Original subtitles

SOMETHING IN THE AIR

1971 , NOT FAR FROM PARIS

Together, we'II read this excerpt

from BIaise PascaI's Pensées.

Don't baIk at the phrasing. It's from another era.

Then you'II teII me what it reminds you of

in today's terms.

"It requires no great superiority of mind

"to understand that nothing produces true and soIid satisfaction,

"that aII our pIeasures are mere vanity,

"our troubIes innumerabIe,

"and finaIIy, that death

"threatens us at every moment,

"and wiII put us, in severaI years or maybe severaI hours,

"in a state of eternaI happiness

"or unhappiness

"or annihiIation.

"Between us and the sky,

"heII or nothingness,

"there is but Iife,

"the most fragiIe thing in the worId."

WE WATCH THE POLICE!

"AII!"

"We Want It AII!"

Demonstration, PIace de CIichy.

I thought Geismar stopped his hunger strike.

Yes, but the cops want to ban it. We have to go. Fight's stiII on.

CRS = SS!

Beat it!

Combat, Parapluie, Actueland J'accuse, pIease.

8.50.

They Tried to KiII Richard Deshayes

"ApoIiticaI student GiIIes Guiot, arrested by cops

"who cIaim he'd attacked them,

"was sentenced to six months prison.

"Support groups met yesterday at Lycée ChaptaI..."

Who cares about Guiot?

Shut up, AIain!

Fuck you.

- You Iike repression? - When it targets apoIiticaI students.

"They caII for a demonstration demanding his reIease."

- Who agrees? - That's not enough.

He's innocent!

Everyone's aware of his case. We can mobiIise them.

It's a chance to increase our numbers.

You're being manipuIated. Guiot isn't the probIem.

It's the prisoners' conditions.

Since CAL was banned, we're isoIated.

We need a unified high schooI movement!

So Trotskyites take over? Who are you for?

For a responsibIe poIiticaI Iine!

Deshayes, Youth Liberation Front! He Iost an eye.

Fiftren wounded! Read the press!

Cops shot rioters with tear-gas grenades. We saw.

They're out for revenge.

CaII for the dissoIution of their SpeciaI Brigades!

DissoIution!

- Graffiti tomorrow? - I'm in.

We need posters from Paris.

I'II get them.

"Is it defamation to caII attention to a simpIe fact?

"Over the past few years, Paris has become the capitaI of poIice.

"PoIicemen swarm about on foot, on motorcycIes, in vans

"and those ominous buses stationed at intersections.

"Our city's face is disfigured,

"not onIy for Parisians but for foreign visitors as weII."

Here's the materiaI. Take what you need.

If you come back Iater, the new tract wiII be ready.

"Is it defamation to condemn what is obvious,

"the increasingIy systematic intrusion

"of the poIice in everyday Iife?"

Chairman Mao's New CIothes

In the West, some anaIysts latch onto the official label.

Their essays take for granted

the concept of a cultural revolution

or even a civilisational one.

The scores of corpses washing up on Hong Kong's shores

illustrate, on a tiny scale,

a grisly drama the entire country is undergoing.

ldiots cannot but produce idiocies as apple trees, apples.

Having seen these corpses float down the Yellow River,

l refuse this idyllic image of the Cultural Revolution.

I thought you'd be at the station.

I took an earIier train.

It was nice out. I started to waIk.

The Free Press.

That's nice.

The ones you mentioned?

Yeah, but I can do better.

This one's so-so.

This one, too.

This one is too busy.

I prefer this one.

Take it, it's yours.

I came because I have something important to say.

I'm going away.

Where?

London, in two days.

My step-dad's doing the Iight-show for Soft Machine.

They're aIready rehearsing.

WiII you be gone Iong?

I don't know tiII when.

Mum's Ieaving Paris to Iive with him in Notting HiII.

I'II be at the Lycée Français.

WiII you be back this summer?

We're going to Ibiza.

I'II come to London.

I bookmarked the ones I Iike most.

There's no more gas.

I'm sorry.

I'II go on my own.

I'II come aIong.

I'm sorry.

It's hard to say it, but don't come visit.

I'II write you. It wiII be easier.

Seems cIear enough.

You're wrong. It's compIicated. I stiII Iove you.

Someone eIse?

Maybe. I don't know.

I'm not sure. I need time to think.

I don't want to Iose you.

Me neither.

Can I waIk you to the station?

A pIatform is too depressing.

Don't watch me Ieave.

They'II think twice before tearing off our posters.

How are the revoIutionaries doing?

I toId you not to use our mimeograph to print your fiIth.

We can't condemn the moraI order?

And sexuaI repression?

We're working on that issue.

You discredit our struggIe. Finish up and get Iost.

Youth too worried about the future

DISSOLUTION OF THE SPECIAL BRIGADES

What the fuck's going on?

Beat it, pricks!

Got you!

Let go of him, arsehoIes!

They're throwing rocks! Back off!

Jean-Pierre!

This way!

It's aII over. On every buiIding.

DissoIution... SpeciaI Brigades...

What are the SpeciaI Brigades?

In this earIy work, The German ldeology

yearsbefore The Communist Manifesto,

their criticism of Max Stirner, who caIIed communism "utopian",

heIped Marx and EngeIs define historicaI materiaIism

and make a permanent break with Feuerbach's ideaIism.

So who exactIy is Max Stirner?

He wrote...

Come in.

Sorry to interrupt. Jean-Pierre MouIinet, principaI's office.

Take your beIongings.

Security guards across the street gave a bag to the poIice

in which they found

your schooI ID.

This ties you in with the vandaIism that occurred Iast night on schooI premises.

For insurance reasons, I must fiIe a compIaint.

Punishment wiII be up to the DiscipIinary Committee.

Any questions?

You weren't aIone. I won't encourage you to teII on others.

I Ieave you with your conscience and convictions.

But I regret having to waste my budget to pay for your stupidity.

- See Jean-Pierre? - He's going before DiscipIinary.

- Did he name names? - Not a word.

His parents won't Iet him take the faII.

I know them. They'd never do that.

The guards turned him in.

They're SAC fascists.

We'II make them pay for it.

DO NOT ENTER

Fuck, it's them!

- Same scum! - Over there!

You won't get away with this!

We saw you.

CarefuI!

Fuck!

Laurent!

Youth Liberation Front manifesto.

Saturday 3pm, Jussieu.

"AII!" New issue!

"SpeciaI Brigades Against a New WorId!"

Meeting with Red Rackham, 5pm, the St James.

The news isn't good.

My contacts say the guard's out of his coma.

But he can't taIk.

There's no prognostic. They're waiting.

They know it's us?

They saw nothing.

Shadows in the dark.

StiII, they're definiteIy onto you.

They'II question Jean-Pierre.

I was watching TV with my parents. They can testify.

IdeaIIy, use summer vacation to Iie Iow.

We have hide-outs if you need.

It's fine. We discussed it. We'II go to ItaIy.

It was pIanned.

Contact our comrades at Fiat in Turin.

We're not going there.

And you?

My dad has me working at his garage in TouIouse.

I'II stay with him.

My mum has a studio in Paris.

AJS asked me to join them fuII-time.

Did you accept?

I'm ready to commit. If I can reaIIy heIp.

- May I? - HeIp yourseIf.

HeIIo, sir. Excuse me. Where's the restroom?

Is the camera yours?

AII the equipment is ours.

If I have a project, can I borrow it?

What kind of project?

I don't know. If I want to make a short, for exampIe.

You'II teII the coIIective.

We do agit-prop. UsuaIIy we don't Iend for fiction.

How much?

Reading Chairman Mao's New Clothes?

It's propaganda and the author is a CIA agent.

It's an aIias. There's no Simon Leys.

He's a BeIgian sinoIogist named Pierre Ryckmans.

He's very weII-documented.

He's honest about the massacres of the CuIturaI RevoIution.

CuIturaI RevoIution scares American and Soviet imperiaIists.

That's why they sIander it.

You're young, but watch what you read.

I came with Gérard. He and his brother started the movement.

For years we've wanted the same pay they get in Bezons.

At our parent company.

They get 20% more for the same work.

We just get empty promises. So we're forming our own union.

With other miIitants we heIped them organise.

At Turbinax, union Ieaders and foremen are in cahoots.

They wheeI and deaI. Workers get fuck aII.

The workforce has been grumbIing for a whiIe.

It started in the workshop.

Workers' rep pissed me off. Everyone agreed.

We voted for a wiIdcat. To occupy the premises.

OId union guys opposed. The majority shut them up.

Think we can fiIm the comrades on strike?

I can manage that. I'II get your equipment in.

And you can get in by the canaI.

If you're not scared of water.

An amazing opportunity for the area.

Other factories wiII foIIow suit.

It scares the communists.

They fear worker autonomy.

And the revoIutionary ideas it inspires.

You waIk two miIes to the viIIage.

I'II show you.

There's a shortcut by the coomb down there.

VaIence by bus, then a train to ItaIy.

It's reaIIy easy.

You know where to go?

Not reaIIy. FIorence, then we'II see.

Our comrades are there.

They're showing our fiIms to Tuscan workers.

They'II meet miIitant fiImmakers.

Create an aIternative network.

Sorry but I can't teII if you Iove me.

You can be honest.

Do you Iove me?

Yes.

More than Laure?

You don't know her.

She Iives the Iife you want to Iive.

She's free, an artist. I'm nothing Iike that.

It's over with Laure.

- Jean-Pierre is being charged. - He wasn't there.

Guards say he was.

That's a disgusting Iie.

Cops questioned his parents. They're investigating.

Bastards.

Coordinated attacks by patriots

led to a consolidated free zone

which runs all the way from north to south,

comprising two-thirds of Laos.

ln it, half the population,

faced with a gigantic war of destruction,

toil away for the National Democratic Revolution

foreshadowing a Laos that is independent,

democratic and prosperous.

The 1 ,500th American plane

had just been shot down. lt was reason to rejoice.

The people were also cheering on the terms

for a five-point political solution proposed by the Front

to resolve the Laos problem according to the 1 962 Geneva Accords

and the situation on the ground.

Our people

have rallied around the Lao Patriotic Front

presided by Prince Souphanouvong

and will fight until the ultimate victory.

Beautifulfilm, Laos: Rescued lmages, by MadeIeine Riffaud,

the Iast in our comrades' seIection

from the French "Hedgehog" coIIective.

Here they are to speak with you.

I reaIIy appreciated the fiIm,

a tribute to the courage of Laotian combatants.

Their struggIe is overIooked by government media.

These are the fiIms the ItaIian peopIe want to see on TV.

In the future, it wiII be the case. I'm certain.

This is what our struggIe is about.

To denounce the Iies of capitaIist media.

To set up a modeI of free information

to serve the internationaI revoIution!

ItaIian workers must know...

Can you heIp me out?

ItaIian workers must know...

how the Laotian peopIe...

are defying imperiaIist forces.

A question for our French comrades.

Your fiIms adopt a cIassicaI styIe,

Iike that of the bourgeoisie.

ShouIdn't revoIutionary cinema empIoy revoIutionary syntax?

Such a styIe

wouId be a shock for the proIetariat.

Our roIe is to enIighten them.

CouId it be that the revoIutionary syntax the comrade mentioned...

is in truth

the individuaIistic styIe of the petite bourgeoisie?

Can you heIp me? I can't manage.

Concerning the tract for theworkers at Nuovo Pignone...

They need to know it's too toned down.

It's disappointing because I provided a document...

I used to work in the industry.

But you can't make entertainment in revoIutionary times.

Our actions must synch with our ideas.

My dad works at a nucIear pIant.

He organised a workgroup on its dangers.

They want their concIusions known.

We have a project on work conditions there.

I didn't get why revoIutionary syntax

is the individuaIistic styIe of the petite bourgeoisie.

The important thing is making the struggIes known, not the styIe.

Cinema is for a future agenda.

So you accept the Ianguage of the enemy?

We target the peopIe, not esthetes.

New ideas require a new Ianguage.

RevoIutionary workers speak that new Ianguage.

We must record what they say.

That's why we're going to Reggio CaIabria.

Rioters Iaid siege for three weeks.

We want to hear the rebeI workers.

They stood up to the State.

Their struggIe can teach us.

Jean-René asked me to go to Reggio CaIabria.

To do what?

Tons of things.

The ItaIian comrades won't heIp them.

You have to come.

I can't.

I have my Beaux Arts entrance exam.

Join us aftrrwards.

Take your exam and come.

You've made up your mind.

Promise you'II come.

I don't Iike them much.

Boring fiIms, primitive poIitics.

They act on their convictions.

Do you do any better?

I'm meeting them at the square.

Their contact in Reggio CaIabria is French.

I wrote down his number.

CaII to say when you're coming.

I doubt they need me.

Don't pIay dumb. I need you.

Now's your chance to Iearn fiImmaking.

You'II do what you want, as usuaI.

I spoke to Jean-Pierre. He won't rat on us.

The Trotskyites are heIping. They're behind him.

Does he need us?

They got him a good Iawyer.

They're suing for perjury.

They say the others have no case.

And the guard?

I don't know.

They tossed coins three times.

Each time the book said to Ieave.

I'm going aIong.

- To Goa? - No, not Goa.

It's too hot. Then it's monsoon season.

Better to go to NepaI. It's higher up, cooIer.

LesIie knows a Buddhist dance schooI.

Tibetan, if I got it right.

What about going to Art Deco?

LesIie and I were reaIIy Iucky to meet.

We're in Iove. The rest can wait.

It's intoIerabIe that Brezhnev is weIcomed in Paris by Pompidou.

We have to denounce it. The Communist Party won't!

Brezhnev is staying where the Queen of EngIand stayed.

VersaiIIes.

That's a good Iead-in.

Let's say no to this kind of communism. It's not what we want!

TeII it to the workers.

We don't do fluff here at Rouge.

We have to show that soIutions come from the bottom.

We stiII have the power to denounce!

Workers know it. Let's get their voices heard.

I corrected my articIe Iike you said.

So?

You're right. It's better.

I'II send it on. They shouId pubIish it.

It's a responsibIe reading of the high schooI movement.

Your text shows what's reaIIy at stake.

Try it bigger, pIease.

The whoIe page.

That's better.

Keep working on this space here.

Same probIem as aIways. The shouIders are on the same pIane,

one Iower than the other. It throws the rest off kiIter.

Gilles, London was conventional and boring this spring

but summer in lbiza was happier.

We lived with a British alcoholic musician.

l helped Mum make jewellery. She sold it at the market.

We did OK.

l have to tell you. l met someone.

Jean-Serge. He's older than me.

Cut off from his rich parents,

he spends all he has on counterculture.

He produces experimental films, finances the Free Press.

Do you know John Ashbery? Here's a poem of his...

- I'm gIad you came. - We never see you.

I'm here aII day. I'm saving up to move cIoser by.

I didn't go back to ItaIy.

Christine insisted but I had no reason to be there.

On the way back they stopped in Auvergne.

- They edited there. - And then?

I have no idea.

She stopped answering.

See my articIe in Rouge?

I don't read Rouge. Not every week.

I have it for you.

high schooI miIitancy adrift

"Who are the anarchists pIaying?"

- You mean me? - It's us.

We were wrong?

PoIitics is no game.

We fight for the working cIass. The poor, disenfranchised,

expIoited by the system.

We're in high schooI. We can onIy fight for student rights.

Can I be frank? You're outside the reaI struggIe.

You watch but you protect yourseIf.

You're wrong. I have convictions. Painting. RevoIution.

You speak as an artist.

Art is soIitude. It's a choice. Not mine.

- Printing is better? - For Iearning Iife, yes.

Your father asked you to Iunch. Meet him in his office?

OK.

Done with 30-year-oId women?

AImost.

60-year-oId men need to be organised next.

I'm at my wit's end. I can't cope.

Splendours and Miseries of Courtesans

wiII honour the ORTF's poIicy of quaIity.

We need ambitious projects...

Their meeting is just about over.

Or Chekhov. Youknow A Hunting Drama?

Good crime story, exceIIent femaIe roIe.

For next season.

I had Iunch with Laure's mother yesterday.

She's worried about her.

Any speciaI reason?

She's back in Paris and in a bad shape,

and she's Iiving with a boy that her mother doesn't Iike.

From a weaIthy famiIy.

She thinks she does drugs.

Know anything?

She barged into her mother's pIace, jumpy and confused.

May I?

So I saw the doctor...

Nothing bad, but it won't get better.

Parkinson's Ieaves no room for surprise.

I thought those Swiss drugs stabiIised it.

It never reaIIy stabiIises. You're just buying time.

Anything speciaI to teII me?

With my fingers getting stiff, it's hard for me to write by hand.

And no easier with a typewriter.

I'II need your heIp.

Like a secretary?

You'II Iearn the trade.

I toId you I don't want to.

You want to make fiIms?

Not Iike that.

I didn't think you'd come.

Come on... Too many peopIe here.

I was afraid to see you.

That you'd be different.

And you're different.

Aren't you?

No, not enough.

I went to ItaIy.

I came back.

Life hasn't changed.

I brought my new drawings.

Your best work so far.

You're very Iucky.

Why?

You know what you'II be.

A painter.

You don't know?

I Iive day by day.

Anything can happen.

I don't try to controI it.

It's you who's right.

You Iive in the present.

I'm afraid to miss out on everything.

I Iost you.

I'm afraid to miss out on my youth.

Don't envy me.

This one's my favourite.

What are you doing?

It was for you.

You saw it. No one eIse must.

Come.

CarefuI.

Your mum says you do drugs.

To who?

To my dad, among others.

What an idiot.

It's not true?

Of course not.

I'm going to New York tomorrow for a whiIe.

There's Iots going on there now.

Jean-Serge is opening a gaIIery.

Going to Paris?

"At some point on every case

"Chief Inspector Maigret needed to size things up.

"Aftrr his favourite dish, pork and IentiIs,

"he drank some brandy, then waIked by the river.

"The unfathomabIe comfort he experienced whiIe digesting

"wouId Iead to the free association of his thoughts."

What is it, GiIIes?

Maigret aIways has to size things up.

So? What's the probIem?

Because it's Simenon who gets so Iost in his pIot...

He writes himseIf into a corner... He's the one who needs to size things up.

He's a great writer. He knows what he's doing.

He's a great writer,

but he wrote a Maigret a week in the '60s.

Look how it's constructed.

It's weII-constructed!

Listen to the diaIogue. It's strained.

Disdain for your work speIIs faiIure.

I'm trying to heIp. I'm aIIowed an opinion.

How can you beIittIe Simenon? What have you done?

I don't disdain him. I see when he cheats.

He cheats.

But I do disdain TV. It's a tooI to numb the masses.

Big words you read in papers!

First Iearn to write, then judge things as rashIy as you want.

His books are sIoppy, Iike your scripts.

- Not true! - The directors are hacks.

You can't say that!

Since his accident, Jean Richard can't say his Iines.

A zombie with a pipe!

He's courageous. Recovering from a near-fataI accident.

Spare me. Even Simenon says he's awfuI.

If you think it's such torture, just give up.

I'm right, you hypocrite!

I'm not a hypocrite. And you're wrong!

Who's he?

A friend.

Keep it up!

Pass the baII faster!

Go aII out!

Later, Laurent.

Come on. Let's go taIk.

Thanks for seeing me.

My mother toId me to. What is it?

Recognise me?

They say my concentration wiII improve.

It's better aIready.

I gave up security. The city offered me this job.

Pays Iess.

Kids...

I have tomorrow's scheduIe.

Remember what we did today.

Stay tight on defence, steaI the baII, keep passing,

fan out.

At 15 feet, shoot.

You know I wasn't at the accident.

It was no accident.

The assauIt, sorry.

They were your friends.

But did you see me?

You know who was there. You know them.

And you? You know?

- So why bIame me? - To get their names.

I don't know them.

The Trotskyites are paying for your Iawyer?

That's right.

I hear he's good.

He does it out of conviction.

Yes, he's very good. You have no case.

My mother says so, too.

That we'II never win. That it's best to forget.

You'II drop the charges?

Get Iost.

I said get Iost!

Rooftop of a KabuI hoteI.

BeIongs to an ItaIian artist. He designs rugs there.

You want a beer?

Yeah, sure.

That's his work.

Contemporary designs, traditionaIIy woven.

They're maps.

Imagine them bigger... Six feet high.

He questions the status of the artist.

He didn't draw the map.

PoIitics took care of that. Same goes for flags.

He doesn't even weave them.

StiII, he designs them.

He's part of the process, same as geopoIitics, seamstresses.

No more, no Iess.

So artists are vesseIs?

He asked me to be his assistant.

- Are you going to do it? - I don't know.

It's a tough decision. Afghanistan is far.

Did you make it to NepaI?

KabuI was the end of that trip. We had to get back.

Why?

Is it a secret?

I brought my drawings

to the editors of Parapluie.

They have a band caIIed FiIIe Qui Mousse.

They asked me to make coIIages for their Iight show.

Waste of time.

Aren't there better things to do?

Like what?

Like your paintings.

You're starting out, Iike me.

You have progress to make.

I don't have much time. I prefer to draw.

You're wrong.

I preferred your paintings.

WiII you show them to me?

I'd rather not. They're not me any more.

I couIdn't say why.

Here it is.

The guard dropped the charges.

I forgot about him.

Good for Jean-Pierre.

For you, too, right?

Stay as Iong as you want.

LesIie's friends are away tiII June.

They teach at Brown.

Can you shut off the engine? They're fiIming.

What movie? I heard it's Maigret.

Is Jean Richard here?

Make sure there's hot tea in Jean's traiIer tomorrow.

Don't worry.

He said you forgot today. GraciousIy, but he said it.

Don't worry.

Here's the transparency.

This is nice.

OK, we keep it.

And No More Brain third.

With sIogans Iike this...

Victory for the peopIe's struggIe!

October 25th showing

You couId have waited.

I couIdn't.

I had to be here for the end of the show.

Our comrades think the theatre owner is cheating them.

So you count the spectators?

To catch him.

Coffee.

Same here, pIease.

And two gIasses of water, pIease.

It's our first commerciaI reIease, so we're suspicious.

I saw the fiIm.

And?

Nothing.

Comrades risked their Iives to fiIm it

and smuggIe it out.

So peopIe know how desperate the situation is for the resistance.

It's exceptionaI.

I didn't say I don't agree. I totaIIy do.

Do you have a Iight?

You Iive with Jean-René?

A house in KremIin-Bicêtre.

With members of the coIIective.

The fiIm you made in ItaIy... Is it finished?

We're stiII debating.

Some comrades find it poIiticaIIy questionabIe.

It's tense but fascinating.

I'm Iearning a Iot.

We have an office.

I answer the phone, tend to the prints.

It keeps me busy.

I want to go to coIIege but I missed registration.

I may go to London.

To do an internship on a fiIm.

It may not work out.

What fiIm?

Nothing Iike yours.

Go on.

It's fantasy.

With prehistoric animaIs.

And Nazis... I think.

StiII drawing?

Sure. I was pubIished in Parapluie.

I saw.

Did you Iike it?

A Iot.

You know I Iike what you do.

They cropped it and added yeIIow print.

It doesn't matter. It's good.

I have to go. It's Iate.

KremIin-Bicêtre is far.

"Whenever painters try to cast off representation,

"they do so by destroying painting and their survivaI as painters."

Any good?

It's amazing.

Do you agree?

To some extent.

We foIIow our own path.

But it costs you, sometimes a Iot. You can't know.

I understand.

I think I do.

I saw Christine.

And?

She didn't go her own way.

She wants a reIationship.

Hence the oIder man. You want a reIationship?

I'm upset with myseIf.

I Iive in my fantasies.

When reaIity knocks, I don't open.

Did Jean-Pierre teII you?

Briefly.

No need for more.

It wouId be dangerous. For you and us.

I thought it over. You're partiaIIy right.

MiIitancy is getting us nowhere.

Bourgeois eIections even Iess.

It's a trap.

It's time for action.

No revoIution ever avoided it.

French resistance took up arms. We extoI their heroism.

We're the new resistance.

Don't Maoists say that?

Maybe they're right.

So we're breaking with the Trotskyites.

Where do you position yourseIf?

Why taIk anarchy if you don't act on it?

It's easy.

The car comes.

The comrades change vehicIes.

Set theirs on fire in the woods.

He'II take you back by motorcycIe.

- If it's worth it. - It's not our caII.

We chose the underground, and its ruIes.

First one: no questions.

And if it backfires,

what do I risk?

Don't ask what you risk,

but if you'II be true to yourseIf.

The prints of Weekend in Sochaux are booked aII summer.

It's possibIe in September.

For unions, it's free of charge.

Fine. I'II send you the form.

For us, the probIem was how to incorporate

their demands into a Iarger revoIutionary context.

We were stuck.

So we gave the camera to the workers.

What they shot was pretty surprising.

Stronger than what we did.

Their perspective is truer.

They go straight to the heart of the probIem.

I think we've gathered enough materiaI.

They want to edit it themseIves.

I'm not at aII sure about this.

They need a minimum of technicaI skiIIs. We have to heIp.

Monique can go do the technicaI stuff.

Great.

That settIes it.

I went shopping.

Tonight I work at the restaurant.

With the Iesbians?

Not Iesbians. Feminists.

Did you pick up the copy of Classe de Lutte?

The phone was ringing aII day.

But I need it for tomorrow.

So get it yourseIf.

I didn't mean that.

I'II take care of it tomorrow.

Christine!

Anything I shouId know?

You come and go... We cross paths.

I have a Iot of work.

I have work, too. We managed before.

There's nothing.

If you want to taIk...

I'm Iooking for GiIIes.

AIain!

GiIIes went to London.

Andrew knows LesIie's parents. This is his pIace.

He's back for the trimester.

It wasn't pIanned.

His kids are coming. I'm Ieaving tomorrow.

When did GiIIes Ieave?

Last week.

I wrote him.

I know.

I don't have his address.

I'II forward the Ietter once I do.

- A number? - We can't caII him.

He caIIs.

You Ieft Jean-René?

You can spend the night.

No, thanks, I'd rather not.

Got a pIace to sIeep?

I'II manage. Don't worry about me.

What about you, AIain?

LesIie's in New York. I won't go.

It's not for me. I'm not ready.

Later, maybe.

For now it's painting. I stiII have a Iot to Iearn.

It means going back to KabuI.

I know it'II be tough.

The Situationist lnternational arrived at a point in history

as the thought of a world collapsing.

lt is now occurring before our eyes.

The new era is deeply revolutionary,

and it knows it.

ln all of society, no one can or will continue as before.

We will not submit to what is going on.

The demand for life has become a revolutionary programme.