One of the enduring concerns of human culture is how to deal with thoughts and feelings that are not recognisably our own.

Much like the ancients, who associated odd feelings and passing moods with particular deities, Saint Augustine viewed unwelcome thoughts as something external to the self. According to Augustine, our urge to transgress God’s laws stems from a wound inflicted by Original Sin and passed down through the generations by sexual contact. Later churchmen would describe the concept of Original Sin as:

“Privation of the righteousness which every man ought to possess”

Inspired by the Augustinian concept of Concupiscence but intent upon creating a materialistic account of human nature, Sigmund Freud divided the self into different parts and invoked the concept of the unconscious as a place where unspeakable thoughts and desires boil and occasionally rise up, hammering at the walls of the conscious self. Though no longer central to scientific accounts of human nature, Freud’s account of the self remains incredibly influential. Artists and mental health professionals conspire to present the mind as a city under constant pressure from a vast and barely manageable neurochemical hinterland where entire streets pass in and out of the surrounding jungle. The question of how we navigate such a city, where we draw the line between town and country, ours and not-ours not only endures to this day but also accounts for many of the most striking literary and philosophical innovations of the 20th Century.

Like many psychological thrillers, Francois Ozon’s Swimming Pool follows a character’s attempt to repress, confront and ultimately claim ownership of a series of unwelcome and unrecognisable thoughts, but as sophisticated as the film’s distinctions may be, it is never entirely clear where the film’s main protagonist begins and ends.