The movie calls to ponder on some of the steps of the therapeutic processes. The coup de theater, typical of thriller movies, represents not only a sudden reversal of the code that organizes the story, but can also be interpreted as the collision of several stories that went parallel and at different levels of evidence until that moment. In this case, we are presented with Zev’s and Max’s stories, which till the end go in parallel. However, they suddenly collide, and a new element emerges that keeps them together: the collision of two individualities and no longer revenge shared against an external object. The central theme of the movie is trauma, and to get to its roots, it is necessary to make a journey characterized by several levels. The first one is represented by the recovery of the memories. The film reiterates that the traumatic block is organized around the implicit, mainly procedural and priming memories. Sound is the sensory element that drives memory retrieval: that of Wagner’s piano and music as well as the voice tone. Finally, there are illusive false identities and false recognitions that introduce the function of enactment: as in therapeutic processes with particularly borderline patients, the therapist's mistakes introduce the true and deep recognition by the patient whose identity until then survived protected by the trauma dissociation.
Keywords: Trauma; Dissociation; Enactments; Implicit Memories; Traumatic Memories; Cinema and Psychoanalysis.