The class meeting focussed on the relation between narrative and affect in film. How do narrative frames contain and reinforce emotional events? Blue is one of three films by Kieslowski on the three colors of the French Revolution that represent its motto liberté, egalité, and fraternité. The film reflects on freedom and its color blue, and what we see thematically is a film on a woman who loses her husband, a famous composer, in a car accident that she survives. The film shows her attempt to isolate herself in grief and how she finds her way back to a word of social relationships and creativity (she composes the symphony for Europe that her husband left incomplete.) Profanation and the recognition of a relative value of conventional morality are crucial aspects. The Sweet hereafter is a film that related two traumas: the trauma of a lawyer whose daughter is a drug addict, and the story of a town that has lost its children in a school bus accident. Through its non-chronological order it unfolds the affective implications of the law's intervention in the process of grief after a tragic loss. Amenabar's Abre los ochos concluded our discussion of the relationship between affect and catastrophe in film. It tells the story of a young man who is disfigured through an accident the day after he has fallen in love. The irreversible consequences of the event - facial disfiguration - make it impossible for him to continue his life. Through a retrospectively revealed contract with a creonization company we learn that the different versions the film gives us of the life after the accident are the result of the fact that he is frozen and brought back to life at a time when medicine has a solution for his face. To allow him to continue his life where he left it, the real is replaced by an imaginary world in which he can continue to live with his contemporaries. But a mistake has been made in the virtual recreation of his world, and he is thrown from very positive affects to very negative ones. This alteration of affect in relation to a past possibility and the recognition of irreversibility as accident was the core pf our discussion.