Directed by the French avant-garde Agnés Varda, Le Bonheur (1965), translated as “Happiness”, transmits through the formal device of editing the promotion of male fantasy by objectifying women's subjectivity in an ideology patriarchal. In her extraordinarily provocative film, Varda's editing positions both female protagonists, Thérèse (Claire Drouot) and Émilie (Marie-France Boyer), according to the attitude of the male protagonist Fronçois (Jean-Claude Drouot) as interchangeable in their domestic roles , fragmented and impotent sexual objects. Throughout the film, both Thérèse and Émilie are perfect examples of female subjectivity in a patriarchal society as they suppress the understanding of their own feelings and desires and transform themselves for Fronçois, thus avoiding conflict with his “happiness”. For his happiness, François expects Thérèse, his wife, to approve of the relationship since he is completely immersed in his feelings and does not see the effect that his betrayal could have on her. In fact, he doesn't even see it as a betrayal. There is a fundamental inequality in his marriage, as François has misunderstood his own emotions and desires in favor of the shared feelings that should be part of an ideal marriage. At the beginning of the film, Varda distinctly displays classic domestic roles that portray Thérèse as the archetypal wife. and mother, who does her part to make life easy and pleasant for her husband and children. Through a montage montage sequence, Varda devalues ​​and dehumanizes Thérèse as she goes about her daily domestic routine, diminishing any emotion or sense of personhood Thérèse might have or feel. Within the montage, Thérèse is fragmented as her affairs are shown exclusively through medium close-ups of her film, conveying through the montage the idealistic story of one man's fantasies. of happiness by objectifying the women he loves in a patriarchal society, dehumanizing them, making them easily replaceable, and sexual and fragmented objects. For Fronçois, both Thérèse and Émilie are superficial objects, a fact that dehumanizes them, completely stripping them of their subjective identities by taking on their roles in his male fantasy. Despite a rather strange and disturbing ending, with one woman replacing another, the family continues to live happily, as if nothing particularly important had happened. The ending demonstrates patriarchy indeed, where both Thérèse and Émilie are completely defined by Fronçois, and the only method to escape is to end their lives, since they seemingly cannot hope to define their own lives within such a patriarchal society..