This Masterthesis is based on the film La vie ne vit pas (directed by the author), which depicts a woman hospitalized in a psychiatric ward after suffering from depression linked to alienation at work. The author shows that the hospital is not outside society, but reproduces the same logic of control and normalization. The film uses editing as a critical process: interruption (stopping, breaking) reveals the invisible tensions of everyday life. Inspired by Walter Benjamin, Bertolt Brecht, and Sergei Eisenstein, the research advocates a fragmentary approach that rejects linear and univocal narration. Editing thus becomes a tool for questioning social reality and relationships of domination. Slowness, pauses, and breaks are conceived as acts of resistance to productivity and commercial rhythms. The thesis proposes interruption as a force for transformation, both in artistic creation and in life.