A camera lens can frame love, but it can just as easily document, track, and intimidate. The film explores how easily digital tools transition from connection to surveillance.
The film’s aesthetic is cold and clinical, yet intimate. The scenes, filmed in Vienna and Paris, often utilize long shots and natural light to create a sense of claustrophobia, emphasizing Hanna's entrapment in her own paranoia and deception.
The narrative of "Ma Folie" is a slow-burn descent from romantic bliss into a harrowing labyrinth of mistrust and psychological manipulation. The story begins in a Parisian café, where a long, intense look sparks an amour fou —a crazy, obsessive love—between Hanna and Yann. Hanna (played by Alice Dwyer) is a young woman who falls for the poetic and artistic Yann (played by Sabin Tambrea).
[Suggestions de recherches associées fournies.] ma folie 2015
As Hanna watches the videos to parse out real threats from imagined ones, the viewer shares her disorientation. The medium forces the audience to question the objective reality of the frame. Genre Deconstruction: The Haneke Influence
"Tu es ma folie, ma thérapie / Je suis accro à tes nuits, à tes envies" (You are my madness, my therapy / I am addicted to your nights, your desires)
After Hanna returns to Vienna, Yann maintains contact through "lettres filmées"—video messages that initially seem romantic but gradually become intrusive and threatening. A camera lens can frame love, but it
: Hanna, played by Alice Dwyer, is a young woman vacationing in France when she meets Yann, portrayed by Sabin Tambrea. They share a passionate, fleeting weekend before Hanna must return to her regular life in Vienna.
: Received two nominations, including Best Editing for Karina Ressler, and won for Best Supporting Actress.
: As Mračnikar’s feature film debut (a former student of Michael Haneke), papers often compare her style to the clinical, psychological intensity of Haneke’s work. Recognition : The film won the First Steps Award 2015 The scenes, filmed in Vienna and Paris, often
However, this idyllic scenario quickly curdles. Yann's intense passion reveals a dark underbelly: his love is inextricably linked to jealousy and profound mistrust. He is so consumed by suspicion that he ends the relationship, but his obsession doesn't end there.
As the thriller elements take hold, director Andrina Mračnikar—a former student of master filmmaker Michael Haneke—expertly plays with audience perception. The film avoids cheap jump scares, relying instead on ambient dread. Viewers are forced into Hanna's perspective, questioning whether the danger is external or a manifestation of trauma and delusion. 3. Toxic Obsession vs. Love
The film begins in France, where Hanna, a Viennese woman on holiday, meets Yann. Their connection is immediate, intense, and intoxicating. When Hanna returns home to Vienna, their long-distance bond is kept alive through lettres filmées —poetic, short video diaries that Yann records on his iPhone and sends to her.