Original subtitles

Trailer for Phony Wars

(take one)

It's hard to find a black cat

in a dark room,

especially if it's not there.

Feeling Passion

OUR WAR

It's like...

an image

that comes from far away.

There are two of them, side by side.

Next to her is me.

I've never seen her before.

I recognise myself.

But I don't remember any of it.

It must be happening far away.

Or later.

The camera is just

an old quantum epidiascope

The news from Spain was bad

I don't give a damn.

Intricacies of all the pages

The most ephemeral of moments

possesses an illustrious past.

The state of our poverty is manifest.

The state of our poverty is manifest.

The landscape is strewn with wire.

The sky is red with explosions.

As this ruin has not spared

the very notion of culture,

you must have the courage to dismiss it.

You have to get by on little.

When a house burns,

it's absurd to want to save the furniture.

If there is any chance to grab,

it is that of the losers.

(But, 68)

"But the bottom line is that there are no grown-ups."

FROM THE OTHER SIDE OF HER BETRAYAL

I don't feel like speaking Russian.

I don't trust that language.

(fails)

sign

Here is a script

(in fact, a simple cinematographic adaptation of an old novel)

which diverges from the likes of Carné or de Palma,

in rejecting

the billions of alphabetic diktats

to liberate the incessant metamorphoses and metaphors

of a necessary and true language;

by re-turning

to the locations of past film shoots,

while taking account of modern times

It was written that I should be loyal

to the nightmare of my choice.

It's your business and not mine

to reign over the absence of **

Simone Well Blue of Noon

strategy

screen

Based on a novel by Charles Plisnier

(Prix Goncourt 1937,

who was expelled from the Communist Party

for Trotskyist deviancy)

BANNED EDIT

But as the army

has already fired into the crowd

Cinema adaptation

1: Carlotta (novel)

2: Carlotta (novel) 3: Film jlg

4: Betrayal (novel)

5: Ségor (novel) 6: Carlotta (novel)

OK, we're rolling.

When...

Can you sound the clapperboard?

Do you want to... OK.

A mosquito.

When we talk about

the Saint-Laurent film, we say Carlotta.

Is it still Carlotta?

Yes, it's still Carlotta.

In fact,

it's still based

on Charles Plisnier's novel False Passports.

I was interested

in the way that Plisnier,

a former Trotskyist

who had been expelled in the Soviet era

like ail Trotskyists,

and all that,

and who painted a portrait,

imaginary or real,

of a few contemporary activists

whom he'd known

in around 1920.

And I was interested in the way that he...

He was more like a painter than a writer.

He painted portraits

of people's faces or how they looked.

I remember a novella,

which we'll come back to, called Ditka,

who I thought was a Bulgarian activist,

who suffered a lot,

who was tortured,

and who was...

And her boyfriend who was questioning her,

who saw her and whose name was...

who was the narrator of the novel

called Multi.

So I was interested,

and there was another novella called Carlotta.

I thought about both of them

when I said to Saint-Laurent

I wanted to make a film,

just as Plisnier returned to his old love,

revolutionary politics.

I wondered: "Could I make a film

"knowing how to make it now like I did,

"but also as if I was now

"transported to make a film

"like Melville had done

"when he made Le Silence de la mer?"

just an announcement

It's no good without a little blood

How Nervous You Are (novel)

betrayal

It was around this time

that Carlotta came to me with an unusual question.

"Do you remember, " she said nonchalantly, "How we met?"

"I'll never forget it," I said.

She smiled sweetly.

"Did you tell ** about the affair?"

The question surprised me.

The situation, **

the importance of his mission,

the many secrets he possessed,

all this gave me leave to tell him.

Before he got to know her,

I wanted to show him

Carlotta's strength of character,

and I nearly did so.

As for Algerian immigration,

we no longer talk of...

Happiness was a new idea in Europe,

or so she said.

Grivas, the car.

Where's my scarf?

What about me?

It's a note from my grandfather,

not for the French ambassador, for the man.

I don't understand.

Tomorrow, miss.

- Miss? - Judith Lerner.

What man?

Lyon, 1943, the Gestapo!

Come with me.

Are you going?

Why Sarajevo?

Because of Palestine,

because I live in Tel Aviv.

I want to see a place

where reconciliation seems possible.

Maybe Haaretzwon't publish my article.

Possible.

It will help me.

Who is that young woman in your office, next to Kafka?

Someone like you, perhaps.

Hannah Arendt.

Her friend Solène said she was like 12 synagogues.

And during the Ottoman Empire,

the living room was rented

to what wasn't yet the Jewish Agency.