Abstract
This article proposes at the same time a synthetic panorama and a particular thematic prism of analysis on the investment of the theme of the formation of oneself in the cinematographic work of Julia Ducournau, and more precisely by concentrating on the feature films that she scripted and then directed herself. This approach is part of a double dynamic of more global intellectual work on the hypermodern democratic experience of education and training on the one hand, and on the other hand on the heuristic exploration of works - in particular cinematographic works - that are part of a movement of contemporary extension of the domain of training works and of redefinition of this genre in the light of current lively democratic questions. In the first part of this text, we set out in more detail some important milestones for embarking on the type of study we are proposing here, as well as for reading and appropriating, here, the few lessons we think we can propose. In a second part, starting from the postulate according to which one of the important tasks of the philosophy of education and training in the Western democracies of the XXIst century consists in an articulated work of perspective and prospective on the hypermodern human subject and its advent, we show that Ducournau's films give a lot to think about in this register, and detail the most salient points of this observation. Finally, we suggest that the two main lines of force of what this director has to tell us on this subject are a joint call to a disencumbering of all stereotypical carcans and to an abolition (without negation) of the privileges of the given in the individual subjective construction.