The ethical struggle to sustain the meaninglessness of the catastrophe is the topic of Atom Egoyan’s masterpiece The Sweet Hereafter, arguably THE film about the impact of a trauma on a community. Mitchell Stephens, a lawyer, arrives in the wintry hamlet of San Dent to sign up the parents of children who died when their school bus plunged into an ice-covered lake. His motto is “there are no accidents”: there are no gaps in the causal link of responsibility, there always HAS to be someone who is guilty. (As we soon learn, he is not doing this on account of his professional avarice. Stephens’ obsession with the complete causal link is rather his desperate strategy to cope with the private trauma, which is sorting out responsibility for his own daughter Zoe, a junkie who despises him, although she repeatedly calls him demanding money: he insists that everything must have a cause in order to counteract the inexplicable gap which separates him from Zoe

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