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La Vie d’une autre  marks Sylvie Testud’s entry into the domain of directing. The film is loosely based on a novel of the same title and deals with the trauma of memory loss and the quest to recuperate the original self. It centres on a forty-one-year-old female protagonist, Marie Speranski (played by Juliette Binoche) who awakens one day to discover that she cannot remember anything of the previous fifteen years of her life. Bit by bit, Marie has to piece together her identity, coming to the painful realization that the woman she has grown into has nothing in common with the self that she remembers. The aim of this article is to analyse  La Vie d’une autre  against the backdrop of postfeminist retraditionalism. By employing such a theoretical frame, it quickly becomes clear that the working mother at the centre of  La vie d’une autre  is being subjected to anarrative of correction whereby the meaning and value of work in the heroine’s life is gradually discredited or, at least, rendered secondary to marriage and motherhood.

‘Mais qui va garder les enfants?' Postfeminist retraditionalism in Sylvie Testud’s La Vie d’une autre (2012)