The transformation of the family in cinema within the framework of the greek weird wave and the new french extremity

Cinema is not only an artistic medium of expression, but also a sociological ground where social structures, values, and transformations are reflected. Within this framework, the institution of family is one of the most frequently represented and redefined concepts in cinema, especially in parallel with shifting social dynamics. From the perspective of film sociology, narratives about the family reveal not only interpersonal relationships but also the political, cultural, and ideological codes of their time. In modern cinema, the portrayal of family functions as a mirror to society's changing norms and repressed areas. This study examines how the concept of family is transformed in the context of two contemporary and transgressive cinematic movements: the Greek Weird Wave and the New French Extremity. Using purposive sampling, six films were selected for analysis: Dogtooth (2009), Attenberg (2010), Miss Violence (2013), Seul Contre Tous (1998), À ma soeur (2001) ve Frontière(s) (2007). These films were analyzed through the descriptive analysis method. The research focuses on themes such as the transformation of family roles, the reconstruction of violence and sexuality within the family, communication and its breakdown, and the impact of social change on the family structure. In these films, the family is no longer portrayed as a safe and sacred institution, but rather as a center for suppressed desires, power struggles, and social violence. The narratives often rely on disturbing and provocative aesthetics intended to unsettle the viewer and stimulate critical reflection. Ultimately, both national cinemas use sensational and unconventional storytelling to critique the family institution and aim to foster artistic and social awareness through radical cinematic expression.