Abstract
The objective is to investigate the consequences of the adoption of an essayistic language in films that revolve around the family background of the directors. Our hypothesis is that the essayistic language assumed by works operates a double transformation in home movies as files, documents: on the one hand, structure them narratively, giving new meaning to them; and secondly, it converts the intimate and private nature of these images in part of a public screening of the film. We intend to analyze Otto (2012) and Elena (2012), to finally signal that for Elena side reveals how new meaning to life through death, Otto does the reverse movement, reframes through birth.
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