This paper proposes freedom as the condition of possibility for the construction of trust in human relationships. The methodology used is a review of the scientific literature of the most recent moral and political philosophy. As a result of the dialogue between different positions, it is discovered that freedom, despite being present in the act of trust, is forgotten in the discussion around trust, a forgetfulness that has as its main causes the assumption that trust is natural and the confusion (...) between the propensity to trust and the act of trusting. All this leads to proposing an approach of the act of trusting that starts from the freedom of the trustee and the trustor. (shrink)

This article examines questions of trust in cinema through the lens of Shutter Island. With its self-referential allusion to the mechanical “eye” of a camera, a stage-managed fantasy embedded within its plot and image of a dark lighthouse, Shutter Island explores its spectators' and its own cinematic sense of suspicion. The plot revolves around a protagonist who has locked himself out of certain memories and into a fantasy world. The article links pathological and therapeutic aspects of trust with interpersonal and (...) institutional trust issues in ways that blur distinctions between trusting others and trusting oneself, and shows how reliant each is on the other. Construing trust as a type of participant attitude and highlighting techniques used to render it cinematically, the article tracks its emergence and erosion, both in terms of the diegesis and its bearing on film spectatorship. As a post-classical commentary on film-making, Shutter Island is viewed as intricately exemplifying what Robert Sinnerbrink describes as an action-driven film with “a highly reflective consciousness of cinematic spectatorship”, as well as what Thomas Elsaesser describes as a “mind-game film”. To make sense of its ending, which may strike viewers as baffling and unnerving, and show how the protagonist's seemingly irrational decision is part of its film-philosophical point, traumatic disturbances in subjectivity and “monstrosities” depicted in the film are linked to Jean Epstein's notion of “something monstrous” in cinematic imagery. The protagonist's deliberately chosen fate is interpreted as a reparative gesture, expressing a desire for psychological healing and a way of helping him to marshal and recover a semblance of moral order and integrity under demoralizing circumstances. (shrink)