All language subtitles for Certified Copy (2010).en

- Buongiorno.

Good morning, ladies and gentlemen.

Just a few words while you're waiting.

As you know,
James Miller will be joining us.

He's a little late.

He can't blame the traffic.
His room is upstairs.

I hope he won't be long.

We're here for the presentation
of his latest book,

Certified Copy,

that was awarded
best foreign essay of the year.

Well, that's about it...

- Here's James.

Please, take your seats.

Autographing will be after the conference.

I'd intended
to briefly introduce James to you,

but who better than himself.

Over to you.

- Good morning.
- Good morning.

Good morning. Uh, I'm so sorry I'm late.

I would blame the traffic,
but, uh, I walked here.

Well, thank you all for coming
on such a lovely day.

I think probably I would prefer
to be out in the sunshine.

But, uh, I am grateful
for the amount of attention...

that you've been giving to my book.

And frankly, I would have appreciated
such a warm welcome back in England.

But having my work acknowledged...

by the compatriots of Michelangelo
and Leonardo da Vinci...

is really something of a compliment,
and I'm very grateful for it.

Some of you may know
that the original idea for my book...

came to me when I was in Florence
in the Piazza della Signoria.

And here I am, after quite a lot
of hard work, back here in Tuscany...

with the opportunity to show you
the fruits of my labors.

I suppose it goes without saying that art
is not an easy subject to write about.

There are no fixed points of reference.

There are no... immutable truths
to fall back on.

And my decision to explore the psychological
and philosophical aspects of the subject...

made my task rather more difficult
than I originally expected.

But I do have a few words that I would
like to say, with your indulgence...

that I've prepared especially
for this morning.

I'd like to sincerely thank

my friend and colleague Marco Lenzi,

whose translation

is simply perfect.

He's really conveyed the spirit of my book

and made this Italian edition possible,

as well as our meeting today.

Well done and thanks again.

Next time, you write the book.

- I'll do the translation.

I'm rather afraid
that the alternative title to my book —

Forget the Original.
Just Get a Good Copy —

is likely to offend the artistically sensitive.

I apologize sincerely.

But the fault isn't entirely my own.

Nowadays, editors insist
on a controversial title.

But you should be aware I am —

I am not a — an expert.

I'm not an art historian.

I'm certainly not recognized in this field.

And more than anything,
I'm not a member of the artistic establishment.

It's my intention really just to try and show
that the copy itself has worth...

in that it leads us to the original...

- and, in this way, certifies its value.

And I believe this approach
is not only valid in art.

I was particularly pleased
when a reader recently told me...

that he found in my work
an invitation to self-inquiry...

to a better understanding of the self.

Questions about the concept of originality...

have been discussed throughout history
and precede even the time...

when the Romans were selling copies
of Egyptian silver artifacts.

My own favorite story is of Lorenzo de' Medici
instructing Michelangelo...

to carve his statue of Cupid ‘al/antica'..

so it would fetch a better price.

So this concern about originality —
the notion of the false and the genuine —

has always existed and occupied
our ancestors' minds...

as much as it does ours today.

The word “original” has itself
for us very positive connotations —

authentic, genuine, reliable...

lasting, possessing an intrinsic value.

The etymology of the word, too,
is interesting.

The Latin root “oriri”
means arising or being born.

And I am particularly interested
that the word “original” refers to birth.

- I would take the idea to its extreme —

and draw parallels
between reproduction in art...

and reproduction in the human race.

After all, it might be said we are only
the D.N.A. replicas of our ancestors.

Examining original works is therefore
a process of questioning origins...

of exploring the foundations
of our civilization.

Renaissance humanists searched
into the roots of Western culture...

encouraging a wider understanding
of cultural heritage.

This fascination with one's culture's origins...

is inextricably linked to the fundamental
definition of originality.

And with originality
comes a need for authenticity —

the need for cultural confirmation.

Certifying the authenticity of works...

can therefore be seen
as of fundamental importance.

The authenticity of an object can be certified
according to the following four criteria.

Firstly, one must consider the form
and shape of the artifact.

- Secondly, the material of which it is made.

Sorry. I think that's mine.

I obviously missed that instruction
about turning off your mobile phones.

- Just a moment.

Hello?

Uh, yes.

Look, well, I'm sorry,
but I really can't discuss this now.

- I'm, uh, a little busy.

Yeah, could you perhaps
call me back this afternoon?

Yes, this afternoon. Yes. Okay.
Thanks for the call.

I'm so sorry about that.
Now where were we?

Should I take your bag?

No, it's okay.

It'll be too heavy.

Come on.

- You ordered a cheeseburger?
- Yes.

- Fries?
- Yes.

Double?

You won't eat them, but yes.

- Coke?
- Can you look at me?

Coke?

Yes.

How many books did you buy?

Six.

Lucky you didn't like it.

I never said that.

I heard you telling Pierre.

No.

I didn't say I didn't like it,
just that some parts annoyed me.

But he explained them to you.

Yes, but I wasn't convinced.

How come you bought so many?

To get you talking.
And for presents.

- Who for?
- For Marie, among others.

But...

she already has it.

Well, I want to give her a signed copy.

Good idea, no?

So, you want to see him again.

You want to see that guy again.

Well, maybe.

And the others, who are they for?

One's for Alain.

But you can't stand him.

Right. I want to give a book I dislike
to a man I dislike.

- Can't 1?
- Sure, you can.

So, what were you saying
to that other guy?

What other guy?

The writer's friend.

You have to know everything?

You said we were buddies
who kept no secrets.

But you were just being nosy
about Elisa, right?

But who cares?
I know it all anyway.

Good for you.

I know you like this James
and want to fall in love with him.

And you gave your number
to his friend so he'll call you.

Not at all.

I did give my number,
but not for what you think.

No.

I just want to find out more about his book.

It is my job after all.

And you kept... I couldn't listen.
We had to leave.

You weren't listening.
You kept whispering...

Neither were you.
You kept playing with that thing.

At least, I... I was playing,
but I also listened.

You were just starry-eyed.

Mind your own business, okay?

No need to get so mad.

We're just here, having a chat...

- Yes, we're having a chat.

I don't see why you get so annoyed.

- I'm not annoyed. You annoy me!

And get a haircut!

Just one thing, okay?

One more thing, and then I'll stop.

One question:

Why didn't you want him
to sign with my surname?

You're really going too far!

My name is Julien...

You're getting on my nerves. Enough!

But I do have a surname!

Hello?

- Oops.

- Ah, buongiorno.
- Buongiorno.

Did you find it easily?

Uh, yes, thank you.

I've been staying just down the street.

Oh, yes, yes.
At the university, right?

- Mm-hmm.
- Yeah.

Um —

Mmm, are you always open
on Sundays?

No. No, usually it's closed, but I, uh —

I thought it'd be a convenient place
for us to meet.

And I didn't give a time,
SO you could come anytime you liked.

- Yeah.
- Sorry. I have hair —

Obviously, the cat.

Well, we certainly have
a shared interest here anyway.

Oh, you mean, uh —

No, I just, uh, ended up here by accident.

Yeah, I-I — I didn't —

Just in the middle of all these things
without really caring about them.

Oh, I see.

Well, you're quite right.
You should keep your distance.

Oh, they're attractive enough,
but they can be bad for you.

Are you serious?

Absolutely.

They're — They're valuable enough, but, uh —

- It's a copy.
- Yeah.

But they can be dangerous, too,
in their own way, you know.

I mean, I study them and I, uh —

and I admire them
and I write books about them...

but I keep my distance too.

Actually, at home I prefer...
practical things, you know?

I'll only keep an antique
in the house...

if it will take its place
amongst everything else I've got.

Otherwise, out it goes.

Right. So, uh — So —

So you think, uh —

I think we should get
some fresh air, don't you?

I mean, you have a lovely shop,
but it's such a nice day.

- Perhaps we could go out. And —
- Sure.

And your invitation didn't say anything
about antique shops really, did it?

Uh, no, I-l =I, um —

I thought we'd just go and —
I was going to help you shop and, uh —

I don't know. It's Sunday.
Everything's closed, so —

You want some coffee?
I have some coffee.

Well, do you think we could —
Maybe we could get some on the way.

Right.

I'd really like just to get out of this town
for just a little while.

- Yes, I have a car. If you want, we can go.
- Great.

- Bye.

Are you leaving?

Uh, oui.

Be back for lunch?

I don't think so.

Remind Julien
he's got a private lesson at 2:00.

Sure.

- Oh!
- Oh, I'm sorry.

What's wrong with my shop?
You don't like my shop?

I only have originals and copies.

Is that why you were
interested in my book?

Um —

No. What attracted me to your book
was the title —

the second title, you know?

Um, before I forget, do you mind
signing a couple of copies?

- I have them —
- I'll get them.

- There's another one —
- Right. Leave them.

I'll get the others in a minute.

So, what should I write?

Uh, “For Marie.”
I-E at the end.

Just “For Marie.” That's en — That's all.

Sorry, I can't see anything
without my glasses.

I can't believe you're sitting in my car.
I mean it.

“Marie”?

So, uh — Yes, please.

That's very sweet of you.

So, first, I noticed the cover.
I mean, the title of your book.

I was with my sister, Marie,
and she said, uh —

We looked at each other, and she said —

“A good copy is better than the original.”

So, um — Oh, this one is for Alain, please.

So I picked up the book and —

Oh, no. Actually, she picked up the book.

She was the one who was really
tickled by-by — by your book.

Anyway, we-we both bought it.

Ah, sorry. This is for Professor Miao.

- Miao?
- M-I-A-O. Yes, please. Thanks.

So you see, Marie has, uh —

She loves costume jewelry.

So that explains that.

She has very interesting views on things.

Like what?

Oh, those ones, they don't need
any dedications. Just sign.

- Just a signature.
- Yeah, thank you.

“Like what?”

Uh, like — She says fake jewelry
is just as good as-as the real thing.

You don't have to worry about them.

Less hassle, you know. Just —

- Oh, she agrees with me.
- What?

- She agrees with me about that.
- Well, on that particular point, yes.

But she's, uh —

She's a simple person.

She doesn't try to convince anyone.

You're determined to try
and prove the unprovable.

So what you're saying is
it's acceptable from her...

but unprovable from me.

- Is that it?
- It's acceptable from her...

because she doesn't try
to convert anyone.

She's — She doesn't make a point.

She's just living in her own little world.

There's no difference
between copy and original.

- Simple as that.
- Well, she's lucky.

I wish I were more like her.

Like her? What do you mean?

Well — Well, actually, to be honest...

I wrote the book partly
to convince myself of my own idea...

but she seems to believe in it
simply and naturally.

And I — I think I envy that.

Well, why couldn't you just
be like her then?

I'm afraid there's nothing very simple
about being simple.

So, where are we headed?

I see what you're saying. Um —

I don't know.

I don't know where we are now and —

Just meandering around...

with no goal.

Well, that's fine with me.

Intentionally aimless.

- Uh =
- Where do you wanna go?

I don't know.
Uh, nowhere I particularly want to go.

- I'm happy just driving.
- Driving.

Driving around —

Well, yeah, you've gotta do the driving.

I — 1 get to sit here and —
and look at the view.

Right.

I have an idea.

I can take you to a place.
You'll find it, uh, interesting.

Oh, just one thing.
Uh, will it take long?

- How — How far is it?
- A half hour.

- Is that okay with you?
- Yeah, that'll be fine.

I have to be back here at 9:00
for my train.

9:00.

All right. At your service.

Do you know Lucignano?

Uh —

Yeah, I've heard the name,
but I've never been there.

Well, I have a little surprise for you.

So, uh, you were saying —

- Uh =
- Yeah, it was difficult to be simple.

- Is that it?
- Yeah, that's it. Yeah.

Well, we're not worms, right?

We're not supposed to be simple.
Just, uh, complex beings.

And what's the line between simple person
and simple — simple mind?

- Where's the line? Tell me.

There isn't a simple answer.

My sister says, uh, no struggle.

Only idiots work hard in life.

That's her belief.

You shouldn't be around things
that make problems.

Like, uh, I don't know.

Gas fire is better than a real fire.

Just flick the switch.

Safer, easier.

She's married to the simplest man
on earth.

To her, he's the best man alive.

He stammers.

Uh, “M-M-M-Marie!”

She — For her, it's a love song.

Well, I can understand that.
He's lingering over her name.

Mm-hmm. Well, she insists
they got it wrong...

when they registered her name at birth.

You know, she said,
“The right spelling of my name is...

- M-M-M-Marie.”

She loves the sound of it.
No, it's true.

- She sounds amazing.
- She is.

- I'll put something else in that book.
- Good.

Let's see. Which one is it? Oh.

What are you writing?

What is this woman doing
in the middle of the street?

- Look at her.

She is crazy.

Okay, let me go.

Okay, so what are you writing?

It's amazing.
People think that the road is their home.

That's all right, you can read it, uh —
read it later on then.

No, I mean —
I just wanna see what you wrote.

- Is that okay?

I know I'm a little bit nosy.

I'm nosy, but I just, uh —

“Forget the copy.
You are... the original.”

- That's all I need.
- What can you mean?

Now it's going to be impossible
for her to change her nonsense.

- Thank you very much.
- Well, just don't give her the book.

- Oh, great.
- Your choice.

After all, you've got plenty of others.
You could give her one of those instead.

Wonderful idea.

Well, maybe this discussion is just, uh,
stopping us from enjoying the view.

Right.

Just one more thing to say,
and then we can just drop the subject.

- So you have the last word.
- Well, no, that's not quite what I meant.

I just thought it would be nice
to enjoy the trip, you know?

But it seems to me that the human race
is the only species to have forgotten...

that the whole purpose of life —
the whole meaning of existence —

is-is to have fun, to have pleasure.

And here's someone
who's found their own way to do it.

We shouldn't judge them for it.

If they're happy and enjoying life...

then we should, uh, congratulate them,
not criticize them.

Just a few more kilometers.

- Okay, I'm gonna take a risk now.

Can — Can I tell you my favorite joke?

Yeah.

A man is cast away on a desert island.

One day, he's walking along the beach
and he finds a brass lamp buried in the sand.

So he digs it up, dusts it off,
and a genie appears.

“I am the genie of the lamp.

I will grant you three wishes.
What is your first wish?”

So the man, who is hot and tired,
said, “I know!

I want an everlasting bottle
of ice-cold Coca-Cola.”

So the genie waves his hand,
the bottle appears...

the man takes an enormous drink,
and then the bottle just fills itself back up.

So the genie says,
“You have two wishes left. Hurry up.”

- And you know what the man says?
- “Two more Coca-Colas.”

Ah, thank you. Look — All right —

- I'm sorry. I am sorry.
- It's not the joke that was the point.

It's not the joke that's the point.
It's the moral.

- Here's a guy —
- It's the laugh.

It has nothing to do with the moral.

Here's a guy whose life is so simple
that he doesn't need —

- He laughs.
- He's satisfied with a bottle of Coca-Cola.

That was a pretty bad joke.
I'm sorry.

I knew it, eh?

Bah! Anyway, it reminds me
of Jasper Johns's Coca-Cola.

Oh.

All right, Andy Warhol's Coca-Cola.

So you take an ordinary object,
you put it in a museum...

and, um, you change the way
people look at it.

It's not the object that matters.
It's your perception of it.

Yeah, well, it's fair enough.

If your name is Jasper Johns,
you can do that.

Well, if your name's Marie,
you can do that too.

I mean, the way that she looks
at her husband changes his value.

And look at these cypresses. Look.

They're beautiful. They're — They're individual.

I mean, you never see
two cypresses looking the same.

They're old.

Someone told me there was one
somewhere a thousand years old.

Originality, beauty, age, functionality —

the definition of a work of art really.

Except that they're not in a gallery.

They're out in the fields, so nobody
takes enough notice of them.

So, good idea,
but you didn't put it in your book.

Oh, you can't put everything in one book.

I'll have to write another one.
That's all.

- Cypresses and the Meaning of Art.

Well, perhaps not.

- oo
- Here we are.

It's a staggering view.

- So, what's going on?
- You mean all the cars?

Oh, it's like this every day.
Maybe a little busier on Sundays.

But people come
from all over the place. They —

They come here to get married...

because they think
it's gonna bring them luck.

There's a — There's a golden tree inside.

There-There's a —

The bride and groom come to promise
to be faithful forever.

- Forever? Good.

And did you get married here?

Yes?

No. It's impossible.

Speak up. I can't hear you.

No. You talk to him.
I'm busy.

I can't talk to him now.

I don't know. Talk to him.

I have no idea.

I'm not far away.

I don't know yet.

Okay?

Yes. I'll let you know.

I can't right now.
You deal with him.

Speak to you later.

Kids are terrible.

I'm sure they can be difficult.

If only they knew what a hard time
they're gonna get from their children...

they — they wouldn't have those stupid
smiles on their faces on their wedding day.

No doubt.

His private lesson is an hour later than usual,
and instead of waiting...

he wants to do a hundred things
that's gonna take an hour.

No understanding of time.

He says, “I'll go skating.
I promise I'll be back on time.”

But even to get to the skating rink
takes over an hour.

Totally unaware of time.

Yeah, well, isn't that what
we like about them?

Right. Just wanna have fun
and enjoy themselves.

Oh, exactly. I envy them.

Yes, of course, but who's responsible?

Who has to deal
with the consequences? Us.

No doubt.

The other day, you know, he was standing
in the rain just wearing a T-shirt.

I said, “Hey, get in.
You're gonna get soaked.”

You know what he said?
“So what?”

I said, “No, come on.
You're gonna get a cold.”

He said, “So what?”
I said — I was furious —

I said, “You'll die!”
You know what he said to me?

“I'll die. So what?”

- “No doubt,” I guess.
- Well, yes, no doubt.

I'm sure your son's gonna have a long,
happy and successful life.

But he's quite right.
We're all gonna die.

Nothing lasts forever.

- Oh, little baby.

Cemeteries are full of indispensable men.

Actually, I think
your son's version is better.

“We're all gonna die. So what?”

Children state the obvious.
We tell them off.

But if we get exactly the same thing from,
I don't know, a philosopher or a writer...

we, uh — we think it's wonderful.

Children just live for the moment.

They — They wanna have good fun.

They don't think about
the consequences or the cost.

Well, because we pay for it.

They don't even think about that.

They don't think about the cost because
it's part of the game, not an expense.

Oh, come on.
All this is-is good for books.

It's nice and clever.
It-1t doesn't ring with the — with the reality.

When you're alone and you're
dealing with it, it's fucking hard.

- It's different. I'm sorry.
- No doubt.

I'm — I'm sorry. I just want
to show you something in this museum.

I think you're gonna enjoy it.

This is the painting.

Well, they call it “original copy.”

- You've heard of it?
- No.

Well, it's the exact
illustration of your book —

the ideas you defend in your book.

It's a real copy.

- It's amazing.
- Areal copy?

Yeah. It's like, uh,
La Gioconda della Toscana.

It's a — They just found out
it was a copy, like, 50 years ago.

But it was, you know —
They thought it was an original...

for many, many, many centuries.

He's gonna explain.

This is the famous Musa Polimnia,

- That's the name of it.
- the portrait of a woman

whose dramatic story is told
on the cartel next to the painting.

For years, this painting
was believed to be Roman art.

It wasn't until the 20th century,
about 50 years ago,

that it was revealed to be the work
of a skilled forger from Naples.

- However, the museum decided to conserve —
- I don't understand.

- Ah.
- this fabulous portrait as an original.

- Well, he said that, uh —
- It is actually as beautiful as the original.

- that they thought it was an original
for many, many centuries —
- When was it made?

- In the 18th century.

And it was considered
as an original for 200 years.

After the Second World War,

in-depth research revealed
even the name of the forger

who made this amazing work.

The museum then decided
to keep it with great care.

In a sense, it's our Mona Lisa.

The original is in Herculaneum,
near Naples.

The story of the discovery itself
is interesting.

It was part of a Roman fresco.

And the excavation director
happened to be from Tuscany.

He commissioned the forger
to make this perfect copy,

so as to claim
that it was found in his region

and use its prestige for Tuscany.

You didn't seem captivated.

Interesting enough, but nothing new.

It's an example for your theory.

Oh. Okay.

Yes, but there are examples everywhere.

At some point, I had to close my book.

Close your book?

At least you could have said,
“I wish I'd seen this beautiful painting...

before I closed my book.”

Well, yes, I am sorry
I didn't see it in time.

But it was worth coming on the trip,
wasn't it?

A very nice picture.

And, well, you always learn something.

Really? What did you learn?

Well, didn't you find it interesting?

They say how much
they adore their picture...

but that it's a copy
and the original's somewhere else.

Because it's in Herculaneum.
That's a fact.

People have to know that, no?

But why?
What difference does it make?

The original is only a reproduction
of the beauty of the girl in the picture.

Um, she's the real original.

But I suppose if you look at it like that,
then even the Mona Lisa...

is a reproduction of La Gioconda.

And that smile —

Do you think that's original,
or do you think that Leonardo...

just asked her to smile like that?

All right, lecture over.

Uh, would you like to invite me
for a cup of coffee?

A pleasure. Let's go.

So you mean
there's no originals at all, right?

Not exactly.
There are plenty of originals.

Where?

You get me that coffee you promised,
I'll tell you.

It's around the corner.
We're going.

So where's your original?

- In your sister's house.
- Really?

In my sister's house? Where?

It's her husband.

Oh, come on.

- Buongiorno.
- Buongiorno.

Uh, what do you want?

Uh, just a black coffee will be fine.

- A coffee and a cappuccino.
- Coming up.

Let's talk about something else.

Um —

Oh, I-I couldn't hear your whole speech.

Um, I was with my son —
the great philosopher of yours —

and, uh, he was starving,
so I had to go and feed him.

But something you said about, um — um —

about being in Florence.

- I was curious about.
- What was that?

What did I “wanted” to ask you?

What did you “wanted” to ask me?

Stop teasing me.

You're looking at me — I remember.

Um, you said you had
the-the idea of your book...

on Piazza Della Signoria, right?

- Yeah, that's right.
- Mm-hmm?

Well, it was — it was just a conversation
between a mother and her son...

but, uh, it was interesting.

They were in the piazza, you know,
by the David statue.

And this — The mother was telling the son
something about it...

in French, I think.

And the boy, he looked tired.

He was sitting on the steps
and looking up at the statue like this.

- What was she saying?
- I-l couldn't hear.

Right.

But wh-what was, um...

special about them?

- Special?
- Mm-hmm.

Well, actually, that was —
That was more to do with something else...

and not to do with the book.

The idea for the book came from the conversation,
although I didn't really hear it.

But, uh, I was curious about them
because of something else.

What?

Well, um, which story
do you want to hear first?

What do you mean?

Well, would you like to know
why I was curious about them...

or how I got the idea for the book?

No, I want to know why...

you found this mother and son
SO intriguing.

I don't know.

Well, okay.

Well, actually, I already knew them.

That is, I'd seen them before in Florence.

This was all about five years ago,
uh, and I was in Florence...

for one of those conferences
on cultural heritage.

Particularly dull, I think.

Uh, and I was staying in a hotel
in the center.

It's ready.

Uh, thank you.

Anyway, it was, uh — It was curious.

Very interesting story.

Every morning,
as I got out of my shower...

I would see — see the same woman...

coming down the street opposite the —
opposite my window.

And when she got to the — to the corner
just in front of the hotel there...

she would stop and she'd turn
and she'd look back in the street...

until she saw a little boy.

He was about eight,
and he had these little shorts on...

and an enormous rucksack.

And when she'd seen him,
she'd turn and she'd walk on.

And she always had her arms crossed,
just like you.

And then when she got to the next corner,
she would stop again.

Again she'd turn and she'd look and check
that he was still following.

Actually, my room
was on the corner of the building...

so there was a window on either side...

and I could watch their progress
through the streets.

Your coffee's cold.

But what fascinated me was that, uh —

Well, they just never walked together.

The, uh —

The mother was always...
50 yards in front...

and she'd never wait.

And the boy would just stroll
along at his own speed...

never make any attempt to catch up.

And then on this particular occasion,
I saw them again in the — in the piazza.

The boy was sitting on the steps of —

of the David statue for —
oh, for quite a while, I think...

before his mother came to join him.

And that was the very first time
I saw them together.

Sounds quite familiar.

Do you —

Oh.

I'm sorry. I — I didn't, um —

- I didn't mean —
- No, no, it's okay. Go on.

So, what, you knew them?

I wasn't well in those days.

- Go on with your story.
- No, I'm sorry. I —

- So?
- So.

The mother was telling her son
something about the statue.

You know it's only a copy.
The original's in the Accademia.

But the mother hadn't told
the boy that, I'm sure.

Am I right?

Yeah, well.

The boy was looking up at the statue
as though it was a genuine...

original, authentic work of art.

Sorry. I really have to take this.
I — I'll try outside.

Hello. Yes?

Oh, hello, Ted.

His coffee's going cold.

That's how he is.

He's a good husband though.

Sorry?

He's a good husband.

- How do you know?
- I can tell.

Where do you come from?

I'm from France.

Where did you learn Italian?

I've lived in Italy for 5 years.

Where?

First in Florence,

now in Arezzo.

How come you speak English together?

He's English.

- And he doesn't speak your language?
- No. No.

- Nor Italian?
- No.

- He only speaks his own language.
- Yes.

- But you can speak his. Good for you.
- Yes.

He's not into languages.
He's not into anything.

Except himself and his job.

That's good.

- A man must love his job.
- What about us women?

It keeps them busy.
And we live our lives.

I didn't get married to live alone.

I'd like to live my life with my husband.

Mmm.

Is a good husband too much to ask for?

Our lives can't be all that bad

if all we can complain about
is our husbands working too hard.

You see,

when there's not another woman,

we see their job as our rival.

We also work, but with moderation.

Moderation is our choice,

whereas they can't help it.

For them, not working is like
not breathing: impossible!

I never asked my husband to stop.

Of course not.
How could you?

The world would simply stop.

But we put the brakes on.

My sister keeps encouraging
her lazy husband to work.

There are exceptions.

Don't you think there should be
a happy balance?

Ideally, yes. But that doesn't exist.

- Bring us some wine.
- Coming.

It'd be stupid of us

to ruin our lives for an ideal.

But mum's the word.

They don't need to know.

But how can I put up with a husband
who's never there?

They're never totally absent.

He makes you a married woman.

That's what matters.

At my age, you understand that.

How long have you been married?

Uh...

Fifteen years.

- Do you have children?
- Yes, a son.

It was his birthday last week.

He didn't even bother to call him.

- I don't believe it.
- It's true.

All he cares about is himself and his job.

- And his friends?
- And his friends, of course.

And his mistresses?

That, I don't know.

That's why you're wondering
who's calling him on Sunday, right?

No.

I'm just looking at him.

But with suspicion.

Whereas I admire him.

May I know why?

Sure.

On Sunday mornings,
what do most men do?

They sleep in.

He doesn't.

He takes you out for a coffee,

he tells you stories with a lot of pleasure.

He looks like he's still courting you.

Tell me about it!

If only he'd shaved,

he'd be perfect.

My husband shaves every other day.

Even our wedding day was a no-shave day.

Now, you're used to it.

On our wedding day,

my uncle asked me why he hadn't shaved.

I said I didn't know.

So he asked him:

“Couldn't you have shaved this once?”

Know what he replied?

He calmly stroked his beard and said:

“Yes, but I only shave every other day.”

I'm so sorry about that.

It's cold. I'll change it.

Your coffee's cold.
You want her to change it for you?

Uh, yes. That would be super.

How strange you don't speak Italian
after 5 years here with your family.

She mistook you for my husband,
and I didn't correct her.

Oh, really?

Obviously we make a good couple.

What do you think?

What was she saying?

Oh, she's surprised
you don't speak Italian...

when, uh, your wife and son live here.

That's not entirely my fault.
Uh, they taught me French at school.

And what would you like me to say next?

- Oh, she's asking you, not me.

My family live their lives,
and I live mine.

They speak their language,
and I speak mine.

- That makes sense, doesn't it?
- It makes a lot of sense.

- A lot of sense.
- Hello?

Qui?

No. We have one at home.

It's Sunday. They're closed.

Look, and you'll find it.

No.

We have one at home.
You'll find it.

Look for it!

No. Don't bother the neighbor.

Go upstairs, in my office.

I'll hold on, go.

Congratulations for your great wisdom.

My family lives their own lives,
and I live mine.

What kind of philosophy is that?

Bullshit.

Get real.
Listen to what he's doing to me.

Talk to him.
Maybe you'll do better than me.

There's nothing wrong with what I said.

It seems obvious to me that ultimately
people must live their lives for themselves.

Huh. You might be living your life,
he might be living his own life...

but you're both ruining mine.

Oui.

Are you facing the desk?

Uh, uh, uh —

Pull out the drawer.

The middle one.

It's the third from the left.

There.

Open... You idiot!
Pull it right out!

If I come home and find it,
I'll kill you.

Of course, our — our presence
can give comfort and pleasure —

No! In the back!
You can't miss it!

Of course, our presence can give
comfort and pleasure to those around us.

Look who's talking about presence.

When was the last time
the three of us had breakfast together? When?

- Hello?
- When?

Oui.

Can you see it?
In the back.

Can you remember?

I certainly can't remember the last time
you came down to breakfast in a good mood.

Right! You found it.

Now, go and do your homework.

Stop bothering me.
Don't call.

Don't call Marie either.

I don't know. I'll see.

Do your homework. Go, go!

Idiot!

The spitting image of his father.

Stubborn as a mule!

There's always a way with kids.

Well, I can't find it.
And you're never there.

One must be tough,
so the other can be loving.

Good cop, bad cop.

When you play both roles,
it's unbearable.

Am I supposed to play bad cop?

No need to play, darling.

That woman was saying

even a bad husband
is worth being married to.

But even as a bad husband,
you should be around.

Now wait. It's not really fair of you
to give me this role of absent parent.

Besides, there are bound to be certain times
when one parent or the other...

has to be away for whatever reason.

- You can't blame me for that, now, can you?
- Of course not, but you said “sometimes”...

and in your case it's constant.

When have you been here? When?

Mon chéri?

So you're saying I've never been there.

It's here.

They want to take a photo with us.

I said we got married here 15 years ago
and it's our anniversary.

No, thanks.

They really want this photo.
Come on.

I'm really not in the mood, okay?

They asked if we were happy,
I said very much so. Please...

- Don't embarrass me.
- No.

Sir...

Come and take a photo with us.

Sorry, no.

My wife and I would be very happy.

I'm sorry, but...

As you wish. Thanks.

Hurry up. We've been waiting for ages.

We'll be done in a minute.

Excuse me...

Can you come take a photo with us?

I beg you. It's my wedding day.

You can't say no.

No, no.

Sir, please, you can't refuse!

Thank you.

What you said was beautiful.

But why did it have to sound so ironic?

Sorry.

Didn't mean to sound cynical.
It's just that...

when I looked in their faces and I saw
the hopes and dreams in their eyes...

I just couldn't bring myself
to support their illusion.

A sweet illusion.

Well, it might be sweet,
but it won't last long.

The sweeter it is at the start...

the more bitter
the taste of reality later.

We've both been through this.

That sounds sad.

I Well, no, it's not sad.
It's just the way it is.

I wish I could tell that couple
not to cling to the branches...

of that absurd marriage tree...

or to their promises.

The only thing that'll keep
their marriage alive is care.

Care and awareness.

Awareness of what?

That things change. Everything changes,
and promises won't stop that.

You don't expect a tree to promise
to keep its blossom after spring is over...

because blossom turns to fruit.

And then — then the tree loses its fruit.

And then?

And then...

the Garden of Leaflessness.

Garden of Leaflessness?

It's a Persian poem.

“The Garden of Leaflessness.

Who dares say that it isn't beautiful?”

You remind me of your son.

I like it.

What do you like about it?

I don't see why I have to try
and convince you.

I wonder how you can convince yourself.

You're a real art expert, aren't you?

I don't see it as a work of art.
I like its subject.

Its subject?

I like the way she rests
her head on his shoulder.

I can't believe you're so...

sentimental.

I can't believe you're so...

irresponsible.

Irresponsible? Me?

This guy has nothing to do
but to protect this woman.

That's why he was immortalized.

Immortalized?

You can't be immortalized for that.
It's ridiculous.

Nonsense!

I don't feel like sharing this discussion.

Sharing?
Do you know what that means?

What do you know about sharing?

Let's go. This is too much.

You're right.

I don't share your opinion.

All you see is a woman
resting her head on the shoulder...

of that monster!

Honestly, I feel sorry for you.

You feel sorry for me?

It's because he protects her
that he's become eternal.

I know what I'm saying.
You just don't want to answer.

I don't need to answer.
It's stupid.

Then your book is stupid too.

I thought what mattered wasn't
the work, but how we look at it.

I thought your approach
was subjective, personal,

creative, inventive...

But now, what matters?

The technical skill?
The artist's reputation?

How we see it
no longer matters? Answer!

I don't want to.

What you're saying
makes me hate everything:

art,

originals, copies,
this statue, you, everything.

I know you hate me.
There's nothing I can do about that.

At least try to be a little consistent.

What do you mean?

Want me to remind you of your book?

It's my right as a reader.

Let's go closer to the statue.
You'll tell me about its worth.

I've nothing to say about its worth.

It was you who called it
an eternal masterpiece.

Yes, and I'll show you why.
Come. Let's go ask people.

Let's ask those people there.

All you can do is wait.

You hear me? Wait!

You can't make this decision
on your own.

It's impossible.
You have no right.

Have you thought about me in all of this?

You just wait.

Don't make me angry, please.

We'll have to talk this over.

You'll admit that you were wrong.

You're wrong.

Hello?

I can't hear you.

Wait, I'll move a bit.

Hello?

- Yes, I can hear you now.
- Tell her we'll call from the hotel.

We'll call you tonight from the hotel. Okay?

Give Anna a hug.

Yes. Bye.

Uh, James Miller.

Nice to meet you.

I'd like you to share your views with James.

Please, go ahead.

As I said,
he's an expert in cultural heritage,

mostly in the psychological impact
of art on the public.

So, if you can say what you...

Of course, this is not our first trip.

It's our fourth... fifth time...

...in Italy.

We come essentially to admire the art.

After all, Italy is one big open-air museum.

You know that a quarter
of the world's heritage...

the world's art heritage is here in Italy.

My husband knows that.

What he wants is for you to...

What you said back there was perfect.

About the power...

Yes... I feel this statue...

or, the artist, via the statue,
has tried to show us

the sheer power of a man,

hewn out of a single block of stone.

Or maybe several, I don't know.

I can't see very well.
Let's go closer.

We're fine here. Can't you just
repeat what you said? It was nice.

Remember, you said
what touched you in this sculpture

was the serenity on the woman's face,

as she rests on his shoulder.

You said she gave the impression
of having someone to rely on,

of not being alone.

Yes, but that was the lady's impression.

Yet you agreed.

- That impression is quite right, but...

how can I say...

Sorry, I forgot your last name.
James...?

James is fine.

I'd like to tell you something.

Obviously,
you are a knowledgeable man.

But you could be my son.

That's why I'd like to give you
a piece of fatherly advice.

May 17?

I'm listening.

First, a question.

I'd be curious to know...

Let's get straight to the point.

I think all she wants from you

is that you walk beside her

and lay your hand on her shoulder.

That's all she's longing for.

But for her, it's vital.

I don't know what happened
between you and I don't want to.

It's none of my business.

But all your problems can be solved

by a simple gesture.

Do it and set yourself free.

Don't make things even harder.

- Thanks for your advice.

But we must go and get something to eat.

A restaurant?
There's a good one just here.

I highly recommend it.

- Let's go.
- Ah, okay.

Very pleased to meet you.

Have a good evening.

- Bonne chance.
- Merci.

Good-bye. Enjoy your meal.

Thank you very much.

Au revoir.

- Are you hungry?
- Starving.

But it's too late for lunch.

And too early for dinner.

There's nobody.

- Ah!

- Just a second.
- Uh, menu, please.

- Uh, straightaway?
- Just a moment, I'm coming.

Please.

Thank you.

- Good evening.
- Good evening.

Red wine?

Oui.

A bottle of red wine, please.

Straightaway.

- What kind of red wine?
- A good one.

They're all good.

Are the wines good here?

Quarls.

Not as good as ours,
but better than yours.

Very kind of you.

It's a joke.

Red, straightaway.

Jo

Jo

What's up?

Why did we come here?

What's wrong?

Taste. You'll see.

What?

It's corky.

Corked!

Don't get upset.
We'll change it.

We'll ask the waiter...
No big deal.

Yeah, I already tried to change it.

He won't listen to me.
And now he's ignoring me completely.

So, what's this ridiculous ritual for anyway?

Why'd he — Why do they even bother
to ask us to taste the wine?

It's a convention.
You taste it, and you say it's good.

Then the convention's stupid.

They pour you a little bit of wine,
you're meant to swirl it round...

and smell it and taste it and look into
the corner of the ceiling and say, “Oh, perfect.”

But if it's bad, you've gotta say so.

Don't be so demanding.

You can't expect a fantastic wine list
in a remote Tuscan trattoria.

And to be honest,

I don't find it that bad.

- Oh! Oh, you like it?
- Mm-hmm.

Oh — How could I forget? The French know
everything about wine and restaurants, right?

Fine.

You like it, you drink it.

Are you out of your mind?

Why are you doing this?

Can't you just enjoy what you have
instead of moaning?

Huh?

Can't you just be here for a change?
Look around you. Be here!

I can't believe you just said that.

Coming from you.

Look, it's the same couple.

That's all I need.

What a dream place.

Look how sweet they are.
Two lovebirds.

Look at your wife,

who's made herself pretty for you.

Open your eyes.

This is just not the moment.

It's 5:00. I'm hungry.
I need a drink.

So, when is the moment?

When is the good moment?

It wasn't last night either.

When is the right moment?

Last night?

It was our...

For once, you didn't forget our anniversary.

You came back after a fortnight away,
presumably for work.

When I came out of the bathroom,
you were fast asleep, snoring.

I tried to move your pillow
to see if you'd react.

You barely stirred.

You glanced at me
and straight back to sleep!

So, please, tell me,
when is the right moment?

Look, darling.

I was tired.
Why couldn't you just think...

“My poor husband is so exhausted
he's fallen asleep”?

Of all the nerve!

I must be dreaming.
“My poor husband”? What?

He's-He's-He's so exhausted
that he's fallen asleep?

I'm tired too!

Just say you don't love me anymore!

Oh, for heaven's sake.
That's an absurd interpretation.

Look. It's just not reasonable...

to expect us to feel the same way
that that married couple do.

Not after 15 years.

Things have changed.
Of course things have changed!

But not as ridiculously as you make out.

Look. I'm still there.
It just shows itself in different ways now...

and you've got to come to terms with that.

Why can't you understand it?

I really — I really don't like
having to explain the obvious to you.

You're not convinced?

Well, look.

If you're not even gonna try to see things
from my point of view, then what's the point?

Why don't I just leave you
with your new friends?

Feeling better?

Fine, thank you.

Look. Uh, there's
something I want to talk to you about.

Sure. What?

That is if I'm not obstructing your view.

- No.
- Would you like me to move? I can move.

No, you're fine.
I had enough time to look at them.

I've had plenty of time to think.

About what?

I have a question to ask you,
if you wouldn't mind listening.

Simple question, simple answer.

Go ahead.
Ask your question. I'm yours.

Okay.
You remember you told me about that time...

you were driving back
from Rome to Florence?

Of course I do.
I did that... a thousand times.

I was always the one who...

All right.

It was about five years ago.
It was during the night.

Uh, our son was asleep in the backseat.
Remember now?

That's right. Always on my own,
driving back every Sunday...

All right. It was dark, and you told me
that you felt these hands...

come from behind and cover your eyes
and a voice say, “Guess who.”

So, what am I supposed to remember?

There was nobody else in the car.

The boy was asleep on the backseat.

Cut to the chase.

You'd fallen asleep.

You'd fallen asleep at the wheel...

going at God knows what speed
down the motorway.

So, I have a simple question for you.

Yes, simple answer.

Why did you fall asleep?

I was tired.

All right. No silly excuses.
Just tell me.

Did you fall asleep
because you'd stopped loving our son?

Huh?

Had you stopped loving him?

Had you stopped loving me?

Simple question, why did you fall asleep?

I dozed off. I didn't sleep.

Oh, you dozed off, of course.

Fine. I dozed off last night. All right?

Sure.

So if I said, “I wasn't sleeping.
I was dozing,” that's all right?

No, no, no. You were sleeping.
You were sleeping.

Sleeping or dozing —
what's the difference?

The — The important thing is
I was in bed, you were in a car...

and you were going a hundred kilometers an hour,
and that's the important difference!

But that's totally different.
You can't compare.

We're talking about
our fifteenth wedding anniversary.

That's quite a symbol,
15 years of marriage!

It's our anniversary,
and all you do is snore!

I do not snore! And of course I —

Shame on you!

You took so long in the bathroom,
of course I fell asleep!

Are you Kidding?
I was getting ready!

Making myself pretty for you!

You can't blame me for that!

It takes time to get ready!

All right, that's enough.
That's enough.

- You should know that after 15 years!
- We're back where we stared.

Please be quiet!

We're back where we started.
You're not listening to a word I'm saying.

All right. All right.

I apologize. I apologize for last night.

I — I apologize for five years ago.

I apologize for the restaurant,
for the waiter, for the wine.

- I apologize for the last 15 years, and I —

I apologize for my existence.

Coming.

Hi. Hi!

Congratulations.

I can't open it.

Congratulations.

Take care.

Bye. Bye, bye.

Jo

Does it hurt?

I'm okay.

I shouldn't have worn these shoes.

Nothing's changed here.

But you...

You've changed.

Have I?

Mm-hmm.

I don't think you used to go to church.

I wanted to take off my bra.

But I saw you praying, right?

Hmm?

You were praying.

I just needed to be on my own.

You did that in a church. Why?

I couldn't breathe anymore.

I felt oppressed.

The proof.

I can show you the mark if you want.

I'm sorry.

Really sorry.

You didn't see
I removed my lipstick either.

- You didn't see.
- Yes, I did.

Not even that I put it on,
nor my earrings.

The problem is, you don't see me.

Whereas I noticed immediately
you'd changed your perfume.

Mmm.

You could have shaved for me today,

for our anniversary.

It's a habit.

I only shave every other day.

I know.

Remember the hotel
where we spent our wedding night?

- Was it near here?
- Mm-hmm.

Look around. You'll find it.

This one.

No.

Keep looking.

Good evening. Excuse me...

My husband and I spent
our wedding night here 15 years ago,

in room 9.

We were wondering if we could
have a look at it, if it's free.

We wanted to remember the good old days.

Room 9. Third floor.

Turn off the light.

Turn it off, please.

Look out the window.

You'll see.

Hmm?

Look to the left.

See?

Remember?

No.

You don't remember?

Don't you remember anything?
I can't believe you've forgotten.

Come have a look from here, then.

Come on.

Look.

See? You remember?
On your right, look.

You see?

You know I have a bad memory.

It's not fair to test me like this.

Lying here,

I remember everything.

You slept on this side, remember?

Mmm.

The pillow still smells of you.

Mmm.

I remember every detail...

Like what?

You want me to tell you?

No.

I can tell you if you want.

You see, nothing has changed.

You haven't changed.

You're just like you were.

Just as gentle,

as attractive,

as cold.

I know it's to protect yourself,

but just as cold.

That's not true.

What's not true?

Have I changed?

Toi? Oui.

You're even more beautiful.

And more stupid?

I never said that.

You see...

if we were a bit more tolerant
of each other's weaknesses,

we'd be less alone.

Don't you think?

I know one can live alone, but...

Did you see that couple next door?

I envied them...

That old couple.

Didn't you?

Not so sure.

Stay with me.

Stay.

It's better.

Better for both of us.

For you and for me.

No?

Give us that chance.

I told you.

I must be at the station by 9:00.

Yes, I know.

J-J-J-J-James.

Jo

Jo