 Abus desolidarité》（2013年）中对残障者身体的刻画

摘要作家/导演凯瑟琳·布赖拉特（Catherine Breillat）的最新电影《阿不思·德·特雷索（Abus detrésor）》（2013）探索了身体过渡的重要时刻：从有能力的身体向残疾的身体转变。这部半自传式电影讲述了电影导演毛德（Breillat的另一自我）的故事，毛德在患有中风后与康曼（Vilko）形成了破坏性关系。这部电影在探索银幕上女性身体的构造本质时，显示出与布雷拉特先前的作品一致。过去，电影制片人描绘了创伤和过渡的时刻（例如分娩，失去童贞或强奸），以颠覆客观化过程。文章认为，滥用弱点会挑战和颠覆绝经后和残障人士在屏幕上的表现。这部电影审问了二元对立，例如有能力/残障人士和独立性/依赖性，以挑战残疾人身体的“其他”形象。参考有关残疾和衰老女性身体的学术研究，该文章认为，莫德与维尔科的施虐受虐狂关系是由她在中风后保持主观性所致。文章表明，影片剖析了衰老女性身体的恐惧和未知领域。