All language subtitles for Architecton.2024.720p.AMZN.WEB-DL.DDP2.0.H.264-Kitsune.sdh

(somber brass music echoing)

(echoing instruments)

(deep brass music over high notes)

(low and high brass sounds)

(echoing swelling trumpet notes)

(deep booming sound)

(swelling booming brass sounds)

(echoing trumpet sounds)

(booming brass sounds
over high trumpet tones)

(music fading out)

(birds chirping)

(he takes a deep breath)

(traffic noise and honking)

(birds chirping)

(he mumbles something)

(wind noise)

(delicate, mysterious string music)

(swelling deep string music)

(string music fades out)

(wind whistling)

(muffled rumbling)

(powerful white noise)

(cracking)

(loud crashing noise)

(threatening silence)

(very slow swelling white noise)

(muffled deep rumbling)

(De Lucchi) This one is beautiful.

(Mauro Mella) Oh, yes, it is.

- (De Lucchi) Is this the last time?
- Yes, the last lap.

(De Lucchi) I'm coming too,
I'll take the round ones.

(brief swelling bass)

(church bells ringing in the distance)

(Mella) Ok, let's choose the position.

(De Lucchi) Yes.

(De Lucchi grunts)

- (Mella) We have to find the center.
- (De Lucchi) Let's try here.

- Right here is the center, yes?
- Yes.

Let's do it gently first,
so we can see how it looks.

(Mella) Yes. Okay.

Let's make, I don't know ...
Somewhat ...

(De Lucchi) A little more.

So that it comes ...
it comes up to here.

Up to here?

Yes, a little more, and here.

Here.

Here. A little more.

(Mella) Let's take the ...

This is too big.

(Mella) Too big? A little smaller?

Here?

Here, like that.

Is there a mallet?

(Mella) Gently, slowly.

(De Lucchi) Now here, down here.

It has to be something ...

that goes like this.

Up to here.

Then it should be of these dimensions,
more or less.

Shall we try to draw it?

Yes, how do we draw it?

Well, again with that stick.

- It's a little chilly, isn't it?
- My hands are frozen.

- Shall we try to draw it like this?
- Yes, let's put that stick here, Davide.

We'll put it here as a reference.

- How many sticks do we have? Four?
- Four.

Let's put one of them there.

One here, Davide.

Another one here.

One here.

And another one,
which we already have here.

We'll put the four stones
on the four points of the compass.

So one ... at each point.
The round stones, the black ones.

The black ones.

(Mella) Let's try ...
how deep to sink them.

- Shall we do something like this?
- Yes, even a little bit deeper.

- A little bit deeper?
- Yes.

Yes, because ...

It should stay there for a lifetime.

Oh, really?

Beautiful.

(birds chirping)

(brief swelling bass)

(repeating bass)

(echoing high flute notes)

(bass accompanied by soft organ music
and flute notes)

(heavy string music sets in)

(music fades away in echoing bass)

(individual distorted flute notes set in)

(organ music accompanied by echoing tones)

(heavy string music sets in)

(stomping footsteps)

(dramatic string music)

(sad string music)

(stomping footsteps)

(dramatic music fades out)

(soft high organ music)

(brief swelling bass)

(soft high organ music)

(soft organ and string music)

(music fades out)

(De Lucchi) Perfect.

Perfect.

Here comes the snow.

(Mella laughs quietly)

Beautiful.

Beautiful that it's starting to snow,
isn't it?

Ah, really, yes.

- Did it come out of the ground?
- (Davide Alioli) Yes, yes.

(De Lucchi) What is it?

Could it be ... It looks like a ...

What could it be?

Of course, finding a circle
while making a circle ...

(Mella laughs)

It's meant to be.

It's something that has been
prepared ... for years.

Now, I even feel embarrassed
to be inside the circle.

(Mella) Yes, beautiful.
Finding a circle while making the circle.

(stony knocking)

Watch out.

(soft mysterious string music)

It's a hard one, isn't it?

A bit.

It doesn't have a weak point.

(soft mysterious string music continues)

(soft crunching)

(loud crumbling and cracking)

(tense string music)

(music fades out)

(explosion)

(repeated synthetic honking)

(honking fades out)

(crashing)

(machine rattles quietly)

(electronic rhythmic music)

(booming synthetic bass)

(muffled electronic music)

(dreamy high music)

(swelling rattling noise)

(sound sequence
over synthetic music continues)

(majestic swelling music)

(repetitive high tones)

(soft high organ music)

(synthetic rhythm sets in)

(booming synthetic bass)

(music fades out)

(De Lucchi) A circle.

(squeaking)

(De Lucchi) Leave ...

it ...

be.

(birds chirping)

Try this one.

Now, we have to pick
a round stone for this point.

Yes.

I'll just leave it here.

We are almost halfway!

Now comes the hardest part.

- Are we doing well, Architect?
- Good.

There are some
that are a little too big.

It's snowing.
What a beautiful surprise today.

Who knows if there will be snow or not
in years to come.

In the mountains,
there will be a beautiful ...

a beautiful disaster.

(soft mysterious string music)

(music continues)

(soft cracking)

(louder cracking)

(crashing)

(tense string music)

(music slowly fades out)

(chainsaw whizzing)

(crashing)

(high static sound)

(echoing deep brass tone)

(scratching brass tone)

(individual rhythmic tones)

(repetitive swelling trumpet tones)

(continued rhythmic tones
accompanied by trumpets)

(soft rhythmic strokes)

(machine buzzing)

(music fades out)

(traffic noise in the distance)

(loud white noise)

(rumbling and crashing)

(sirens in the distance)

(honking)

- Architect, are you okay?
- I'm getting all wet ...

Now ...

Let's lay the last stone.

We're almost ready.

You have to choose it.

This is the most beautiful one,
we put it in the North.

- No, in the West.
- In the West.

Good.

- Beautiful one.
- Beautiful one.

So we're putting it here.

It was meant to be.

(rumbling in the distance)

(soft chirping)

(traffic noise in the distance)

(honking in the distance)

(soft rumbling)

(echoing deep sound)

(croaking brass sound)

(repeated swelling deep brass sound)

(individual echoing trumpet tones)

(muffled rhythmic strokes)

(high trumpet tones)

(echoing trumpet tones)

(echoing trumpet tones)

(slow drumming)

(Mella) Done.

(De Lucchi) Perfect.

The last one getting in here is me.

I beg your pardon, Architect?

I will be the last man
who enters the circle.

Okay.

This is a magic circle.

Because to make a circle like that,
there is simply no need.

It has no practicality.

All right.

As soon as Davide arrives,
we load those things.

Yes, let's load this stuff.

(De Lucchi) Perfect.

The last man who came in here.

(Mella) Only the dog,
Ugo, can get in.

Yes, the dogs can enter.

- The horses as well.
- The horses as well.

The man backs down.

(barking in the distance)

(relaxed whistling music)

(faster rhythm sets in)

(synthetic bass sets in)

(breathy melody)

(music stops,
soft and heavy breathing)

(faster, relaxed rhythm)

(whistling melody and soft breathing)

(wave-like booming bass)

(whistling melody over mysterious music)

(breathy vocals
over mysterious music)

(peaceful music)

(soft breathing and whistling melody
in the background)

(peaceful music fades out)

(soft breathing)

(soft vocals over peaceful music)

(music fades out)

It's all cut off.

Who knows ... what kind of ...

technology they used?

It seems like here
they made a straight cut.

Hi.

(Abdul Nabi Al-Afi)
Hi, welcome, welcome!

- Abdul?
- Welcome.

- Abdul?
- Abdul.

- It is written here.
- Abdul Afi.

You?

You cleaned everything?

(Al-Afi) English, Français, no.
Welcome, welcome.

Are you an architect?

- No.
- No.

- Which is your profession?
- 30 years here.

- 30 years.
- I started in 1993.

With a ...

Yes, cleaning. 30 years here.
Clean, clean.

And why you did it?

What why?

- Pourquoi? Why?
- Pourquoi?

Français, English, no, no.

Thank you, thank you.

Here you have to clean ... to clean.

Come, come, Sir.

Come, look.

(De Lucchi) It's very heavy work.

(Al-Afi) Look. Five meters by five meters.

You have to clean all this now.
Big work. Really impressive.

L, XL.

(laughing) Yes, XL.

Thousand tons,
thousand and six hundred tons.

Abdul, these are big columns?

There are three stones in Baalbek.

Here are number four and five.
All of them for Baalbek.

The Romans were finishing Baalbek.

Just here.

- And those are Byzantine tombs.
- And tomb.

- Byzantine. Forty tombs.
- The graves.

But it's detached from the ground.

Do you know how they cut it?

(unintelligible)

And they cut it like that?

- Laser cut it.
- Yes.

I don't know how it happened.

13, 14, 15, 16, 17, 18, 19, 20,

21, 22, 23, 24, 25,

26, 27, 28, 29, 30,

31, 32, 33, 34, 35,

36, 37, 38, 39, 40,

41, 42, 43, 44, 45,

46, 47, 48, 49, 50.

This is what we call progress.

(rattling in the distance)

(loud rattling)

(traffic noise)

(swelling trumpet music)

(dramatic music)

(heavy trumpet melody)

(synthetic tones)

(trumpet music fades out)

(tense synthetic music)

(thundering debris)

(slow, dark brass music)

(sad trumpet melody)

(siren-like sounds)

(music fades out)

(echoing grinding sounds)

(sounds fade out)

(Viktor Kossakovsky)
I'm not blaming architects.

I guess it's a question to all of us.

Why people knew
how to make buildings

which lasted thousands of years?

And why we build,

we are making buildings
which last 40 years?

And why ...

I believe that all people
who are not architects,

they have the same question.

Why we build ugly, boring buildings
if we know how to build beautiful ones?

(De Lucchi)
It's a very deep question for me.

And it's bringing me back to the decisions
that I never took in my life.

Right now we are doing
a skyscraper in concrete.

- Where?
- In Milan.

And I'm ashamed of it.

I am asking my colleagues

to do in a way

that we are not responsible.

Because ...

Because it's just ...

it's just one
of these skyscrapers,

more or less tall

that we build in concrete
and that everybody does.

This is just ...

another box
in the center of Milan.

It is not symbolic at all,
it has no meaning.

And this will last
for 40 years, 50 years.

But I hate concrete
because concrete is arid.

Its aridity.

Nothing will grow up
in a concrete building.

And it doesn't belong to nature.

But do you think we will ever,
ever solve the problem

of cement, of concrete?

Yes, I think that this is possible.

This is possible, for example,
with something that is not,

is not ...

it doesn't become garbage
when it is done.

That becomes ...

It comes back to life again.

Everything that is dead,
is dead.

Everything that has not fertility inside

is dead.

And it'll stay there ugly forever.

Everything that is fertile
and grows and develops

and comes back to a new life,
this is what we need.

And if we want to survive
in such a huge number on this planet,

we have to question ourselves:

what we built
that will nourish the planet

and what we built
that is destroying the planet?

This will be part of
the evolution of the world

in the next centuries.

But if I listen to you,
then ideally,

we have to replicate
your "circle of life"

in the center
of all our cities, right?

Yes.

It's a beautiful idea, but ...

will people listen to you?

For example, your own family,

will they keep this circle
in your own garden after you?

Will they keep it forever?

Maybe yes, maybe not.

Because ...

to be conscious
that we have limited resources,

and we have limited
possibilities of surviving

that was not like that until now.

This is the big change
of a paradigm

that we have to produce
in our mind.

We have to find out
a new idea of beauty,

a new idea of ...

ambitions that we can achieve,
and we need to achieve.

And architecture
is just a way to think

about how we live,
how we behave.

There is a famous sentence
that we say,

when we design something,

we do not design only products
or buildings or spaces,

but we design
the behavior of people.

(soft breathing)

(echoing chinking)

(heavy exhale)

(breathing and drumming)

(chinking and drumming)

(breathing continues)

(trumpets and chinking
accompanied by tense music)

(music fades out)