The way in which we can relate the scenes and characters of Psycho with the instances of Freud's psychoanalysis, the self, super ego and the id is in my opinion a clear example of my point. The motel of Norman Bates and his mother is divided into 3 floors (first floor, ground floor and basement) that represent the 3 instances of subjectivity, on the ground floor we can find a normal Norman Bates, a person who fits perfectly in the parameters of society, on the first floor is the superego represented by the dead mother and in the basement is the id, that reservoir of illicit, violent and obscene pulsations, a space where we all keep this mixture of childhood innocence and sexual aggressiveness animal.

That's why we can see in the middle of the film a scene in which Norman takes his mother from the first floor to the basement, in which the superego is transposed to the id, at first she complains as a figure of authority and then it becomes obscene and sexual. According to Freud, the superego and the id are strongly connected, they are not ethical entities.

In The Birds by Alfred Hitchcock, we meet a girl from San Francisco who falls in love with a young man and goes after him in Bodega Bay. He lives with his mother, with whom the typical Oedipal tension between mother and child develops. son who is divided between his possessive mother and the young intruder, now the obvious question ... Why do the birds attack? The birds are nothing but the irruption of an external dimension that literally breaks the reality of the mother into pieces.

Human beings are not born naturally within "reality", we must act according to the social contract and the symbolic order, when something disturbs our place in this established order, our reality disintegrates in a violent way, this is what we can observe that happens With the mother-son relationship in this film, the birds are nothing more than a violent irruption of the maternal superego, pure incestuous energy, which is prepared to avoid this sexual relationship.

The voice is not something that belongs to our physical body, it is more something that is between our body, when we speak there is a ventriloquism effect that takes over us. The Testament of Dr. Mabuse, German film of 1931 by Fritz Lang, for me was the first great film in which the voice was given a dimension, we never see Dr. Mabuse, this is just a voice, which alters the course of the events, this same effect we can observe in The Exorcist of William Friedkin, is not a physical entity against which the priests fight, it is not a demon in itself against what they fight, it is a voice in a dramatic and obscene dimension, it is the break between that psychic energy that Freud called libido, this fundamental force that persists beyond life and death and the finite and mortal reality of our bodies, so that our pathology is not that we are possessed by aliens or demons, that is the lesson that I draw from this movie, we ourselves are those aliens and those demons that we possess with our libido our bodies. Our self, that psychological entity is the alien that controls and distorts our bodies.

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