ABSTRACT
Today, the dialogue between film and psychoanalysis appears to be particularly lively and intellectually stimulating, and the relationship between the two disciplines is developing in an increasingly rich and complex exchange. The stories recounted at the cinema make it possible to identify single individuals with broader collective destinies, contained within the cinematographic narrative. This chapter discusses four films in which the passions of love are declined in both a traditional and original way at the same time. In discussing the films, the chapter will alternate considerations on the cinematographic language with others that are more specific to psychoanalytic technique and clinical practice. While playing with reality, the film's protagonist creates a house-environment that represents him in the best possible way, and he proves he can live better than its legitimate owner in the space he occupies. Symbolism and unconscious phantasy can indeed be used to avoid contact with external reality.
