The heart and the sea: on the lifeblood and elemental folds of Réparer les vivants

Abstract

In Katell Quillévéré’s Réparer les vivants (2016), based on Maylis de Kerangal’s best-selling novel, a fatal road accident after a surfing trip leaves Simon Limbres (Gabin Verdet) braindead. His vital organs will be donated, and his heart transplanted into Claire Méjean (Anne Dorval). These grave events shape the film’s narrative arc, with the heart connecting Simon’s death to Claire’s rebirth. Yet this heart transplant film is indebted to a more archaic, elemental connectivity between the heart and the sea, blood and seawater, recognised variously from Galen to René Quinton and beyond. A fusion of the elements of air and water with breath positions the film distinctively in relation to scholarship on the elements and on breathing in film and media studies, inviting its watery bonds to be theorised anew. Engaging with such research before drawing upon Gilles Deleuze’s writings on the fold and film scholarship indebted to his work, this article explores how the film’s narrative is enfolded into tight formal bonds with the elements, air and water in particular. The lifeblood of this film and its affective heart emerge through myriad folds of foaming, curving waves.