This article addresses the game technique of dark humor in films by Anders Thomas Jensen, Quentin Tarantino, Jean-Pierre Jeunet, the Coen brothers and Olias Barco. We start from the Freudian conception of humor as psychic economy of affects and enrich it by offering the analysis of the formal characteristics of a game between the director and the audience. The films concerned by this study offer violent deaths treated in an offhand manner. Even if such violence generates a visual shock, pleasure at work provides the humorous game with a positive ethos. Our approach sees Death as tragic more than sorrowful. This distinction places Death in the domain of an unsolvable tension. The films studied deal with a necessary and cruel death on a mode of simulacrum allowing a subjective multiplicity to express itself as a source of composition of meaning and joy.