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David Helfgott is a famous seventy years old Australian pianist who still enjoy considerable success today. In 1996, the director Scott Hicks made a biopic on Helfgott’s life, using information given by his wife Gillian Murray in her autobiography. In this article, we will reveal beyond the aesthetic representation in Hicks’s film what we have deduced by following the specific logical course of this artist starting from some precise clinical points: the fantasy of his father who imprisoned Helfgott in a requirement to achieve an ideal, that of becoming a piano virtuoso; the maternal dimension of relationships that he had with women, which enacted a psychic function of stabilization for him; and the act of extracting the imaginary relationship with his father, which allowed him to reconnect with a livable and calmer musical practice. Our last point focuses in particular on the sinthomal function that the romantic partner can have in the construction of Helfgott's relationship with jouissance. In this last part, we are less interested in the structural diagnosis, necessary (which is however to establish), and more in understanding the movements of regulation and deregulation of Helfgott's jouissance, and the sinthomal solution that operates for him as a principle regulating flows of jouissance.