The aim of this paper is to explore the aesthetics of multilingualism in film. We start with a discussion of translation strategy in several films and continue with two case studies based on Azur et Asmar (2006) by Michel Ocelot, on the one hand, and Nostalghia (1983) and Offret (1986) by Andrei Tarkovsky, on the other. Our analysis does not involve a comparison between the original dialogues or monologues and their translations into one or several languages, but, rather, it focuses on the role of translation in film making, considering it independently from any pre-existing oral or written texts. This will lead us to a number of reflections about the possibility and the limits of communication, about poetry and cinematography, and the role of language(s) and silence in film.
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机译：本文的目的是探索电影中的多语种美学。我们首先讨论几部电影中的翻译策略，然后继续进行两个案例研究，一方面基于Michel Ocelot的Azur et Asmar（2006），另一方面基于Andrei Tarkovsky的Nostalghia（1983）和Offret（1986）。其他。我们的分析并未涉及原始对话或独白及其翻译成一种或几种语言之间的比较，而是侧重于翻译在电影制作中的作用，将其独立于任何先前的口头或书面文本进行考虑。这将使我们对交流的可能性和局限性，诗歌和电影学以及语言和电影中的沉默的作用进行一些反思。
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