À qui profite le crime : paranoïa et folie dans « Nesma » d’Homeïda Behi

Abstract

This article examines the concepts of madness, persecutory delusion, and paranoia in the psychological thriller Nesma (2003) by Franco-Tunisian director Homeïda Behi. Set in the northern suburbs of Tunis shortly after the Arab spring (also referred to as Jasmine Revolution of January 14, 2011), Nesma refers to the years of Zine el-Abidine Ben Ali’s dictatorship. Drawing on the analyses of Michel Foucault and philosopher-psychoanalyst Sophie de Mijolla-Mellor, as well as on the film’s music and historical studies of Zine el-Abidine Ben Ali’s regime, this article provides a close reading and a visual and musical analysis of the film through the lenses of madness, persecutory delusion, and paranoia. The film reveals that madness does not solely pertain to an individual but also characterizes relationships with others; paranoia appears to be institutionalized and exists within a system of relationships. The film contains a social and moral critique; both a psychoanalytic drama and a film noir, this partially autobiographical thriller (inspired by Behi’s own experiences) bears witness to the collective paranoia of a society in transition and denounces certain abuses, particularly the omerta that impedes the characters’ free speech, forcing them to communicate through insinuations and conceal their own corruption along with that of the authorities. Behi’s film offers a barely veiled critique of contemporary Tunisian society. The choice of using a film noir to portray the themes of madness and paranoia allows the director to bring forth a world deeply rooted in his memories and emotions.