All language subtitles for Le.Feu.sacre.1971

Position yourselves, please,

facing the mirror.

Careful.

Tighten your body.

Slowly lift your right leg.

Extend it back.

Keep your body facing forward,
with your eyes up.

Look straight ahead, Marie-Noëlle,
not at the floor.

Straighten your knee, miss.
Don't be afraid.

Hold it.

Lift.

Lift. Lift.

- I'm losing balance.
- I've got you.

No, I'm going to fall, Lilian.

No, you won't fall.

Lower. Relax.

Relax.

This and this,
that's the diagonal.

You mustn't lift your left hip.

One!

Lower it. On the contrary.

Engage your hip joint.
- I'm falling.

Lift backward.

One!

Lean back.

There you go.
Grab your foot.

Grab it.

Your left hand is up,

and the arm is there,
leaning backward.

That's it. Leaning back.

Leaning. That's it.

Lean, lean, lean.

Hold.

Slowly bend.
Bend your right knee, Marie-Noëlle.

Lower your right knee slowly,
outward.

Lean.

Pull. Create counter-force.

Pull.

Pull.

Pull.

Pull.

Create counter-force.

Goodbye, Ysoline. I love your name.

Goodbye. Sleep well.

- Goodbye, little kitty.
- Goodbye.

Get some rest.

Have you heard from Raymond?

He's in a pop group right now.

What's that?

There are amazing sets,
dancers, and performers.

You should go.

- Me?
- Yeah, you'd have fun.

I'm sure of it.

- Sonia.
- Yeah?

Goodbye, Anne.

Sleep well. Take care of your hair.

Bye.

- You wrote everything down?
- Yep.

- You’re not too tired?
- No.

You okay?

You're tired, huh?
- My hip hurts.

Put on your robe so you can rest.

Sounds good.

Are the eggs ready? I'm hungry, Sonia.

Time to eat, Kidie?

It's good.

Good. It’s good. It’s good.

Can you pass me the butter?
- One minute.

- Oh no.
- What do you mean, no?

- She's in a hurry.
- Yeah, well…

I’ll get it myself.

Kidie, let’s eat.

Here you go.

Kidie.

See?

Count.

- Are you eating? - She’s eating.

Count.
- Okay.

One, two, three,

four, five, six,
seven, eight, nine, ten,

eleven, twelve, thirteen,
fourteen, fifteen, sixteen.

Bravo, Kidie! You’re smart.

It’s fresh butter.

No? Not fresh?

Eat, Kidie. You don’t want it?

Oh well. We’ll leave it.

Will you feed me?

Let’s eat.

Too big, maybe?
I’ll give you more butter.

- Miss, please.
- Yes?

- Where’s the pop rehearsal?
- Follow me, I’m heading there.

Thanks.

Oh! Stop.

Let’s start from the beginning.

Whenever you’re ready.

Okay, let’s go.

One, two, three.

- That works well.
It's good.

We're doing the fight scene.
I'll be right back.

Hello. Pierre.
- Pegay.

- Hi.
- Sonia.

Jean-Claude sent us.

- What?
- Jean-Claude sent us.

- Oh, yeah. Jean-Claude.
Good call.

Great call. I'm looking for a girl.

A professional, of course.

What you guys are doing looks great.

- Oh yeah, it's got a lot of energy.
Tons of energy.

It's a show we're putting on
with some friends, for America.

What's it about?

It's…

It's about…

It's a show. It takes place on a planet,

and we make love,

we go to war, we make love again,

then we go to war again.

And then there's
this big pollution crisis.

And at the end,
it all ends with a huge explosion.

No one's left,
and love isn't possible anymore.

That's it.

You interested?
- Of course.

- Huh? - Yeah.

Let's do it, then.

- We need to change.
- No, no, no.

We're doing it right now.

Then we'll see.

We'll see right away.

Let's do the fight scene

right now.

Try to keep up, girls.

It's really fast.
Watch out.

Really, really fast.

Let's start.
We'll do the lift first.

Come to rehearsal at 2 PM tomorrow.

Okay, guys.
Works for me. Great.

One,

two.

Tighten up.

One… Tighten your heels.

Achilles tendon.

And one...

That was right.

Good.

Very good.

One, hips.

Two, release.

One, hips.

And lower.

And up.

From below.

Tighten, big.

Feeling better now?

- Huh?
- Yeah, it's fine now. No pain.

It'll be nice once you stop.

Two.

Very good.

What record do you want, my Lili?

- One I like.
Viennese songs, Sonia.

Viennese...

You like this song?

Yeah?

Do you understand all of it?

Doesn't matter.

I understand plenty of other things.

Then I'll translate it for you,
so you can sing along.

Hear that?

- Good?
- I adore you, Lili.

Good.

Up.

Back.

Miss.
- Hello, madam.

Hello, madam.
David Mensinger.

Thérèse Atanarev, my wife.

Arielle called me.

You, madam, I know you.

You were in Dance Magazine.

You're very, very beautiful.
My compliments.

Arielle must have told you
what's happening with us.

Thérèse has been having back pain.

The doctor thinks
it might be a slipped vertebra.

We came so you could take a look at her.

Of course.

May I?

Don't be afraid.

Here?

No, lower.

- Here? - Yes, that's it.

It's the fifth lumbar.

Our situation is
quite serious and urgent.

Thérèse has to
premiere a ballet in ten days.

*Iphigenia.*

She’s in pain during rehearsals
and sometimes has to stop.

We came to ask if
there's anything you can do.

Of course,
whatever your fee is, we’ll pay it.

Do you have a leotard, madam?

No, of course not.

I didn’t think we'd be working today.

If we want to check properly,

it’s better to start now
rather than wait.

I think that would be best.

Alright.

Sonia, could you kindly
take madam to the dressing room?

This way, please.

Lower your elbows slowly.

Lower your elbows,
straighten your knees.

Thighs should go toward the floor.

Straighten your knees.

There, hold the bar tightly.

Always very, very slowly.

Slowly.

And slowly, exhale.

Lift your sacrum, your hips.

And stretch between
the iliac crest and the ribs.

Hold your breath.

Exhale.

Okay?

Slowly.

Never any sudden movements.

Head forward.

Now, lower it properly.

The last lumbar.

Lower it.

Sonia, show the other movement.

Lower.

Watch Sonia carefully.

I'll never be able to do that.
Look at this gap I have.

That’s not the full movement yet,
but you’ll get there.

Up, up, up.

There. That way, that way.

That’s it.

Feeling okay?

Yeah, I think so.

It hurts.

Pain, pain.

Pain doesn’t exist.

You're feeling better, right?

No, but maybe this will help.

I sure hope so.

We really appreciate this.

We’d love for you
to come watch a rehearsal.

- I’d love that.
- If you can.

I’d love to.

And bring the young lady, of course.

There. Thanks again.

- Goodbye, sir. - Madam.

Goodbye, madam.

Take care.

You too.

While moving, smoothly.

Here, spin, and
send the girls to the floor.

Don't just drop them. Make them roll.

Impact.

Exactly, that's it.

- It looks messy.
- It always does a little.

Everyone got it?

Put your helmets on.

Ladies, glad you could make it.

Miss.

Have a seat. We’re about to start.

Hey, Lilian.

Hey, Sonia. How’s it going?

Did you do your finger exercises?

You need to. Come on, let’s start.

Before we go to bed.

Go ahead.

One.

Two.

Three.

Very good.

Four.

Five.

Good.

Six. Control.

Seven.

Tighten.

Eight.

Good.

It’s fine.

- Did it go well for you?
- Yeah, it’s fine.

It’s not hard. Let’s do it again.

OK.

Musicians speaking in English.

Was it good this time, Pierre?

It was crazy.

- Oh yeah, that was good.
- Are you coming to America with us?

- Huh?
- Are you coming to America?

No, not like this, not to America.

- Why not?
- Uh…

What’s stopping you?

My godmother.

I can’t leave her all alone.

You could at least ask her nicely.

Eddy, come here.

Come on.

He'll convince you. No problem.

No godmother, nothing.

Tell her to come with us to America.

Make her decide.

Huh?

He's totally on board.

- He doesn’t understand French.
- Yes, he does. Very well.

I understand.

What does that mean?

You've already skipped training twice.

I was with
a really nice group of dancers

and they’d love to hire me.

Who?

Well, there’s this guy named Pierre.

Okay. Please, forget all that.

You need to focus on
your training and nothing else.

That’s final. Basta.
Come downstairs with me.

One.

Two.

Last time.

And one.

And two.

- Chocolate or shortbread?
- Shortbread. Do you mind?

Thank you very much.

Okay, now the Iphigenia move.

Get ready.

Go.

Keep going.

Slowly, for the extension.

Arch your foot.

One, passé.

Higher, the leg.

The thigh.

What?

The thigh, higher.

I can’t hear you, Lilian.

- The thigh, higher.
- Thank you.

Good.

Go ahead. Higher.

Arch.

Extend.

Demi-pointe.

Hold.

What?

Looks like it’s going well.

Not for me.

Is it good?

Well… Do you want to?

- Not during practice.
- I like it. Thanks.

That’s sweet.

Thanks.

Do you think she’ll be ready?

That’s not up to me. It’s up to her.

Of course.

Feeling better? Does it still hurt?

Yeah, a little.

I’m sure it’ll get better.

We’ll be back tomorrow. Thanks again.

No problem. Bye.

Bye, ma’am.

- Everything's working out.
- I hope so.

Bye, Thérèse.

Bye, Sonia.

- You training tomorrow?
- Yeah, I have to.

- Do you really have to?
- Yeah.

- Because of the dragon?
- He’s not a dragon.

That’s a shame.

Yeah, but I have to go home.

- We need to leave together.
- Yeah.

Deal?

Bye.

Bye, Pierre.

Watch your arms.

Now, right shoulder.

Slowly, promenade.

Follow.

Engage your core.

Keep your torso straight.

Arabesque.

- Morning, Lilian.
- Morning, Sonia.

You’re 15 minutes late.

You’re always late.

You need to figure out what you want.

Because you’re
nowhere near being a dancer.

I shouldn’t have to wait for you.
You should be waiting for me.

If you just want
to have fun, that’s fine.

But if you choose dance,
you need to be on time.

- And really…
- This is my first time being late.

- No, it’s not.
- I’m sorry.

- You’re always late.
- Maybe she’s seeing her boyfriend.

If she wants to see her boyfriend,
she should forget about dance.

You could be anything—
a cook, a janitor...

Your shoes are awful.

Your dress is lovely, but
those shoes don’t go with it.

Trust me.

Listen, seriously.

No, thanks. I don’t feel like it.

I’m too mad.

Start, Sonia, please.

Otherwise, I’m leaving.

Then leave.

Fine.

You’re the one looking, not me.

I’m done!

Are you coming on vacation with us?

I can’t.

- Why? - Because of my training.

Oh, that’s it.

Eddy, she can’t leave her training.

Stop eating nonstop.

Listen...

No, I can’t stop.

You know, Pierre,

I can’t just quit my training.

It’s so hard when I start again...

But you’re quitting
classical dance for good.

It’s over. No more ballet.

Don’t you like being with us?

It’s amazing, right?

So much more relaxed.

- No? - I still can’t leave Lili.

She needs me.

I’ll go talk to Lili.

And I’ll charm her.

- That way, she’ll let you go. - No.

- Yes. - Try it and see.

Oh, I will. We’ll see.

Hey, ladies, boys,

We're going to need you.

We’re going to Tunisia. You coming?

Let’s not talk about Lili.
Just come with us.

One. Balance.

Balance.

Balance.

Lower your tailbone. No arching.

Shoulders.

And release.

Two. Round.

Through the shoulder blade.
Slowly lower.

Battement tendu.

Fourth position, please.

One.

And two.

Balance.

One, right arm up.

Not left. Right.

That’s fine. Shoulders,

Round. Round.

Round. Right shoulder.

Look at your hand.

Look.

And two.

Don’t bend,

when you go down.

Battement tendu.

And...

Sir, you don’t walk into
a studio with a cigarette.

- Lili... - Sorry, ma’am.

This is Pierre,
the one I told you about.

Go sit over there.

Keep going, please. Hurry up.

One.

Shoulders.

Look at your hand.

Lower.

Move your left hip back.

Don’t fall, please!

Don’t fall!

- If you push me, I’ll fall.
- No, you won’t.

That’s your problem, not mine.

Lower!

Don’t move. You’re off balance.

And two.

Please, move over there
if you can’t hold the center.

Excuse me, ma’am.

Sorry.

Please don’t touch my poodle.

Sonia.

Give me that.

Please, go over there
and do some fouettés.

Get into position.

Get into position.

Lift your left hip.

Don’t tilt your head. Keep your eyes up.

Look straight ahead.

Raise your arm, please,
from bottom to top.

Dance with your body. Not so mechanical.

It’s too weak.

You're not working well right now.

I don’t know what’s up with you.

Loosen your hip.

Tighten your body.

Shoulders.

Shoulders.

Move forward.

Move forward. Not so hesitant.

You know, Sonia,
this is really pathetic.

You’ve got years to go

before you might,
maybe, become a dancer.

- What? - I’m doing my best.

No. You’re doing whatever
you want, but that’s not it.

What’s wrong? It looks good to me.

No, sir. It’s not good.
It’s not perfect.

From what I saw, it looked great.

It’s beautiful. She has a great body.

It’s fantastic.

- You’re talking about her body.
- Yes, I’m talking about her body.

Am I not allowed?

No, I don’t agree about her body.

Exactly not.

She doesn’t have enough tone.

She’s not strong enough.

She’s strong enough
to do what she needs to do.

Then she’ll never be a dancer.

With you, she’ll never
be a dancer, in my opinion.

Your opinion. With you,
she’ll be something else,

but with me, she’ll become a dancer.

- That’s my concern. - You think so?

- Absolutely. - You’re right.

Sonia, up until now,
I’ve been entirely focused

on your body, and it’s hard work.

Listen, I’m not Kidie.

Kidie’s not a dancer. She’s a poodle.

You just want to keep me here with you.

- You want to turn her into a poodle?
- No, into a dancer.

You’ve focused on her body. That’s fine.

But now, she needs to live a little.

She can’t spend her whole life
in a gloomy studio.

Don’t you get that?

To become a dancer, she has to spend

her whole life in a studio.

- Thank you. How generous of you.
- I know, madam.

Either way, you’re
judging as an outsider.

I’m not an outsider.

Look at how you're sitting.

Your posture is terrible.

Mind your own business.
She’s not your concern.

If you’d rather we see
each other behind your back...

It's settled.

I'll always know if you see her.

Just so you know.

You won’t stop her from
seeing me. Or me from seeing her.

We’ll see about that.

Whatever.

You keep training, and you
stop seeing that boy. End of story.

You're cruel.

No, I’m logical.

I never thought you’d be like this.

I’m not, but I know what I want
and what you want.

You want to be a dancer.

If you want to be a dancer,
you need blinders,

looking neither left nor right,

only forward,
down one path: becoming a dancer.

And nothing else matters.

What are you doing with that woman?

I'm dancing.

What do you call "dancing"?

What do you call "dancing"?

No one can teach me like she does.

What do you mean, no one?

Lots of people could.
- No.

- Then explain.
- No.

Explain!

What she knows, she knows in her body.

No one knows it like she does.

- What is she teaching you?
- Take a class with her.

I don’t need her lessons,
and neither do you.

- I do. - No, you don’t! Why?

If I don’t train with her,
I’ll never be a dancer.

- You want her to teach you?
- Yes.

- You’re wasting your time.
- No.

- Yes, you are. - That’s my opinion.

- Can you at least hear my opinion?
- No.

If I don’t open your eyes, no one will.

Do you really think
she’ll make you a dancer someday?

I’m sure of it.

And why do you say that?

Because I feel it.

Did she promise you?

No. I just feel it.

It's a connection.

- Between you and her?
- Yes.

That’s impossible.

Can’t you tell me something else?

She’s disabled, that’s all.

But she’s a great teacher.

- Why?
- Because she’s disabled.

Can you explain why?

She's a sadist.
- No, she's sick.

She's sick because she's a sadist.

She needs a nurse.

She gives you lessons,
and in return, you're her nurse.

Not at all.

You're selfish for saying that.
- She needs a caretaker!

- You're being mean.
- No, I'm just telling you the truth.

Well, I don't love you anymore.

So what? I love you.

- Not me.
- I'm gonna slap you.

Try it!

Ouch!

- I love you.
- I don't love you.

But I do.

I do.

Julio!

What?

We're doing the teaching!

I can't hear you!

The teaching!

Got it!

Franck!

Franck! We're doing the teaching!

- What? - The teaching.

You remember, right?

- She's still moving.
- No way.

Arabesque. Right arm, left arm.

Stretch.

Relevé.

Fall. Port de bras.

One, toward the open leg.

Two.

Three.

Arch.

Four.

And now, sharp.

Left shoulder.

Left shoulder.

Lift your fingers, please.

Left shoulder.
- Like this?

No. Close your shoulder blades.

That's wrong.

You're like this instead of that.

You should be looking there.

- Why do you have both crutches?
- I like it.

- Are you just playing it up?
- Keep going, please.

Don't ask why I have crutches,

ask yourself why you're
not standing on your legs.

That's more important.

It's not me working, it's you.

Left shoulder. Stretch your left hand.

Lift.

Careful.

No. Yes, arabesque.

You were already there.
Stay in attitude.

Arabesque, attitude...

You were in arabesque attitude.

That's not true.

- Attitude or arabesque?
- Attitude arabesque.

And do what I tell you.

You need to do what I tell you.

I'll continue the adagio.

Listen, really. This isn't possible.

Do what I say.

Go on. We don't have time.

Left shoulder. Lift your fingers.

Slowly, please, go into passé.

Slowly.

Slowly. Turn toward me.

Toward me. Effacé.

Listen, this isn't working.

You're falling.
You're stumbling. This isn't working.

What is all this about?

You're exhausting me.

You too, and I'm more tired than you.

I'm fed up.

Listen, Sonia, you can't leave.

You just can't.
- Lili, I want to dance.

- But... - Get changed.

I want to dance.
- But you are a dancer.

You're dancing all the time.
You're training.

Training is dancing?

- What else would it be?
- Not dancing.

I feel trapped all day long.

But you're a slave to your body, Sonia.

You must train your body.

Don’t you know that
a dancer has to train their body

until they either choose to stop dancing
or physically can't anymore?

But Lili, I’m not 60. I’m 18.

I want to dance.
- Now is the time to become a star.

Just because you’re 18— a star.

And you, you're still a student.

- If you get upset, we won’t get along.
- No, never.

I want to convince you.
You have the soul of a dancer,

but not the body.

Try to transfer, to
transform what’s in your soul

into your body!

Try!

Don't make mistakes! You’ll
regret it for the rest of your life.

I’ll also regret not enjoying being 18.

- Who?
- Me.

- You think so?
- Yes.

Being 18 is nothing. You have
your whole life ahead of you.

- You were 18 once.
- But imagine, I danced.

I don’t dance, you know.

I danced in training,

not like you, in nightclubs.

I don’t go to nightclubs.
I want to live, to be free.

What does "living your life" mean?

Doing whatever you want?

Running off with guys? Having fun?

Yes, once in a while.

You can’t, not if you’re an artist.

You can’t serve two gods, Sonia.

If you’re an artist,
you serve only one god.

But Lili, I can pass it to you.

Do you want sugar?

Listen, I could have passed it to you.

Kidie.

Kidie.

You’re ridiculous.

Without bending
your left knee. No. That’s wrong.

You have to do it.
- I can’t.

What do you mean, you can’t?
Push past the pain.

I push through it too.
You think I’m joking, with my leg

and my pain? You have to do it.

Hold on. Stretch your arms.

Come on, don’t bend your left knee.

Lift your chest.

Now the other side.

Don’t stop. Please.

Straight.

Straight, now.

Tilt your pelvis. Please, tilt.

Tilt!

- I can't.
- What do you mean?

I'll never be able to. I'm done.

You should never be "done."

You must always push through.

No. It's useless. I'm really done.

Sonia, please, go with Thérèse.

Take care of her.

Please.

Sir, I need to speak with you.

Please, will you help me?

Don't worry, it'll work out.

She's amazing.

Sonia, no need to walk me home.

- Okay. - David will take me.

Alright.

- Shh.
- Oh no! Not this.

Pierre, you're overdoing it.

Look what's waiting for you.
Your night isn't over yet.

Tough luck.

Eddy, are you serious?

Shh!

Shh.

He sings really well.
What's your problem?

- Stay.
- No, Lili. We're tired,

and we're just going to argue again.

No.

This is serious, Sonia.

Tomorrow, you're dancing *Iphigenia.*

Me?

- You.
- Just like that? Tomorrow?

- Yes.
- But why?

Thérèse is sick. You'll replace her.

She left for treatment in London.

You said I wasn't ready.

You need to know what you want.

Don't worry.

I've made arrangements
with the choreographer.

We'll adjust the movements

to what you're capable of doing.

I don’t understand anything anymore.

I don't know anymore.

Raise your arm.

Right away, to Ge.

Ge, both of you.

- Wait.
Go back just before.

Go back a little. From there.

Move into Ge.

Good.

Very slowly, the arm movement.

Slowly.

- Lower.
- That's it.

Pointe on pointe.

Not bad.

It wasn't much.

The ending wasn't great.

You're too close to me.

We can improve it, but it's not bad.

At the end...

You know, at the end,

after the embrace.

Like this.

Hold on. Hold tighter.

- More like this? - Yes.

Like this?

Hold on until you *have* to let go.

Lean in a little more...

There.

- That's a bit much.
But it's good. Okay?

- Yes. - And then…

Push.

They look great together,
and she did really well.

I was even surprised.

Me too. I love you.

No.

If you attended every rehearsal,

you could adjust
the choreography for Sonia.

That would be good.

- Alright.
I think we're good on this.

- Let's move on to the lift.
It's more important.

*Okay.*

Places, boys.

- Can we take this off? - Yes.

Hurry up.

Quick, get in position.

Are you ready?

Go, give it a good push.

No.

Don't be afraid to really run.

Get a strong takeoff.

- And don't go up like that.
Go all the way up.

Go.

One, two.

Come on.

Push.

*Jean-Marie, 10-minute break
for everyone.*

Sonia and Jean-Marie,

stay on stage.

What's wrong, Sonia?

I can't do it.

Why not? That doesn't exist.

- You have to do it. - I'm scared.

No, fear isn't real.

You can be afraid of other things,
but not of a lift.

You *have* to do it.

Easy for you to say.

- It's not just words.
You *have* to do it.

- Go. - But I'm scared.

No, don't be afraid.

You *can't* be afraid.

It's ridiculous.

Go.

No.

Tighten your back.

Engage your shoulders.

Push your shoulders forward,
tighten your core.

- And move forward with your eyes.
Stronger, please.

Brace yourself.

Tighter.

Shoulders forward.

- Get enough momentum.
You're stopping mid-run.

Go.

- Brace yourself. Engage your core.
Don't breathe.

Don't breathe when you jump.

Your legs.

You need to stretch
your toes and shoulders.

Push them forward.

Hollow your core.

You *have* to do it.

Brace yourself.

Look forward.

There.

Are you tired, Sonia?

Yes, I'm tired.

Please, help me up.

What for?

- Don't ask.
Just help me up.

- What are you going to do?
- Sit down. Get some rest.

Get some rest.
- Where are you going?

- I'm going to cook.
- No.

- Yes.
- No.

No, no. No!

- Lie down and get some rest.
You're tired.

Okay.

I'm going to cook.

The housekeeper
already prepared everything.

It's on the left,
inside the stove.

And don’t burn everything,
please.

Please.

I told you about
the youth in our company.

For example,
our Iphigenia is 18 years old.

Alright.

While we wait for
our friends from television,

I invite you all
to have a drink.

Pierre,
I looked everywhere for you.

What?
- I was looking everywhere for you too.

I called you.

I waited for you all day.

And this, what is it?
- It's my Iphigenia costume.

- Your Iphigenia costume?
- Yes.

- Photographers, television...
Getting a big head, huh?

- Don't say that.
This is important to me.

And what we had,
isn't that important?

- It is.
- It means nothing?

- It does.
- Then why?

To continue my training.

Ah, your training.

Training to
sleep with that guy?

In three days,
you'll be in his bed.

- Don't be ridiculous.
- I'm telling the truth.

Sonia, the TV crew.

It's starting.

- No.
Listen, Pierre.

I love you too, Sonia.

But this is more important
to you, isn't it?

I only regret one thing,
loving you.

Leave me your coat.

Sit down.

I'm looking for something to drink.

There.

Do you know Iphigenia?
- Yes, very well.

- Very well?
- Hmm.

Oh, really.

But one thing
I don't understand,

is why the gods
want to sacrifice her.

I don't want vodka.
- Just a little. It's much better.

- Stop.
- Alright.

Sacrifice...
There are many interpretations.

Mine is what it is,
but I'll tell you.

I believe that since Agamemnon
is waging war on Troy,

he is responsible
for an enormous slaughter.

The gods,

in exchange,
demand his own blood.

That is, blood
very close to him.

Moreover, pure blood.

Agamemnon has a daughter: Iphigenia.

Iphigenia is a virgin.

So the Greeks sacrifice Iphigenia.

That's my interpretation.
- That's beautiful.

- That?
- Yes. I like it.

You like it...

And this, you don't like?
- I prefer this.

Wait.

No. Look at me.

There.

You see, I have...

I have ideas,
but I'm very clumsy.

I think it would work well.

What's that?

- That?
- Hmm.

We have so much
in common that...

This will go very well
between us.

Yes, but you're married.

And besides, I love Pierre.

That's true.

You little bitch!

- No, Thérèse.
- No?

-I'm not a bitch.
I'm...

And this outfit?

Isn't that what
a bitch would wear?

No.

Not at all.

David, come here.

I came to talk about Iphigenia.

- Listen, Thérèse…
- Who do you think you are?

Let go of me!

Who do you think you are?

David invited me here
to talk about Iphigenia.

Let's talk about Iphigenia.

You'll never dance it.
You can't even stand up.

- I won't dance it.
- Definitely not.

I understand everything.

She doesn't waste time,
the old hag.

You think that teaches you
how to dance?

- You're right.
- Get lost!

Go away.

You disgust me.

What are you doing?

I'm leaving.

What do you mean,
you're leaving?

- I'm going to Tunisia.
- To Tunisia?

But what are you
going to do in Tunisia?

-That's my business.
I've had enough.

You and David really fooled me.

- But you danced Iphigenia.
- Yeah, sure, like you say.

I sure did dance Iphigenia.

You know, maybe
I'll never be a dancer,

but whatever I do,
I'll do it well and on my own.

- You think so?
- Absolutely.

- You're staying.
- No.

You're staying!

- I said no.
- I said yes.

-No point insisting.
I'm leaving.

You know I have hip pain.

No point trying to guilt me.

I'm done.
That's it.

- You're leaving me?
- Yes, I'm leaving you.

-Hey!
What are you doing?

ONE,

TWO AND THREE!

Calm down, calm down.

What are you doing here?

I'm working.

-We were looking for you.
We're at the beach. We're waiting.

Are you okay?
- I need to work.

Oh, come on.

This can't be serious!
- What?

-Where is Lili?
Is she here?

Where did you put her?

Listen, this is ridiculous.

We're on vacation.

What is this?

-No, Pierre.
I want to work.

This isn't right.

Take off your tights.

- I want to work.
- Take them off.

- No!
- Take off your tights.

Eddy.

English dialogue

ONE, TWO, THREE, FOUR.

Well.

-Goodbye, Pierre.
See you later.

I'll call you later.
- You're crazy.

I'll be waiting here.
I'm not moving.

Listen.

Come on, go.

You know her.
She's going to...

She's not going to trap me.

We've got lots to do tomorrow.

- I'm going to pack my suitcase.
- I've got plenty of cigarettes.

I'm waiting.
Look, there's a pack.

I've got time to wait,
but hurry up a bit.

Right?

Hurry up!

Quick!

The other night,
at my place, at 11 p.m.,

he talked to me about computers.

It was really interesting.

-He just came to say goodnight.
Otherwise, he's working.

Hello, Lili.

You're back?

Yes.

But you know, I'm leaving again
for a few days in America.

-What? Sonia?
You don't know?

Lili can't move anymore.

- What's wrong with you?
- Nothing.

Lili has an arthritis flare-up.

Alright.

I'll be right back.

Did you forget your suitcases?

What's wrong with you?

What's the matter?

Tell me what's wrong.

Pierre, I can't leave with you.

-Oh, no. You're joking.
That can't be.

- No.
- But listen, everything was set.

- She's paralyzed.
- She's done everything except that.

Oh, no.
This can't be, listen.

-This is terrible.
What am I going to do?

You're coming with me.

She's not paralyzed.
- Yes. She can't move anymore.

Let me go see her. In 5 minutes,
she'll be walking and jumping.

Let me go.
- No.

Why don't you want me to go?

Because
it won't change anything.

It could change everything.

- It won't change anything.
- It could change everything.

Come on.
Forget about her.

- I can't.
- Yes, you can.

- No.
- Yes, you can.

Pierre...

You don't want to come?

Then come.

Do you remember Tunisia?

And that doesn't mean anything to you?

Doesn't it make you want
to start over?

Yes, but...

Then come on.

Come.

Forget about her.

No.

I can't.

- Yes, you can!
- No.

No, I can't.

-You can.
You really can.

No, I can't, Pierre.

Pierre, I love you.
- You know I'm leaving tomorrow.

You're hurting me.

-Listen, there's no point.
I'm leaving.

Really, it's useless.

If I come back next year,
in 2 years, 3 years,

it'll be the same problem.

It’s all the same.

Even in 10 years.
So I'm leaving for good.

- What am I going to do?
- You'll be with her.

-No, Pierre.
I love you.

-Let me go.
I have to leave.

I ruined everything with you.

I'm sorry.

Goodbye.

- Enough.
- No, wait.

One, two, three.

Go!

; Keep your back straight.
Right shoulder.

Left knee.

Lift your eyes.

I can't anymore.

One more time.

You don't realize.

But Lili, you'll see,
it'll be better afterward.

- Hold me.
- Yes, I'm holding you.

- Careful.
- Yes, yes.

There.

Go on, press down.

Very good.

Don't let go so hard,
you'll hurt yourself.

Lower your head.

One, two,

three, four.

One, two,

three, four.

Enough!
- No.

It's very good.

I can feel it loosening.
It's good.

- Enough!
- No.

-It's here.
They're like wings, like a plane.

Here,
you need to contract.

Here, you have to stay tight.
This is it.

If you're here, you'll fall.

Your whole body
absorbs the impact.

The release of your arms.

They're like wings.
Even I can do it.

Subtitles: ECLAIR
translated by DrButcher