All language subtitles for 453435

[DANCING GIRL
BY TERRY CALLIER PLAYING]

♪ I saw a dream last night
bright like a falling star ♪

♪ And the sources of light ♪

♪ Seemed so near ♪

♪ Yet so far ♪

♪ I thought I was in flight,
out where the planets are ♪

♪ Moving between day and night ♪

♪ Here am I ♪

♪ And there you are ♪

♪ And follow the dancing girl,
go to a quiet place ♪

♪ Here in the weary world,
somewhere between ♪

♪ Time and space ♪

♪ We shall be free ♪

[Narrator in Norwegian] In 6th grade,

Nora was told to write an essay
as if she was an object.

She knew at once she'd be their house.

She described how its belly shook
as she and her sister ran downstairs

and out the back door.

[door slams]

That it saw them take the shortcut
through the fence and onto the road,

where the house no longer could see them.

[dog barks]

She wondered if the house liked
to be empty and light,

or full and heavy.

If the floors liked being trod on.

If the walls were ticklish.

If it ever felt pain.

[Nora as a child, inaudible]

And she thought that yes,
it probably liked to be full.

[children laughing]

Before them, other people and pets

had lived their moments in time there.

Her great-great-grandfather died in
the room where her grandmother was born,

which now was her parents' bedroom.

[parents arguing]

Their father said the house had a flaw,
discovered right after it was finished

a century ago.

She wrote that it was as if the house
was sinking, collapsing,

only in very slow motion,
and that her family's time there

was just a split second in mid-air.

[door slams]

When she read it later, she saw that
she hadn't used the word "quarrel",

but wrote of the "noise" her parents made.

But what the house disliked
more than noise, was silence.

When her father left for good,
the house grew lighter.

The noise her parents made, went away.

But the house missed
the other sounds he made.

[magpie chatters]

[NOBODY KNOWS
BY PASTOR T.L. BARRETT PLAYING]

Her teacher gave her an A,
and her father loved it.

Nora reread it when looking for
a monologue for her academy audition,

but found it disappointingly detached.

She chose Nina's monologue
from "The Seagull" instead.

[Nora] "I am a seagull. No. No.
I am an actress."

"Yes, that is what I am."

♪ Nobody knows ♪

♪ All the trouble I've seen ♪

[anxious breathing]

- [sniffles]
- [knocking on door]

[Stage manager] Nora?

[insistent knocking]

- Nora? Open the door.
- I can't do it.

- Nora, open the door!
- Just a moment.

[anxious breathing]

[white noise from audience]

[Director] Open the door, please.

Are you okay?

I'm just going over my lines.

But you know your lines.

- We've been here before.
- No, it's not like that.

I can't do it. I can't go on stage.

Okay. Let's take a deep breath.

[tries to breathe calmly]

Just look at me. Look at me. Breathe.

Okay. Just breathe.

- I can't breathe in this thing.
- We'll fix it downstairs.

Just come with me.

- I need water.
- There's water downstairs.

[white noise]

It won't work. We're five minutes late.

It'll be fine. Just get her on, okay?

Oh, it's out of place.

No, it's okay.

[OPHELIA
BY A.L. GODBOLT PLAYING]

[loud horns]

Hey... Could you help me out?

- Right backstage.
- Now?

Just... a bit stressed.

I think I need some...

Sort of need... something.

- No, there's no time. Stop it.
- We have time.

- You're just...
- Okay, then hit me.

- Just slap me.
- No!

Otherwise I can't go on stage.
I can't go on stage.

- Are you okay? Dammit.
- Yeah. Okay.

Hey!

[door slams]

[gasping for breath]

- No!
- I can't breathe!

Don't!

Help! Nora, don't.

- Don't... Don't tear it!
- [Seamster] Wait, Nora!

[horns and bells]

[orchestra goes silent]

[inaudible]

[tape tearing]

Yngvar? Twenty seconds.

[knocking on mike, feedback]

Ready?

[Ophelia - resumes]

Are we ready?

Yes.

[music fades]

[Nora's footsteps]

Hear!

[drums]

You said you were going to save me.

Yet you chased me into the flames!

[dramatic music]

I let your children into my home.

Still you bore witness against me!

[applause]

[cheering and whistling]

[voices of guests]

I told you we should get catering.
This is just stressful.

Hey... Hey...

I'm okay. I'm okay.

Can I have more cake?

I've asked him to stop.
He's had four pieces already.

- Please, Mom?
- No, eat something else first.

What a lovely speech you held.

It was from both of us.

Your mom was so proud of you,
she talked about it all the time.

- Yeah.
- Well, Sissel... Jesus.

She took me to
the National Theatre many times.

[birdsong]

[voices]

[sighs]

[exhales]

You know, that was Grandma's
office before she got sick.

She sat there talking with people,
trying to help them.

Or they spoke to her about their secrets.

When I was little, I used to listen to
them talk through this stove.

- Were you allowed to?
- No. They never knew.

[Man] It's been ages, but...

[Gustav] It's hard to know what to do,
offer your condolences or congratulate.

[Gustav] Well, we spoke from time to time.

- What is it?
- Nothing.

Dad's here.

- Did you know?
- No.

But I did inform him.

Hi, Dad!

There you are! Excuse me.

Hi. My girls.

- Have you met Erik yet?
- No, is he here?

- I didn't see you in church.
- I wasn't up for it. Why in church?

- Did she find religion?
- We thought it would be nice.

This is... This is so sad.

She was a great mother for you, right?
She was so beautiful and...

- Beautiful?
- Like you two.

Sharp as hell.

She was always right.

- Hi! Look, Grandpa's here.
- Well, hello!

Huh? Good morning.

- Yeah. Hi.
- Been a while.

- That's Even.
- Of course I know Evan.

We go way back.

My, how you've grown!

- Are you tallest in class?
- I don't know. Don't think so.

Are you the class monster?

No?

[footsteps on stairs]

Hi.

Here.

I was just thinking about you.

- What's this?
- They're mine.

Are you okay?

Well, why do you ask?

- We have to talk while I'm in town.
- Okay?

I have something I need to tell you.

- Can't you just tell me now?
- No, not here.

I think it's time you and I
sat down and had a proper talk.

Fredrik can take them in his Toyota.

- Sorry.
- Oops.

I'm good, thanks.

I just hope he doesn't feel like he...

Suddenly has to be a dad and...

- Comfort me or something.
- No.

But at least he's trying.

It might not be easy for him either.

Ask him what he plans to do
with the house.

- What do you mean?
- He owns it.

- Oh?
- Mom got it after the divorce.

But they never filed the paperwork.

Okay?

It's unfortunate.
We were hoping for some money.

Why don't you ask him?

You never dare confront him
about anything.

- I don't? I see.
- You don't.

- Sure I do.
- No.

[door creaks]

- Hi.
- Hi.

You look great. What would you like?

Uh, just a coffee.

- Nothing else?
- No.

- Coffee for the lovely young lady.
- Yes, please.

- [Waiter] And you? Did you enjoy the meal?
- I enjoy everything you serve.

She thinks we're a couple.

I've thought about you a lot.
I've been worried.

Okay. How have you been?

Well, fine. Got my hands full.

You may have heard about the retrospective
of my films in France.

- No, where should I have heard?
- The film I'm making is more important.

You're hanging in there.

It might be my best script yet.
Michael agrees.

- So Michael is still producing?
- He says things are going my way.

My documentary is being screened
in many countries. I'm on a roll.

You had something you wanted
to discuss with me?

Yes.

[rustling plastic]

The film is about a...

A young woman, a mother who...

Well, I want you in the lead role.

I wrote it for you.

You're the only one who can play it.

Thank you.

But you've never seen me act.

Sure. Several times. I saw you in "Medea".

- You left during the intermission.
- I don't like theatre.

The scenography was horrible.
But you were great.

I can tell if an actor is any good
in two minutes.

This part would be good for you
in many ways.

You deserve something more personal
than centuries-old plays

for a bunch of senior citizens.

This is a real role in a film.

You might get some financing too.
My series has done very well.

Yeah, it helps somewhat.

I've talked to Michael.
He's sure he can get financing.

We'll film it in our house.

- Our house?
- Yes.

It's perfect.

I'm not having any part in this.

- You could take time off from the series.
- It was finished ages ago.

You're way better than that.

- You've seen it?
- Of course.

Well, what do you think?

What I think isn't important.

I'd love to hear what you think.

But that stuff isn't for me.
No visuals.

We never really see your face.
We don't see your eyes.

But what do I know?
People like it.

It's not about what people think.
What do you think?

You're not the problem with it.

This part

could be your big break.

We're not going to work together, Dad.

- We can't even communicate.
- Just read it, and I'll call you.

- Don't call me. You're always drunk.
- But I worry about you.

You don't have any right
to worry about me.

- Just read the damn thing!
- Why?

It'll never come to anything.

[birdsong]

[car approaching]

[shouts in German]

[Soldier] Halt!

[Anna] No!

[train engine]

[conductor blows whistle]

[cry]

[Woman] Sit still!

You mustn't move.

[catches her breath]

[sound of train intensifies]

[train whistle blows]

[applause]

[original score - wind instruments]

[in English] I sat near you
during the screening. I looked at you,

and I saw you were also very,
very moved by this screening.

[in English] Uh, yes.

I'm sorry. It's, oh...

It's twenty years ago, probably,
since I saw it.

And I remember vividly,
in detail, the time, and...

The days on the set. The people.

You know, I film with friends.

They are my family.

Yes, and...
Even more so in this movie, yes?

You mean my daughter, Agnes? Yeah.

She's the one that plays Anna.

[applause]

[Christophe] So, one last question
before I let you go.

I think everyone here wants to know.
There hasn't been a feature film

since "L'Idylle" 15 years ago.

Will we see another feature film
from Gustav Borg?

Well, I hope so.

[Christophe] I hope so too.
Thank you, Mr. Borg.

[seagulls crying]

[Christophe] Oh, Gustav!

Gustav!

Sorry, sorry.
Rachel Kemp loved your film.

She wants you to join her.
She's having dinner at L'Excelsior.

You know?

The festival is paying everything,
of course.

This is director Gustav Borg.
He's joining Rachel Kemp's table.

[laughter]

- [in French] Sorry, it's a private event.
- Gustav Borg!

- [in English] Thank you for coming!
- Let me get you a chair.

- Here you go.
- Thank you.

I was so impressed by your film.

- It's a masterpiece. Really.
- Oh, yeah.

- Thank you.
- It is exceptional.

- How did your screening go?
- It went well.

The screening was amazing.
The theatre loved it.

You have to see it in the fall
when it comes out.

[humming]

[laughter]

[DES PAZ SUR LA NEIGE
BY CLAUDE DEBUSSY PLAYING]

- [Nicky] Guess I gotta...
- [Sam] How does this work?

[laughter]

[Sam] You want more umbrellas?

- [Gustav] You want more?
- [Rachel] Thank you.

Will you look at this?

[background laughter]

[music fades]

I wish I could make films like you do.

I just... It really struck me today.

I don't know if I'd ever seen
a film like it before.

It was really...

Really...

Moved me.

Thank you.

[music resumes]

I've been thinking a lot about
taking a break, actually.

I already have all these projects
lined up.

They're good enough parts, but...

- They don't have anything to do with me.
- Just say no.

Sam would freak out
if I just walked away like that.

He'd have a right to.

Fuck Sam.

It's your life.

And you?

You working on anything new?

No. I thought I was, but...

Couldn't get the money?

Something like that.

[original score]

He'll take you to the hotel.

Thank you.

- It was very nice to meet you.
- Very nice.

- [Nicky] Rach?
- [Sam] Rachel!

- [Nicky] Sir!
- [Sam] No, no, no!

Rach, I have your phone! Oh, God!

Hey, you guys!

[gasps]

[groans]

[music ends]

[in Norwegian]
Weren't you about to leave?

You want me to leave?

No, but this is getting very...

Close and cuddly.

- You don't like cuddly?
- Sure I like cuddly. I do.

Why are you so afraid of intimacy?

- I can tell it's not easy for you.
- No, it's not.

It's perfect that you're married
so I don't have to confront

how fucked-up I really am.

Jeez, what a brutal thing to say
about yourself. How fucked-up are you?

In percent?

Eighty.

- Eighty.
- So you're twenty percent...

That's the percentage you see now.

Did you talk to the manager?

He thinks I should

see a therapist.

Yes.

- Well, why not?
- Don't say yes!

No, but it's some sort of phobia.
Therapy might help.

But it's not that bad, it was just that...

- I had to hit you.
- Yeah. Yeah.

Sorry about that.
It was pretty intense, but...

- You could change your mind and report me.
- I won't.

I swear.
I already know too much about myself.

- I don't need therapy.
- I'd say the exact opposite.

- Why not?
- Mom was a...

- I mean, she was a therapist.
- You're not going to see your mom.

- I just want one last kiss.
- Sure, but...

- No, not like that.
- But we're done!

- See you tomorrow.
- See you.

[door closes]

[distant voice]

[dog barks]

[LOVE THEME FROM SPARTACUS
BY ALEX NORTH PLAYING]

I mean, when you go on stage,
it's so counterintuitive.

Your body, your whole body screams
as you step out to face the audience.

- There's nowhere to hide.
- But it's not all anxiety?

No, I love it! I love it!

[laughs]

[Nora] And that...

This frustration, anger,
the sense of injustice,

the burden of responsibility.

When she says he avoids conflicts,
she reveals what she hates about herself.

What I like the most about it,
is probably...

Building a character.
Diving into that perspective, or into

their feelings by assuming
the role of someone else.

It maybe provides me the security
to connect to my own feelings.

So you don't want to be yourself?

That's what it sounds like.
What would Mom say about that?

[music ends]

[she coughs - he laughs]

No, you're cheating. Step back. No.

No, you can go closer.

No, no. Here, here!

Do you have a boyfriend?

Uh...

No, not really.

Don't you want one?

Uh...

Sure.

But it's not always that easy.

- But I love you.
- Yes.

I love you too.

I wanna marry you when I grow up.

[laughs]

It's nice of you to say so.

- But it's impossible.
- I know.

[LITTLE WOLF
BY BIGBANG PLAYING]

- Did you fall asleep?
- [Nora] No.

He's just so cute!

I think... He proposed to me down there.

- [Even] Congrats.
- That doesn't happen every day.

When he returned from
the playground today, he came to me,

looked straight at me and said:
"I see you."

Where's that from?

- [Even] Do you say that?
- [Agnes] Maybe he picked it up at school.

[Even] Saying "I see you" at school?

Are you okay?

- Sorry.
- Hey?

- What is it?
- I'm okay.

I think I should head home.

No, wait.

- I'm okay.
- Are you sure?

- Really? Nothing's happened?
- No. It's okay. Sorry.

[Agnes] Okay.

[door shuts]

[crackle]

- Is she alright?
- Yeah.

- You don't think she's there again?
- I don't think so.

I think she's just lonely.

- Does that make you sad?
- A bit.

[background voices]

[birdsong]

- [Agnes] Hi.
- Hi.

[draws her breath]

It's weird.

When Mom fell ill,
I considered whether to

take over the house,
live here with Even and Erik.

- Would you want to live here?
- No.

We can't afford to buy out anyone.

I've been through all that,
it's just old documents.

Well, thanks for everything
you've done.

It's amazing.

- Keep what you want and dump the rest.
- But there are many nice things here.

Things with sentimental value.
Have a look.

I'd like that vase, for example.

- Yeah, it's kinda nice.
- Oh?

- Because I want it?
- No. You can have it.

No, the point is
to go through it together and sort it out.

Yeah. Well, then I'll take it.

My God.

Remember to turn off the stove

[tears it off]

- How long is he going to stay here?
- He didn't say.

But he's here to arrange the sale?

I don't really know if...

He'll be here around 2 p.m.
You can ask him.

- I don't think so.
- You can't pretend he's not here.

I can try.

He isn't selling the house,
like I thought, but...

Well, he has this project.

Come again?

It's a good thing.
He's making a new movie.

What project?

- The one you discussed.
- The film he wrote for me?

Yeah, the part you didn't want.

- Did he get financing?
- He must have.

He didn't say much.
But he asked if you'd be here.

Okay.

[car door slams]

- Is that him?
- Yeah.

[Agnes] Shit, that's Rachel Kemp.

Oh, shit.

[inaudible]

- Shit!
- Hey? Nora?

Hey, now...

[in English] Looks almost the same.
Nothing has really changed.

[birds twitter]

[traffic noise]

[crow cries]

[background voice, car horn]

It's so great to see you again.

There's a café nearby. Rachel will
let you know when we're done.

[shuts doors]

[in Norwegian] Hi. Is Nora here?

No, she had to leave.

[in English]
Rachel, this is my daughter, Agnes.

Hi. Rachel. Nice to meet you.

Are you in the business as well?

- No, she helps me with research sometimes.
- I'm an historic... Academic historian.

[in Norwegian]
Sorry, I can't even speak properly.

[in English] Do you recognize her?

She played Anna in the film you saw.

[in English] That's a long time ago.

Of course. That's...

You're Anna! That's right! I see it.

- Can I take a selfie with you?
- Yeah, sure.

Starstruck.

Thank you.

So she's here, talking to her son.

This is the last scene.
She's preparing him something to eat.

It's important for her.
A last motherly touch, maybe.

They hug, and he leaves.

And the moment the door closes,
something in her changes.

Almost like she relaxes, don't you think?

The boy's meeting up with his father,
so she's not in a hurry.

- Here's the wire to dry clothes on.
- A clothes line.

- A clothing line.
- The clothing line.

And then she goes in here
and starts preparing.

[scraping sound]

Suddenly...

She hears the veranda door opening.
Come.

It's her son. He's forgotten his flag.
His Norwegian flag.

Yeah, it's the 17th of May.
It's like the national day.

Did I say that all this will be
in one shot?

A oner? This whole thing?

The whole ending in just one shot.
No editing.

Complete sync between time and place.

So...

The boy just stands there looking at her.

Something's off. He doesn't get it.

So he just grabs his flag and runs off.

She goes here to make sure that
this time he really leaves.

We only hear the gate closing behind him.
Because the camera's here, on her.

And this is crucial.

The expression she has here.

What is she thinking?

Exactly.

Then she walks back here.

- So this is where she does it?
- Yeah.

You think that would bear her weight?

Well, it happened like that.
With my mother.

- Your mother?
- Yeah.

- But not here?
- Yeah.

- It's a very long time ago.
- No!

She used that.

- That?
- Uh-huh.

In order to get high enough.

But we won't see that.

We'll end the shot with her going back in
and closing the door.

We just hear the sound.

[bang]

As the camera moves away.

Can I ask
why you didn't just leave after that?

Well, we did leave after this.

We moved to Sweden.
My father was Swedish.

Well, I'd love to hear more about her.

It's not my mother in the script,
you know.

Right, but they would still
let me do it? Yeah.

- Yeah, I know.
- [Gustav in Norwegian] This'll be great.

She's motivated.
I told her that that footstool

was the one my mom used to hang herself.

The one from IKEA?

[he blows - she giggles]

[ROSE ROOM
BY ART HICKMAN PLAYING]

[Patient] "Is this me?"

"Is this me?" What I think,
the way I feel, how I sleep or not...

I just can't understand how this...

- Can be me.
- We've been here before.

- [Sissel] So you don't recognize yourself?
- [Male patient] No.

[Narrator] Years before, the therapist's
office was called "The Library."

It was often empty.
Karin, the oldest daughter,

hung out with friends
and listened to music there.

[inaudible]

[jazz and inaudible voices]

When the war broke out,
Karin joined the resistance.

One autumn evening in 1943,
the State Police came to fetch her.

[voices, inaudible]

She was jailed for two years.
She never talked about the prison camp.

[strains of jazz]

There. Listen to this.

[Narrator] After the war, Karin got
married and took over the family house.

She gave birth to Gustav in 1951.

[ENFANTILLAGES PITTORESQUES
BY ERIC SATIE PLAYING]

Many years later, when he had become
a filmmaker, Gustav liked to say:

"Nothing is more beautiful than shadows."

He would imagine his childhood home.

[door shuts]

[I'M ALIVE
BY LUCIA/JACKSON PLAYING]

♪ And I see things mighty clear today,
I'm alive! ♪

[Narrator] Karin's little sister, Edith,
moved in with her friend Lillian.

Edith was happily childless,
but Gustav often visited them in summer.

♪ And I'm real! ♪

♪ I can taste and touch and see,
I'm alive! ♪

If anyone complained,
Edith turned up the volume. She was sure

one of the neighbors
had ratted on her sister during the war.

[song ends]

[SHOOT FROM THE HEART
BY JUDIE TZUKE PLAYING]

When Edith died, Gustav was her sole heir.

In 1986, he moved back to the house
with all its memories.

There are two versions of
how Gustav met his wife, Sissel.

She said he came to her as
a patient with insomnia.

It was obvious to her that moving back
proved more complicated

than he liked to admit.

Gustav's take was grander.

She was absolutely stunning.

I found out she was a therapist,
so I got some mental problems.

[Narrator] Six months later,
Sissel was pregnant.

They were married three weeks before
Nora was born in December 1987.

[Young Agnes] I'm done.

[Narrator] With her little sister Agnes,
they became a family of four.

[Gustav, inaudible]

- [Sissel] It sucks? Being with us sucks?
- [Gustav] That's not what I'm saying!

[Gustav] Why do you have to dredge up
that old crap again?

[Sissel, inaudible]

[Narrator] After the divorce,
Gustav returned to Sweden.

The house grew lighter and lighter.

[music ends]

[WORLD [PRICE OF LOVE]
BY NEW ORDER PLAYING]

Have you talked to Peter?

Peter is an old man.

- He hasn't shot in ten years.
- Neither have I.

- No, but he's retired.
- He'll do it for me.

- I won't let anyone else film it.
- Okay, but...

- You have to go and speak to him.
- Sure thing.

"Sure thing"? Just do it.

- He's no older than you are.
- Blah, blah.

- [in English] So how do you like Norway?
- I love Norway.

It's beautiful.

The people are very friendly.

Been very welcoming.

[in Norwegian] This is a Netflix
production. Will it be shown in cinemas?

Sure, where else?

It's still being negotiated,
but that's definitely the plan.

[in English]
Another question for Rachel Kemp.

It's about the reception of
your last film, "Cathy's Choice."

It must have made you a bit disappointed.

I'm very proud of that film.

I don't think that's what
we're here for today, are we?

Were you nervous before taking on,
like, a real drama film?

I'm working...
I'm doing this film because...

[in Norwegian] What sort
of a stupid question is that?

[in English] Rachel Kemp
is the best actress of her generation.

You're lucky she's here.

You should be grateful!

Get out!

- Get out!
- Okay. Thank you.

[in Norwegian] What a goddamn idiot.

Shouldn't the questions
be clarified in advance?

- That's not possible.
- The TikTok troll.

[public announcement, inaudible]

[ticking of escalator]

[seagulls crying]

[Olav] Surely not ASMR again?
It makes you fall asleep.

- [Woman] He taught it to me.
- [Actor] I also did it with him.

I won't hold a speech, but I feel

this gratitude welling up in me.

I just want to say how awesome it is
to work with every one of you.

- There's still some way to go...
- We talked about it earlier.

We've also talked a great deal.

We'll sort it out before the premiere.

And Jakob, I know things
are difficult on the home front.

But... Uh, but...

Thank you for doing the work you do,
and if there's anything, tell me.

- Always.
- Thank you. I will.

[Olivia] But... Okay.

But I think this is gonna be awesome.

- [Olav] I think so too.
- [Actor] Cheers!

- Cheers!
- [All] Cheers!

But you haven't told me
you're getting a divorce.

No, it's been so busy with
the rehearsals, and... Well.

Yeah.

[boat engine]

- It's hard to find the right moment.
- Of course.

It's not like...

Uh...

- Not because of us?
- No, that's not it.

[voices, call of sandpiper]

I'm here for you, if...

If you need to talk.

- [Olav] Is nobody else taking a dip?
- [Actor] Get in!

- [Olivia] One, two...
- [Woman] Okay.

- [Woman] Three!
- [All] Whoo!

[fly buzzing]

[bird twitters]

We don't need to hide now.

Listen, I... I don't know.

[voices ahead]

[original score - piano]

[children's voices, laughter]

[birdsong]

- Hello!
- Hi!

- Is Dad here?
- Not yet.

- There you are! Congratulations!
- Thanks.

Wow! You look nice with a bow tie!

Hello! Are we having pizza?

Hello. I'll just do like this.

[inaudible]

That record's still mine.

Nah.

- Start there.
- [doorbell rings]

[door opens]

[Agnes] Hi! Welcome.

- Good to see you.
- Likewise.

Congratulations. Happy birthday!

The nine-year-old man. Big boy now.

- Guess you haven't met since our wedding.
- I can never forget a woman like Therese.

- Hi. Wow! Nice! Where did you get it?
- Just get some glasses.

Hi, Dad.

Hi.

Yeah, you hit it.

[background chatter]

How's the film coming along?

- Good.
- I've heard of it. How exciting!

- What's it like to work with Rachel Kemp?
- Hey...

I'm just asking what it's like
to work with her.

Well, she's not there yet. But almost.

I heard you fooled her with
a footstool from IKEA.

Is he gonna spend all day
watching that thing?

He's got 20 minutes
screen time left.

Who? Even?

I just wanna know how much screen time
you've left. Aren't you over?

- How much screen time I've left?
- Does he have any?

- [Therese] Put it away.
- [Nora] Pizza's ready.

- [Even] I just...
- [Therese] Right now.

- Right. What do you say?
- [Erik] Thank you.

Look here. Monica Bellucci, dammit.

And this film will make you understand
women and maternal relationships.

- How nice.
- Thanks.

- But we don't have a DVD player.
- Thank God.

- We'll find a way to see them.
- I rarely watch films anymore.

[original score]

[Therese chuckles]

You should start writing.

Yeah, so you say.

Why wait for some old fart
to let you play Ophelia?

- I'm playing Hamlet.
- I've talked to Rachel about it.

She's developing her own projects.
Has a production company now.

It's hard to be an actress.

You decide nothing yourself.
Just wait for people to want you.

- It's not healthy in the long run.
- I...

It erodes your self-confidence.

Your need for attention
becomes insufferable.

I could never have married an actress.

But fucking them was okay?

[snorts]

Artists today are so petite bourgeoisie.
You'll never write "Ulysses"

driving to soccer practice
and comparing car insurance.

What happened to artistic freedom?
Artists need liberty.

And not have kids then, Dad?

Don't say that, Nora.

How old are you now?

When Sissel was your age,
she had two children.

Times have changed.

You two are the best thing
that's happened to me.

The best that's happened to you?

Then why weren't you there?

[laughs]

Everyone's mad at Dad, huh?

You two turned out fine, didn't you?

How can you tell?
You don't even know us.

- Stop exaggerating.
- Exaggerating?

I know it's been hard for you.
I recognize myself in you.

But you're so goddamn angry.

It's hard to love someone
who's so full of rage.

Right?
You don't want to be alone forever.

It's not good for the art either.

You need someone to care about.
Children or something.

You never regret having children.

[original score - piano]

[draws her breath]

[exhales sharply, sobs]

[sighs]

[starts crying]

[breathes]

[SAME OLD SCENE
BY ROXY MUSIC PLAYING]

[music fades]

[birdsong]

[Gustav in Swedish] Peter?

[Peter] Good to see you. Hi.

Some place you have here.

Yeah, thanks to Lasse Hallström, not you.

He only booked you after seeing
"River of Time."

Must be great for your grandkids.

It's still difficult with Daniel.
The worst part is that his kids suffer.

They never get to come here
to see their grandpa.

But hey...

- This script...
- Not that bad, huh?

- It's stunning.
- So you're in?

Yeah, I have to do this.

Come on, let's grab a drink.

No. Oh.

[Peter] I don't think there's much
hand-held camera in this.

I'm thinking dolly and tripod.

Sorry for not staying in touch.
I'm bad at that between films.

Same here, you know. Same here.

I have to... I'll let you know
if this works out.

Netflix also wants a say.

They want us to talk to others as well.

Right, so that's how it is?

Yeah.

That's how it is.

Mm.

[sighs]

[original score - piano]

Cheers.

Good to see you.

[sighs heavily]

[Gustav] Hi, Nora.
I just wanted to call you to say that...

We have to talk to each other.

It can't be the case that...

I don't like going to the theatre,
for example.

And it's not that I don't like theatre.

It's just that...
I can't stand watching it.

But Chekhov is...

I can read Chekhov.

It's really...

Not the plays, but...

I'm sensitive. So are you.

We're... alike in that sense.

What the fuck.

[exhales]

[gasps]

[exhales]

[in English] Oh, thanks.

I was wondering...

Who is the "you"?

She says "you know."
Who is the you?

Who do you think?

I don't think it's her mother.
She'd never say that to her.

It feels like it's just an inner voice,
I guess.

It just feels weird to speak
and not be talking to anyone.

Great.

- Let's do it once with Ingrid listening.
- I am.

Come here. Try it sitting here.

- Just to see.
- Okay.

And you pick it up at...

"I had this kind of crisis."
Talk to Ingrid.

[in Swedish] If you want to, you can
touch her. Feel that you're her mother.

[in English] And remember,
she's never told anyone about this.

She's embarrassed about praying like this.

May try to hide it or laugh
at yourself, but...

You're ashamed.

You're ashamed of being weak.

Okay.

Okay.

"I had this kind of crisis."

"I was alone in the house again,"

"lying in my bed, crying."

"I know everyone lies in bed,
crying, but..."

"Someone said praying
isn't really talking to God."

"It's acknowledging the despair."

"To throw yourself on the ground
because that's all you can do."

"Not unlike lying with your heart broken,
thinking..."

"'Please call me. Please forgive me.'"

"'Please take me back.'"

"And..."

"I had fucked up."

"And I was alone,"

"and crying."

"And then, for the first time,"

"I sat down on the floor"

"and prayed."

"I don't know who I said it to,
but I said it out loud."

"'Help me.'"

"'I can't do this anymore.'"

"'I can't do it alone.'"

"'I want a home.'"

[laughs, cries]

Oh!

[laughs]

I wish her... I wish

her mother was like this in the film.

Exactly.

[Rachel sniffles]

[white noise - car passing]

Are you sure doing this
in English works?

Yeah, of course.

Maybe I should have
a Norwegian accent, like Ingrid?

I don't have an accent. Do I?

- She's Swedish.
- Do I?

Your accent's non-existent.
I just mean... Wouldn't it be weird

if everyone has a Scandinavian accent,
and I sound like this?

Maybe. I'll think about it.

Could I ask a little bit more
about the character?

I think my big question is still "Why?"

Why she decides to kill herself.

Yeah. So what do you think?

I get that she's depressed,
like her mother.

But she has a child.

That's the question
the film is asking, isn't it?

I think you have to find your own reason.

[birdsong]

Could I ask about your mother?

[laughs]

I don't mean to pry,
I just feel she might be relevant.

This is not about my mother.

[electric door opener]

[original score - piano]

[creaking]

[elevator door opens]

[music fades]

[Archivist in Norwegian]
This is her State Police registry card

and her prison camp file.

Karin Irgens' witness statement is here.
You applied for access to the whole file.

And the file contains photographs from
reconstructions of the torture methods.

Well, the images are unsettling.
I thought you should know.

But I've marked the most relevant
information with tags.

Well, thank you.

IRGENS, Karin

Sentenced for: Anti-nazi propaganda

[sighs]

[original score - somber]

Treason trial

Document list
- regarding instances of torture

Re: Defendant's crimes of treason -
the torture of Karin Irgens

They tightened the leg clamps
until I screamed.

The interrogator tied me to a stove.
It was very hot.

They beat me with a rod.

It was most painful.
The pain endured for months.

[Narrator] When she told Even
about it later,

it didn't feel as if she had much to add.

They already knew most of it.

It was hard to say why it had made
such a strong impression.

Was it her grandmother's
witness statement, the dry,

unsentimental way she described it?

Or was it because she was just one of many
victims who testified in the same file?

The police report on her suicide
15 years later was thin.

There were no photographs.
But her father's name was there.

He hadn't been questioned.

He was just seven years old at the time.

[children's voices]

[music fades]

Then you pan quickly as hell.

No, wait.

Pay attention now.

Wooh!

[gargles]

Cut.

Show me.

Good, huh?

[chuckles]

[Agnes] May I see?

Ouch! Ow!

[all laugh]

Great!

[child shouts]

Why don't we go to Nora's premiere
together?

We could grab some dinner here first.

I think I have to take a cab
straight from the office.

- But you're coming?
- Of course.

[hum of city, seagulls crying]

[child's voice]

[Gustav] I want Erik to be in my film.

- He's perfect.
- Okay?

It's not that many lines,
but it's a key part, Rachel's son.

That's nice, but...

I don't know, he's not exactly
the actor type.

I don't want an actor type.

There's nothing worse than children
with jazz hands in a film.

Like they're in a musical or something.

There's something about Erik.

He has secrets.

You were also a bit shy, right?

But great on screen.

You should have kept at it.

[chuckles]

[distant cars]

[Coach in Norwegian accent]
"I want three glasses of juice."

"I want three glasses of juice."

- "Thank you for washing my clothes."
- "Thank you for washing my clothes."

[hum of city]

[in Norwegian accent] "I almost
don't dare to close my eyes."

"I'm afraid that when I open them,
he won't be here anymore."

Let's take a break.

[vocal sound]

You seem a little distracted.

Just... A bit tired.

You can't go wrong here.

The only thing you can do wrong
is not to listen.

And don't rush it.

Okay?

Let's try one without the accent.

We'll take it from... from...

- Previous page, on the top.
- Uh-huh.

[echoes in foyer]

[door opens]

- Hey. It's so nice to meet you.
- Nice to meet you.

- Sorry you had to wait.
- No, thank you for taking the time.

[trumpet rehearsing]

Why didn't you want the role?

I can't work with him.

Why?

We can't really talk.

- But he wanted you to do it.
- Yeah.

Yeah.

I don't know.

Just keep thinking that he...

He made a mistake.

I just can't...

I can't get a handle on her.

The more that I study her,
the more lost I feel trying to be her.

It's like her sadness is...

It's such an overwhelming part of her.

It's a beautiful theme.

But I can't tell if that's just

the cause of everything.

Or is it...

I don't know.
A symptom of something deeper?

[original score - piano]

I don't wanna disappoint him, you know.

Well, he's a...

Very difficult person.

But he's a really good director,
and he sees something in you.

You'd be stupid to walk away.

[in Swedish] I'm not used to this.
I'm used to being in control.

And if I wasn't in control,
I would enjoy it.

Get it?

Now I'm too old.

There's barbed wire on the prairie.
The last damn Mohican.

And the new guy keeps
sending me moodboards.

Jeez, I really miss Peter.

When did he become so goddamn frail?

I'm too tired, Michael.

What the hell happened?
15 years ago, I was 55.

Maybe you're right.

Maybe we are too old.

This might be our last film together.

Just don't tell me you need to
keep up with the times or anything.

Promise me that.

This theme...

We know you've touched on it earlier.

But you've never confronted it
in this way before.

So purely. So personally.

Okay, so it took all those years

to get here.

But you're gonna make this film, dammit.

And do it your way.

Got it?

[murmurs from audience]

[orchestra tuning up]

[background voices, laughter]

[murmurs from audience]

- [in Norwegian] Yeah.
- [Technician] We'll just...

Okay.

Wait.

Could you loosen it a bit?

There.

[CREMATORIUM CONSPIRACY
BY MICHAEL NYMAN PLAYING]

[music ends]

[multiple voices, inaudible]

[original score - strings and horns]

- Hi!
- Congratulations. You were great.

- Really fantastic.
- Thanks.

Everyone thinks it's so exciting.

We got through it, I guess.

Well, it was fun. Yeah.

- Are you okay?
- Yeah, I'm fine.

- You haven't answered my calls.
- I know.

- Did you come with dad?
- No, he couldn't make it.

We've got a babysitter. We're going for
a drink at Tekehtopa. Wanna join us?

[Veteran actor] Excuse me?
I really must congratulate you.

What a fantastic performance!

Thank you.

[strings continue]

[exhales]

Yes, I'm heading there now.
I'll let you know.

But I can't this evening.

I've often gone on stage sick.

I've never canceled a performance before,
but it's simply not possible.

I'm so sorry.

Yeah, thank you. Thanks.

Okay. Bye.

[breathes]

[rattle]

[strings end]

[door slams shut]

- Where's Erik?
- He'll be here soon.

- Why didn't you come to Nora's premiere?
- She didn't want me there.

Let's see... This is the original.

And here's the translation,

so Erik can practice his English lines.
Don't worry about his accent.

Have you talked to Michael?

He has to take leave from school.

I'm not sure it's a good idea.

It's a great idea! It'll be awesome.

- No, I'm not sure he wants to.
- Sure he does.

- How do you know?
- I've talked to him.

- Have you talked to him?
- I mentioned it. He was ecstatic.

You can't talk to him without me there!

[sighs]

When you played in my film...

It's the most beautiful memory I've got.

This will be good.
Let's just look at the scenes.

I think Rachel will enjoy
filming them with him.

There's happiness in them.
She needs to see other aspects of...

Stop talking. Just stop.

- I don't want Erik to be in it.
- But Agnes...

And yes, it was nice, Dad.

It was fantastic. The time of my life.
I got to be with you.

I was the center of the universe.

- Then you left. I didn't see you for ages.
- But it was fantastic!

Yes.

But I don't understand.

I don't see how you can switch from being
so close and real to just vanishing.

Suddenly someone else is
the center of the universe.

- Just read it!
- Jesus Christ!

I don't care!
I don't care whether it's good or not.

I care about Erik.

[door opens]

[sighs]

Hi!

Hi!

- Grandpa was just leaving.
- Oh.

Hi. How have you been?

- [Erik] Okay.
- [Agnes] Good to see you. I've missed you.

- [Erik] Me too.
- [Agnes] You have?

- [Erik] So it's a good thing I came now.
- [Agnes] Right?

Very good.
What shall we do while we wait for Dad?

[original score - wind and strings]

[rustle of paper]

[car passing]

[music fades]

[car pulls up]

[in English] Hi.

To what do I owe the honor?

- Are you okay?
- Yeah, I guess.

Come on in. I'll make a cup of tea.

- There you go.
- Thank you.

[Gustav exhales]

So you don't wanna do the film anymore.

[draws her breath]

I, uh...

I just...

I just don't wanna let you down.

I won't drop out
if you really want me to stay.

Is it just me?
This just doesn't feel right.

It doesn't feel right for you either,
does it? Me doing this film.

Of course it does.

I don't think it does.

You know, you asked me to dye my hair

the same color as your daughter.

And I mean, you don't want
this film to be in English, do you?

That feels wrong to you too. Right?

[sighs]

And I don't wanna disappoint you.

I'm sorry.

I let you down, Rachel. I'm sorry.

Most actors would do the role
even if it felt wrong.

Or just leave,
and let the agents sort it out.

But you came here.

You're a good person.

[chuckles softly]

Come on.

[Rachel sniffles]

[Gustav] Ah...

[original score - piano]

Please don't look at this as a failure.

- You're a great actress. I meant it.
- Thank you.

[dog barks]

[sighs]

[original score - ominous music]

[breathes heavily]

[laughs]

[music fades]

[white noise - wind]

[doorbell]

[buzz]

- [in Norwegian] Hi.
- Hi.

Sorry for showing up like this,
but why don't you answer my calls?

I'm sorry.

[Korean show dialogue]

- Are you okay?
- Mm.

You have to answer the phone.

You know how anxious I get when you don't.

What's going on? Are you sick?

No.

I had a row with Dad yesterday.

I was furious.
He wants to put Erik in the film.

I don't want that.

But then I read the script.

And it was so great.
Not at all what I imagined.

Right. I know you don't want
anything to do with it.

But I still want you to read it.

Because I sense it's about you.

Or...

I think he wrote it for you.
It's not about his mother.

[sighs]

Well.

Could you read this bit for me?

Don't mind that it's like...

Well, a bit overwritten.

Just read it.

"You know, I don't believe in God at all."

"We came from a home
where all that was irrelevant."

"We weren't baptized. My sister and I had
a civil confirmation just for the money."

"Then I had this kind of crisis."

"I was alone in the house again,
lying in bed, crying."

"I know everyone lies in bed crying
at some point, but..."

"Someone said praying
isn't really talking to God."

"It's acknowledging despair."

"To throw yourself on the ground
because that's all you can do."

"Not unlike heartbreak:"

"'Call me. Please change your mind.'"

"'Take me back.'"

"There I was. I'd ruined everything."

"I was alone, lying there, crying."

"And then, for the first time,"

"I sat down and prayed."

"It's hard to explain."

"I don't know who I prayed to,
but I said it out loud."

"'Help me.'"

"'I can't do this.'"

"'I can't do it alone.'"

"'I want a home.'"

[breathes]

"'I want a home.'"

[Agnes sniffles]

[sniffles]

Did you tell Dad about...

- My suicide attempt?
- No, of course not.

I thought the same thing.
"How does he know?"

[dog barks]

It's mixed up with a lot of things
about his mother.

But in some scenes it's as if he was there
when you went through it.

Well, he wasn't.

You were.

How did it happen?

You turned out fine,
and I became fucked up.

That's not true.

Why didn't our childhood ruin you?

It hasn't always been easy for me.

But you've managed to make a family.

- A home.
- Yeah.

There's one major difference
in the way we grew up.

I had you.

I know you think you're incapable
of caring, but you were there for me.

When Mom was down.

You washed my hair.

Combed it.

Got me to school.

I felt safe.

[Nora exhales]

I love you.

You too.

I mean, I love you too.

[Agnes inhales]

[white noise - wind]

[birdsong]

[crows cackling]

[background voices]

[chair creaks]

[background voices]

[Nurse] Does it feel okay?

[Gustav] How wonderful to wake up
to such beauty.

You have a wonderful smile.
Does your boyfriend say so? He should.

[Nurse] Well, he does, actually.
I've heard it before.

Jeez! Do you have anything else?
Like champagne?

Champagne?

[DANCING GIRL
BY TERRY CALLIER PLAYING]

♪ I saw a dream last night
bright like a falling star ♪

♪ And the sources of light ♪

♪ Seemed so near ♪

♪ Yet so far ♪

[song ends]

Can I have some cookies too?

[Nora sighs]

- You know...
- Omar and the others get cookies.

- With chocolate.
- Just finish your sandwiches first.

[Nora sniffles]

Okay.

- Bye then.
- Bye.

[Nora sniffles]

[knocking on door]

[sniffles, exhales sharply]

- Hi. What's the matter?
- I forgot my mobile.

- Bye.
- Goodbye.

Okay.

[breathes]

[sighs]

[exhales]

[Gustav] Cut.

- Perfect.
- [Assistant director] We've cut. Move on.

[background voices]

[exhales]

[CANNOCK CHASE
BY LABI SIFFRE PLAYING]

♪ Sitting in the back seat of my car ♪

♪ With my arms around my guitar ♪

♪ And the rain falls ♪

♪ From the roof of the world ♪

♪ Nothing around,
just the trees and the ground ♪

♪ There's a bird in a tree,
singing a song ♪

♪ Just for me ♪

♪ Just for me ♪

♪ Yeah, da-da-da ♪

[instrumental guitar]

♪ I've been down for oh so long ♪

♪ Seemed like my soul was dead and gone ♪

♪ But it's alright ♪

♪ I'm back in the fight ♪

♪ I thought my day would never come ♪

♪ Maybe it won't, but I'll have fun ♪

♪ And I'll hold tight ♪

♪ 'Cause that way it might ♪

♪ La-da-da, da-da, da-da-da-da... ♪

♪ Oh, I know I'll be down again ♪

♪ With my old friend,
this friendship never ends ♪

♪ The blues is always the same ♪

♪ Blues is always the same ♪

♪ I don't know just where I am ♪

♪ I'm a nowhere man, I'm a desperate Dan ♪

♪ But I'll find out ♪

♪ Maybe if I shout ♪

♪ Give me your hand,
I'll give you my mind ♪

♪ It's a fair exchange if you're deaf,
dumb and blind ♪

♪ And we're sold out,
well, that's what it's all about ♪

♪ La-da-da, da-da, da-da-da-da... ♪

[song ends]

[original score]