{"id":28479,"date":"2026-01-07T11:31:49","date_gmt":"2026-01-07T10:31:49","guid":{"rendered":"https:\/\/www.arte.tv\/sites\/olivierpere\/?p=28479"},"modified":"2026-01-11T11:34:02","modified_gmt":"2026-01-11T10:34:02","slug":"le-sud-de-victor-erice","status":"publish","type":"post","link":"https:\/\/www.arte.tv\/sites\/olivierpere\/2026\/01\/07\/le-sud-de-victor-erice\/","title":{"rendered":"Le Sud de Victor Erice"},"content":{"rendered":"<p><strong>Deuxi\u00e8me film de Victor Erice, un des cin\u00e9astes les moins prolifiques de l\u2019histoire du cin\u00e9ma (quatre longs m\u00e9trages en 53 ans), <em>Le Sud<\/em> (<em>El sur<\/em>, 1983) est peut-\u00eatre son meilleur. C\u2019est aussi, paradoxalement, un r\u00e9cit incomplet. Un troisi\u00e8me acte, pr\u00e9vu dans le sc\u00e9nario, ne put \u00eatre film\u00e9, en raison d\u2019importantes coupures budg\u00e9taires impos\u00e9es par la t\u00e9l\u00e9vision. Erice est un r\u00e9alisateur lent, holistique, mais aussi r\u00e9guli\u00e8rement en butte \u00e0 des probl\u00e8mes ou des conflits avec ses commanditaires, ce qui semble expliquer, en partie, sa faible productivit\u00e9. Il n\u2019est pas impossible que cette forme inachev\u00e9e contribue \u00e0 la beaut\u00e9 du film, qui travaille les motifs de l\u2019absence, de l\u2019hors-champ, de la projection dans l\u2019imaginaire. <em>Le Sud <\/em>poursuit un chemin d\u00e9j\u00e0 emprunt\u00e9 dans le premier et magnifique film d\u2019Erice, <em>L\u2019Esprit de la ruche<\/em>, qui s\u2019int\u00e9ressait \u00e0 la vie int\u00e9rieure d\u2019une petite fille dans un petit village castillan au temps du franquisme. Le r\u00e9cit du film suivant se d\u00e9roule dix ans plus tard et se concentre sur deux \u00e2ges (enfance, adolescence) d\u2019une jeune femme voyant son p\u00e8re comme une figure myst\u00e9rieuse, intermittente, dont les fugues inqui\u00e8tent et trahissent un malaise indicible. Le cin\u00e9aste montre \u00e0 quel point les secrets peuvent s\u2019immiscer au sein des relations familiales, et les corrompre. Il s\u2019agit aussi d\u2019une remise en question du mythe du p\u00e8re ador\u00e9 et tout-puissant dans la famille traditionnelle espagnole. Le cadre de l\u2019intime se superpose \u00e0 celui, plus vaste, de l\u2019histoire de l\u2019Espagne \u2013 les fant\u00f4mes de la Guerre civile, \u00e0 laquelle le p\u00e8re a particip\u00e9 \u2013 mais aussi de la g\u00e9ographie du pays \u2013 la c\u00e9sure entre le nord et le sud, territoire inatteignable o\u00f9 pourrait se trouver la cl\u00e9 de l\u2019\u00e9nigme paternelle. Ainsi, le film d\u2019Erice \u00e0 l\u2019instar du roman \u00e9ponyme de sa compagne d\u2019alors, Adelaida Garc\u00eda Morales dont il est l\u2019adaptation, d\u00e9passe le strict cadre psychologique et m\u00e9moriel de l\u2019autobiographie pour proposer une forme sous-jacente d\u2019\u00e9tude du contexte espagnol, \u00e0 la fois historique (les silences et les secrets de la dictature) et r\u00e9gional (les particularit\u00e9s climatiques, culturelles, politico-\u00e9conomiques des points cardinaux du pays). Cet aspect du film est soulign\u00e9 par le pr\u00e9nom de l\u2019h\u00e9ro\u00efne (Estrella, \u00ab \u00e9toile \u00bb) et le plan symbolique de la girouette qui orne le toit de la demeure familiale. A cela s\u2019ajoute deux dimensions omnipr\u00e9sentes dans <em>Le Sud<\/em>, comme dans l\u2019\u0153uvre d\u2019Erice en g\u00e9n\u00e9ral : le fantastique et l\u2019influence du spectacle cin\u00e9matographique, qui instaure la dialectique entre visible et invisible, r\u00e9alit\u00e9 et imaginaire. Estrella pr\u00eate \u00e0 son p\u00e8re des talents de sourcier, fascin\u00e9e les pouvoirs de son pendule, et l\u2019associe \u00e0 la figure du magicien. Elle \u00e9tablit aussi un rapprochement entre le nom de l\u2019hypoth\u00e9tique ma\u00eetresse de son p\u00e8re et celui d\u2019une actrice jouant dans un m\u00e9lo projet\u00e9 dans la salle du village. Plus tard dans le film, l\u2019affiche de <em>L\u2019Ombre d\u2019un doute<\/em> d\u2019Hitchcock au fronton du cin\u00e9ma formule un parall\u00e9lisme avec l\u2019enqu\u00eate que m\u00e8ne Estrella sur les zones de flou et les b\u00e9ances de la personnalit\u00e9 de son p\u00e8re.<\/strong><\/p>\n<p><strong>La restauration du film rend hommage \u00e0 la superbe photographie de <\/strong><strong>Jos\u00e9 Luis Alcaine. Par son esth\u00e9tisme et sa profondeur visuelle et th\u00e9matique, <em>Le Sud<\/em> se rapproche davantage du cin\u00e9ma de Bergman et de Tarkovski que des films de Bu\u00f1uel et Saura, malgr\u00e9 son ancrage ib\u00e9rique.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Ressortie en salles mercredi 7 janvier en version restaur\u00e9e 4K, distribu\u00e9 par Les Acacias.<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>Le film de Victor Erice est \u00e9galement disponible en Blu-ray, \u00e9dit\u00e9 par Le Chat qui fume.<\/strong><\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-28480\" src=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/612492755_1305100904993038_1429456701244141714_n.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/612492755_1305100904993038_1429456701244141714_n.jpg 1080w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/612492755_1305100904993038_1429456701244141714_n-280x280.jpg 280w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/612492755_1305100904993038_1429456701244141714_n-768x768.jpg 768w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/612492755_1305100904993038_1429456701244141714_n-150x150.jpg 150w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/612492755_1305100904993038_1429456701244141714_n-580x580.jpg 580w\" sizes=\"(max-width: 1080px) 100vw, 1080px\" \/><img decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-28481\" src=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/514285385_1216047670565029_8929104419215949491_n.jpg\" alt=\"\" width=\"1000\" height=\"1000\" srcset=\"https:\/\/www.arte.tv\/sites\/olivierpere\/files\/514285385_1216047670565029_8929104419215949491_n.jpg 1000w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/514285385_1216047670565029_8929104419215949491_n-280x280.jpg 280w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/514285385_1216047670565029_8929104419215949491_n-768x768.jpg 768w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/514285385_1216047670565029_8929104419215949491_n-150x150.jpg 150w, https:\/\/www.arte.tv\/sites\/olivierpere\/files\/514285385_1216047670565029_8929104419215949491_n-580x580.jpg 580w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Deuxi\u00e8me film de Victor Erice, un des cin\u00e9astes les moins prolifiques de l\u2019histoire du cin\u00e9ma (quatre longs m\u00e9trages en 53\u2026<\/p>\n","protected":false},"author":116,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[9],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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