Films of Trauma Unfolding: Confinement
As shown in this chapter, the child figure appears as a source of resilience and hope, which diminishes in darker films such as All the Doors Were Closed (1990), and flourishes in more confident films such as Don’t Let Them Shoot the Kite (1989). The child confined and the child breaking free are images that many coup films conjure up in their attempts to reconstruct the after-effects of the coup period. From The Way (1982) to Children of Wh—s (2008), coup films depict the loss of utopia in images of the detained and tortured, infantilized grown-ups, and children of the incarcerated. Towards the 2000s, films progressively emotionalize the consequences of the coup.