Charlotte Gainsbourg is in the cast of this second season. © Art
Broadcast on April 7 at 8:55 p.m. on Arte
They thought they would do a single season, however, today it is a second part offered by directors Éric Toledano and Olivier Nakache. It must be said that this adaptation of the Israeli series BeTipul was a real hit in 2021. It achieved the second highest Arte audience score for this type of program and became the most watched series in the history of the broadcast channel. Then another factor explains this return: the Covid. After having represented the collective trauma of the November 13 attacks, it is the shock of the pandemic that has given rise to these 35 new episodes (20 minutes each on average). The psychiatrist Philippe Dayan (played by Frédéric Pierrot) thus receives four new patients (Inès, Robin, Lydia and Alain) at the end of the first confinement, in 2020. At the same time, he must face the end of his lawsuit, filed by the family of one of his former clients, who died in Syria. A test he goes through with the help of a new supervisor, Claire (Charlotte Gainsbourg). The opportunity to show through these characters the multiple consequences of the health crisis in each of us, sometimes with the awakening of very deep wounds.
The Covid, “a particle accelerator”
For those who would be interested in this season without having seen the first one, no problem. As Arte says, this is more than a “new proposal” than a real sequel. One of the only elements inherited from the previous part, the trial, is easily understood without prior context. The goal here is really to focus on these new patients who come to Dayan’s office after what happened during the lockdown. “We had read many articles about the fact that there was a kind of psychological decompensation in many people, whether they were sick or not, due to the confinement in particular. We found it interesting to shed light on these neuroses in each of the patients”, entrusts us the writing director of the script for this season 2, Clémence Madeleine-Perdrillat.
Warning: it is not a question here of saying that the confinement was traumatic as such, but that it allowed an awareness. “Not everything was negative in this period and we especially did not want to do this portrait.“For each of the characters, the coronavirus is rather”a starting point and a particle accelerator. The objective is to have a range of possible reactions and, above all, to see how the Covid catalyzes, awakening a certain number of anxieties.”. The first patient, Inès, for example, is forced to rethink her complicated relationship with her family after being alone during the spring of 2020. For the young Robin, his fear of Covid reflects his latent anxiety linked to the resumption of the bullying she suffers. he suffers when returning to face to face. Lydia discovers that she has breast cancer thanks to her hospitalization and her past prevents her from facing the disease. Finally, for Alain, a suicide points to mistreatment at (tele)work in his society, which arouses strong emotions in him. Philippe is also affected by the health crisis when his father catches Covid in a nursing home. “What is great about the series in its writing is that we all have an echo with these four patients. The idea is to have a resonance in each of the characters with the viewer, although some are more in one than in others.”
This second season also “more on the deconstruction of our characters”, explains Eric Toledano. According to Clémence Madeleine-Perdrillat, “It is linked to the fact that people have acquired with the first season a whole series of analytical reflexes. As a result, we can go even further in exploring the psyche. We advance more rapidly towards the analysis of neuroses and psychic systems”. This contributes here to making the characters particularly moving. We are even more moved that the lockdowns are still fresh in our memories. The series thus represents a true decompression chamber for the viewer. We too, as we entered”in therapy”. “Me, what I hope is that we will comfort people by showing them that they are not alone. This series has a bit of a cathartic calling to say that, even for those who haven’t been sick or lost someone. The other really important dimension is that of death and mourning, speaking of the possibility of reviving. It is a time deeply turned towards light and hope. I really hope she triggers that in the audience.”