Abstract
This paper looks in detail at the representation of sexuality in the family in three films of the mid to late 1990s, Balasko's Gazon maudit, Berliner's Ma Vie en rose, and Giusti's Pourquoi pas moi? Its double focus is the changing structure of the French family at the end of the twentieth century, considered against key political developments such as the pacte civil de solidarityé (PaCS) of November 1999, and the cinematic fantasies in which these structural changes are envisioned. Fable, fantasy or anti-realism mark the endings of Gazon maudit and Pourquoi pas moi?, while sequences of childhood fantasy punctuate the entire length of Ma Vie en rose. No particular theoretical approach to fantasy is preferred, but the conclusion of the paper is that cinema may be a privileged cultural vehicle for politically enabling fantasy, and that the three films discussed demonstrate this where the French family is concerned.
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