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Irène Némirovsky writes one of the earliest literary evidence of the Second World War as the novelistic tempo is adjacent to the events of history simultaneously. the recent film version of the bestseller (Saul Dibb, 2015) serves one of the two accounts preserved, Dolce, on the first German occupation of France in 1940. Away from the romantic narrative, film and narrative story organized one descriptive picture –detailed exemple of description style author– discovering the intimate and sensitive wars subsumed in the great decorated international conflict, in which the predictable cruelty, death and unreason stand in continuity with courage, solidarity and moral integrity unlikely. of the two conserved parts, the first (Storm in June) is articulated on fixing Storyboards vision in the slaughter; the second, Dulce, is a novel that delves into the various forms of collaboration.Irène Némirovsky traza uno de los primeros testimonios literarios de la Segunda Guerra Mundial pues el tempo novelesco es contiguo a los acontecimientos de la historia simultánea. La versión cinematográfica reciente del bestseller (Saul Dibb, 2015) atiende a uno de los dos relatos conservados, Dolce, sobre la primera ocupación alemana de Francia en 1940. Alejada de la narración romántica, cinta y relato narrativo convocan un fresco descriptivo –aval del estilo minucioso de la autora– que descubre las guerras íntimas y minúsculas subsumidas en el gran decorado del conflicto internacional, en las que pespuntan la crueldad, la muerte y la sinrazón predecibles en continuidad con la valentía, la solidaridad y la entereza moral improbables. De las dos partes conservadas, la primera (Tempestad en junio) se articula sobre cuadros narrativos que fijan la visión en la hecatombe; la segunda, Dulce, es una novela que ahonda en las diversas formas de colaboracionismo

Amores oblicuos sobre paisaje en guerra: el colaboracionismo en Suite francesa de Irène Némirovsky