Publication of a collaborative work
Adèle Haenel, in collaboration with dramatist Gisèle Vienne, has published Viser juste through Arche editions as part of the « Des écrits pour la parole » collection. The book is described as a literary experiment that blurs traditional categories, incorporating elements of screenplay, reflective texts, animated drawings, and film that transforms into theater.Themes of gender and identity
The work addresses the insurrection of gender categories, reflecting on heteronormality and the training of girls to perform the "model of the eternal feminine," a concept tied to heterosexual norms. It critiques the idea that half of the population resembles objects that can be matched with sofas and curtains.Reflection on personal history
Adèle Haenel reflects on her own childhood, which she states has disappeared, replaced by "what is the most luxurious in terms of woman: a cinema actress." She describes herself as "a being thirsty for sex that, at ten years passed, has long been supposed to be," referencing the image of a "little muse of 11 years" that "the camera likes as it liked Marilyn Monroe a long time ago."Epistemological journey and critique
The epistemological journey in Viser juste moves from the nullification of a child to the possibility of looking, observing, and playing, drawing parallels to the wandering of characters in Andrei Tarkovsky's Stalker. The return to childhood is deemed impossible due to "backflow valves" that make the initiation of a child to cinema by a pedophile director an irreversible process.Critique of pedophilic influences
The text also critiques pedophilic screenplays, describing them as "a little written with a trowel" and emphasizing how easy it is to manipulate a child. The bibliography at the end of Viser juste explicates the influences of various works on specific chapters, bringing pedophilic touches back to their conceptual poverty.Concept of play and performance
Adèle Haenel, in collaboration with Gisèle Vienne, explores the concept of "play" as both a matrix of freedom and a place of hindrance and pedophilic violence. The entire text is expressed in the form of a screenplay, suggesting that everything told will be played, though not yet realized.Influence of Sara Ahmed and spatial dialogue
The work references Sara Ahmed's Phenomenology Queer. Orientations, Objects and Others, emphasizing that action is inscribed as a reaction in an exchange of signs with the global dialogue of space. The text includes scenes where a child is "stuck between the adult man and the edge of the couch," highlighting the immobility of the child and the symbolic meaning of objects and spaces.Reflection on identity and performance
The reflection in Viser juste attempts to account for everything that speaks outside of words in a scene, whether dramatic or banal. The performance of identity is described as total and permanent, affecting the lived space and everything it contains. This experience resonates with gender theories and the idea that every identity is a performance.Call to action and literary ambition
The book invites the reader to consider whether they are still a reader or if they are invited to stage something proposed as a project to be realized. The desire for political agitation is expressed in the most effectively literary way, with the title Viser juste implying a clear direction, though the exact path remains to be determined.
