1
00:00:33,784 --> 00:00:35,611
We had to prune this tree.
2
00:00:35,911 --> 00:00:38,236
Its leaves were devouring our light.
3
00:00:43,543 --> 00:00:45,536
I embarked on a series of trips,
4
00:00:45,754 --> 00:00:48,043
filming here and there,
faces and words,
5
00:00:49,174 --> 00:00:51,747
museums, rivers and art.
6
00:00:59,684 --> 00:01:02,685
I listened to the people who
I found it perhaps by chance,
7
00:01:02,895 --> 00:01:04,306
AGNES VARDA
FROM HERE TO THERE
8
00:01:04,522 --> 00:01:07,226
especially artists
whose work I like.
9
00:01:23,915 --> 00:01:25,991
When I returned from my
first trip,
10
00:01:26,543 --> 00:01:28,286
there were already new shoots
11
00:01:29,546 --> 00:01:32,582
I traveled, by train or plane
12
00:01:33,091 --> 00:01:36,257
filming in each city,
not to make a report,
13
00:01:36,469 --> 00:01:39,386
but to capture fragments,
moments, people.
14
00:01:40,181 --> 00:01:41,889
The tree was reborn.
15
00:01:42,975 --> 00:01:44,350
I went and came back.
16
00:01:45,227 --> 00:01:48,928
Jean-Baptiste and I edited
images and sounds that I gathered.
17
00:01:53,819 --> 00:01:57,318
But well before I completed
my travels and my work,
18
00:01:57,697 --> 00:01:59,489
which lasted well over a year,
19
00:01:59,866 --> 00:02:01,277
the tree,
20
00:02:01,993 --> 00:02:03,571
with shoots and leaves
21
00:02:03,995 --> 00:02:07,743
had reconstituted its foliage
in less than three months.
22
00:02:08,041 --> 00:02:10,710
We see the process here
in less than two minutes.
23
00:02:11,169 --> 00:02:13,042
Those who see these chronicles
24
00:02:13,379 --> 00:02:15,206
they will see them for many days.
25
00:02:16,257 --> 00:02:19,174
This series films and leaves,
so to speak.
26
00:02:22,429 --> 00:02:26,723
In this episode we go to Berlin
and to Boston.
27
00:02:26,934 --> 00:02:28,843
We'll see Chris Marker,
28
00:02:29,061 --> 00:02:30,519
Nantes and Portugal,
29
00:02:30,729 --> 00:02:33,564
take a peek between
photography and cinema.
30
00:02:37,444 --> 00:02:39,152
On the plane to Berlin.
31
00:02:39,863 --> 00:02:41,855
I'm expected at Cinamatheque.
32
00:02:44,075 --> 00:02:47,242
Yes, yes, we love
teddy bears!
33
00:02:47,912 --> 00:02:49,454
Every time I come to Berlin,
34
00:02:49,664 --> 00:02:51,703
Hans Joachim Fretzer accompanies me.
35
00:02:53,167 --> 00:02:54,827
No to tourist attractions,
36
00:02:55,252 --> 00:02:58,004
but in my search for bears,
on the streets.
37
00:03:26,324 --> 00:03:28,197
A glimpse of the Brandenburg Gate
38
00:03:28,659 --> 00:03:31,613
and concrete slabs
of the Holocaust Memorial.
39
00:03:34,957 --> 00:03:37,874
A shout out to the angel filmed by Wenders
40
00:03:39,419 --> 00:03:41,376
and at Potsdamer Platz
41
00:03:42,589 --> 00:03:46,172
Fassbinde and his Alexanderplatz.
42
00:03:48,261 --> 00:03:50,337
Here I am at Casa do Cinema
43
00:03:50,555 --> 00:03:53,390
and Arsenal, its cinematheque,
for a retrospective of my films.
44
00:03:57,562 --> 00:03:58,724
A riddle:
45
00:03:59,105 --> 00:04:01,393
Cléo from 5 to 7
takes place on a Tuesday.
46
00:04:01,732 --> 00:04:03,891
The German translation of the title
47
00:04:04,485 --> 00:04:06,892
it doesn't even contain Cléo,
not Tuesday,
48
00:04:07,112 --> 00:04:09,235
It's Wednesday from 5 to 7.
49
00:04:09,573 --> 00:04:10,438
A mystery.
50
00:04:12,993 --> 00:04:15,662
Brigit Kohler manages Arsenal.
51
00:04:15,954 --> 00:04:17,283
She programs films,
52
00:04:17,664 --> 00:04:19,538
assisted by my friend Hans.
53
00:04:20,208 --> 00:04:22,165
Dominique Bluher joins us.
54
00:04:22,377 --> 00:04:25,828
She teaches film at Harvard,
in Cambridge.
55
00:04:27,257 --> 00:04:30,542
Together we go to the Museum
Hamburger Bahnhof.
56
00:04:31,719 --> 00:04:34,292
Part of your collection is
being displayed with the title
57
00:04:34,514 --> 00:04:36,173
Art is Super!
58
00:04:38,225 --> 00:04:39,506
There are many artists.
59
00:04:39,727 --> 00:04:42,597
We chose Joseph Beuys,
the adventurer.
60
00:04:43,314 --> 00:04:46,433
I've never seen your gigantic sculptures
made from fat.
61
00:04:46,775 --> 00:04:49,348
I read what he said about them.
I will quote:
62
00:04:50,445 --> 00:04:53,530
"Fat was a
great discovery
63
00:04:53,949 --> 00:04:57,448
because as a material
can seem very chaotic
64
00:04:57,661 --> 00:04:58,740
and indeterminate.
65
00:04:59,537 --> 00:05:02,372
I can influence her with
heat or cold
66
00:05:03,291 --> 00:05:05,034
and transform it
67
00:05:05,251 --> 00:05:07,956
using sculptural methods
non-traditional
68
00:05:08,629 --> 00:05:10,337
like temperature."
69
00:05:11,674 --> 00:05:13,168
End of quote.
70
00:05:14,218 --> 00:05:17,005
Beuys also works
with other materials
71
00:05:17,346 --> 00:05:19,220
like copper, honey
72
00:05:19,431 --> 00:05:20,178
and the felt,
73
00:05:20,391 --> 00:05:21,766
that breathes.
74
00:05:23,769 --> 00:05:25,097
A few months later,
75
00:05:25,395 --> 00:05:27,518
Dominique brought me to Boston.
76
00:05:28,523 --> 00:05:31,310
From my window I could
see the Charles River.
77
00:05:32,736 --> 00:05:34,977
In the building built by
Le Corbusier,
78
00:05:35,405 --> 00:05:37,647
she introduced me to
their students.
79
00:05:38,533 --> 00:05:41,202
And, with the complicity of Haden Guest,
80
00:05:42,161 --> 00:05:44,154
brought my
5 photographs
81
00:05:44,372 --> 00:05:45,949
and the installation of
The Widows of Noirmoutier,
82
00:05:46,540 --> 00:05:49,375
with its 14 chairs and 15 screens.
83
00:05:52,588 --> 00:05:54,995
Everyone loves Fine Poutoune.
84
00:05:55,883 --> 00:05:57,626
She was 99 years old when I filmed her.
85
00:05:58,469 --> 00:06:01,138
Unfortunately, she didn't make it to 100.
86
00:06:02,514 --> 00:06:03,130
Surprise!
87
00:06:03,432 --> 00:06:06,219
Dominique is knitting me one
sweater,
88
00:06:06,601 --> 00:06:08,060
my favorite color.
89
00:06:09,312 --> 00:06:11,601
A year later,
she comes to Paris
90
00:06:11,898 --> 00:06:14,519
and hands the sweater to my
editing studio.
91
00:06:16,361 --> 00:06:18,187
Beautifully done.
92
00:06:18,404 --> 00:06:19,946
I'm so happy.
93
00:06:20,323 --> 00:06:22,066
Excellent quality wool.
94
00:06:22,283 --> 00:06:25,118
A mix of silk
95
00:06:25,786 --> 00:06:27,115
and wool.
96
00:06:27,329 --> 00:06:29,203
It's huge.
97
00:06:29,415 --> 00:06:30,446
It's very big.
98
00:06:30,666 --> 00:06:32,243
It's adorable, thank you so much!
99
00:06:33,252 --> 00:06:36,502
You are a knitter!
This woman wrote about me.
100
00:06:37,381 --> 00:06:38,791
She is an academic
101
00:06:39,299 --> 00:06:40,497
And that ends with knitting.
102
00:06:40,717 --> 00:06:43,042
Anyway, an adventure
of cinema.
103
00:06:44,929 --> 00:06:46,721
Guillaume-in-Egypt
104
00:06:47,015 --> 00:06:48,509
is here with us.
105
00:06:49,100 --> 00:06:52,635
When he's not making mistakes
through the streets, he goes home.
106
00:06:52,854 --> 00:06:55,938
He is the filmmaker's spokesperson
Chris Marker,
107
00:06:56,148 --> 00:06:58,900
who uses discretion
to the point of secrecy.
108
00:06:59,485 --> 00:07:03,814
The orange cat represents the man
who wants to hide his face.
109
00:07:05,032 --> 00:07:07,321
Your studio is a magnificent mess.
110
00:07:09,536 --> 00:07:13,913
In this indescribable confusion
are your sources of inspiration,
111
00:07:14,124 --> 00:07:15,666
objects he accumulates
112
00:07:15,876 --> 00:07:17,074
and its tools
113
00:07:17,294 --> 00:07:19,867
for the documentaries he makes
114
00:07:20,088 --> 00:07:24,584
from distant lands or near
strikers and protesters.
115
00:07:25,468 --> 00:07:27,176
There are photos of women.
116
00:07:27,553 --> 00:07:29,261
With a touch of mystery
117
00:07:30,932 --> 00:07:33,090
or reinforced by an echo.
118
00:07:39,398 --> 00:07:40,892
He published books.
119
00:07:43,193 --> 00:07:46,479
He also directed fiction films
beautiful and unclassifiable,
120
00:07:47,072 --> 00:07:50,441
such as the famous A Pista
and Level Five.
121
00:07:52,536 --> 00:07:55,572
This is the hidden side of
Marker's work.
122
00:07:55,997 --> 00:07:59,033
The secret segments of
labyrinth of his work.
123
00:08:04,922 --> 00:08:07,129
Chris filmed these Perching Cats.
124
00:08:10,845 --> 00:08:12,553
And also filmmakers he likes,
125
00:08:12,930 --> 00:08:14,969
Tarkovsky, Medvedkine
126
00:08:15,182 --> 00:08:17,554
and Kurosawa when he filmed Ran.
127
00:08:18,519 --> 00:08:21,852
He became friends with
composer Toru Takemitsu.
128
00:08:42,041 --> 00:08:44,330
In addition to cats,
Japanese or not,
129
00:08:45,503 --> 00:08:47,661
he has a talking owl
130
00:08:49,048 --> 00:08:50,839
and some other owls.
131
00:08:52,885 --> 00:08:57,677
The owl is the symbol of knowledge
and Chris passes on his legacy.
132
00:08:59,016 --> 00:09:01,091
As for information,
it comes from everywhere.
133
00:09:03,395 --> 00:09:05,268
What season is this?
134
00:09:05,480 --> 00:09:07,058
Al Jazeera, in English.
135
00:09:07,273 --> 00:09:10,358
By far the best station
24 hour news.
136
00:09:10,568 --> 00:09:12,810
Modeled after CNN, but better.
137
00:09:13,029 --> 00:09:15,271
And why do you want two?
Black and white and color?
138
00:09:15,490 --> 00:09:19,155
I don't know why I can't
get color on my monitor.
139
00:09:22,163 --> 00:09:23,538
Chris gathers information,
140
00:09:23,747 --> 00:09:28,125
and once made comments, drawings
and collages for a web magazine,
141
00:09:28,335 --> 00:09:29,663
Poptronics.
142
00:09:32,965 --> 00:09:34,079
Or more directly.
143
00:09:34,299 --> 00:09:35,129
T-shirt?
144
00:09:35,342 --> 00:09:36,800
- I did it.
- I know.
145
00:09:37,010 --> 00:09:40,545
We sold it and the profit went to
the Obama campaign.
146
00:09:40,764 --> 00:09:42,424
So, I participated.
147
00:09:43,224 --> 00:09:44,849
We remember the joy
148
00:09:45,059 --> 00:09:46,684
when Obama was elected.
149
00:09:47,395 --> 00:09:49,434
But Chris showed me pictures
horrible
150
00:09:49,647 --> 00:09:52,055
circulated by Obama's enemies.
151
00:09:52,650 --> 00:09:55,355
The Republicans play dirty.
152
00:09:55,861 --> 00:09:57,937
They did a whole series
on the topic
153
00:09:58,364 --> 00:10:00,403
"Obama is a dangerous communist."
154
00:10:00,658 --> 00:10:02,152
Showing him as Stalin!
155
00:10:02,534 --> 00:10:05,108
All modern tyrants
156
00:10:05,329 --> 00:10:07,867
like Obama being last.
157
00:10:08,749 --> 00:10:11,204
He also collects
historical archives.
158
00:10:13,837 --> 00:10:17,170
That was when I was in
American Army.
159
00:10:17,382 --> 00:10:21,759
Every week they sent us copies
in reduced size.
160
00:10:21,970 --> 00:10:24,128
This was the first in the series,
161
00:10:24,347 --> 00:10:27,182
end of the war with Japan.
162
00:10:27,808 --> 00:10:29,884
They changed the system.
163
00:10:30,102 --> 00:10:31,929
Here it was very simple.
164
00:10:32,146 --> 00:10:34,388
And now it's the same every time.
165
00:10:34,607 --> 00:10:36,646
They only change the person.
166
00:10:39,194 --> 00:10:41,566
The last one, from last week.
167
00:10:41,780 --> 00:10:42,776
Are they real?
168
00:10:42,990 --> 00:10:46,193
Of course! Why do you think
that everything is fake here?
169
00:10:47,244 --> 00:10:50,447
Not fake but Marker
really lives a double life.
170
00:10:51,373 --> 00:10:53,614
Or perhaps, he lives elsewhere,
171
00:10:53,917 --> 00:10:56,752
virtually, in a Second Life,
172
00:10:56,961 --> 00:10:59,452
in an archipelago created
by Max Moswitzer,
173
00:10:59,839 --> 00:11:01,713
known as Mos Max Hax.
174
00:11:02,258 --> 00:11:04,215
The place is called O'Ouvroir.
175
00:11:04,635 --> 00:11:07,256
Meet Max's avatars
and Chris.
176
00:11:07,471 --> 00:11:09,962
The guy with the white sweater
It's Chris.
177
00:11:11,225 --> 00:11:12,933
He talks to an owl.
178
00:11:16,313 --> 00:11:17,772
He dances with his double.
179
00:11:30,827 --> 00:11:32,286
I joined the dance.
180
00:11:32,495 --> 00:11:36,030
After all, this virtual archipelago
has a pavilion
181
00:11:36,290 --> 00:11:37,915
created by Lucien Bookmite
182
00:11:38,417 --> 00:11:41,537
and presided over by my Uncle Yanco,
who was a painter.
183
00:11:43,047 --> 00:11:45,372
Painting essentially competes
184
00:11:45,591 --> 00:11:48,508
with the splendor of a bird
185
00:11:48,719 --> 00:11:50,178
and with opulence
186
00:11:51,680 --> 00:11:53,803
of the sea or any landscape,
187
00:11:54,016 --> 00:11:55,296
but surpasses them all.
188
00:11:57,686 --> 00:11:59,678
I wanted...
189
00:12:00,105 --> 00:12:03,770
Between conception and execution
190
00:12:03,983 --> 00:12:06,355
there is such a tragic difference.
191
00:12:06,569 --> 00:12:10,152
As between the cup and the lip,
there is a bitterness.
192
00:12:10,365 --> 00:12:11,645
The shadow falls.
193
00:12:14,493 --> 00:12:18,158
A small tour of the museum
imagery dedicated to Marker.
194
00:12:19,790 --> 00:12:21,830
It's gigantic.
195
00:12:22,209 --> 00:12:23,584
Kind of scary.
196
00:12:24,545 --> 00:12:26,418
I fell into a hole. Dizzying.
197
00:12:28,173 --> 00:12:30,711
I will ask Guillaume to play the piano,
198
00:12:30,926 --> 00:12:32,384
that will lift me up.
199
00:12:33,345 --> 00:12:35,337
The Cat Runs, by Scarlatti.
200
00:12:51,696 --> 00:12:56,357
When Guillaume is really tired,
he relaxes on the couch cat.
201
00:12:56,575 --> 00:13:00,324
And when he really needs to relax,
202
00:13:00,537 --> 00:13:04,451
He lies face down on the cat couch.
203
00:13:04,666 --> 00:13:07,584
It's so good,
you can't imagine.
204
00:13:10,714 --> 00:13:13,039
My turn to test the cat sofa.
205
00:13:18,137 --> 00:13:20,842
So, as I often do,
I look at the sea.
206
00:13:24,977 --> 00:13:28,975
Here, today, the river does not flow to the sea,
207
00:13:29,231 --> 00:13:31,603
the sea flows into the Loire River.
208
00:13:34,903 --> 00:13:36,481
This is Gérard Vaugeois,
209
00:13:36,697 --> 00:13:37,895
many years ago.
210
00:13:38,115 --> 00:13:39,942
This train is taking me to Nantes,
211
00:13:40,158 --> 00:13:43,408
that will always be the city
by Jacques Demy.
212
00:13:43,620 --> 00:13:44,995
The city of A Room in the City.
213
00:13:46,289 --> 00:13:50,369
For this little trip,
to remember my friend,
214
00:13:50,585 --> 00:13:51,830
I brought some documents.
215
00:13:52,045 --> 00:13:54,452
Like Michel Colombier's score.
216
00:14:03,472 --> 00:14:05,797
This time,
We were on a collective trip.
217
00:14:06,308 --> 00:14:08,016
On leave in Nantes.
218
00:14:09,186 --> 00:14:11,594
The city wants to celebrate,
so to speak,
219
00:14:11,814 --> 00:14:13,853
0 20th death anniversary
by Jacques Demy
220
00:14:14,066 --> 00:14:16,735
and Lola's 50th birthday.
221
00:14:18,570 --> 00:14:20,776
Friends and journalists came together.
222
00:14:21,281 --> 00:14:22,905
Here is Gérard Lefort.
223
00:14:25,994 --> 00:14:29,113
Ali Michel Piccoli,
One Bedroom in the City.
224
00:14:29,914 --> 00:14:32,322
Anouk Aimée... Lola herself.
225
00:14:33,668 --> 00:14:36,503
And our family.
Mathieu Demy.
226
00:14:37,630 --> 00:14:38,828
Rosalie.
227
00:14:40,049 --> 00:14:41,211
And me.
228
00:14:41,884 --> 00:14:44,920
And on the right, one of my grandchildren
that came.
229
00:14:52,185 --> 00:14:53,727
Upon arrival,
230
00:14:54,229 --> 00:14:55,640
the stars are photographed.
231
00:14:56,856 --> 00:14:58,481
The train station is decorated.
232
00:15:00,110 --> 00:15:03,525
Jean-March Ayraud, Mayor of Nantes,
and Brigitte, greeted us.
233
00:15:03,738 --> 00:15:05,113
I am a fervent admirer.
234
00:15:05,323 --> 00:15:06,568
Thanks.
235
00:15:07,575 --> 00:15:09,864
One of four decorated buses
wait.
236
00:15:10,077 --> 00:15:12,651
They show Jacques and images
of his films.
237
00:15:13,205 --> 00:15:15,661
We heard your response to a
question from a journalist,
238
00:15:15,875 --> 00:15:17,417
"Why do you film?"
239
00:15:18,085 --> 00:15:19,579
"Why do I film?"
240
00:15:20,004 --> 00:15:23,253
"Because I love it.
Because it moves, it is alive.
241
00:15:23,465 --> 00:15:25,256
"Because he laughs and cries.
242
00:15:25,717 --> 00:15:27,793
"Because inside the cinema it's dark
243
00:15:28,011 --> 00:15:29,470
"and hot.
244
00:15:30,096 --> 00:15:33,050
"A guy hits his knee and
a girl takes hers off.
245
00:15:33,725 --> 00:15:35,717
"An idiot in front talks too loud.
246
00:15:36,311 --> 00:15:39,644
"A genius for your reading
of the subtitles.
247
00:15:39,856 --> 00:15:41,895
"Because he dances.
Because he sings.
248
00:15:42,108 --> 00:15:42,973
"So I fly.
249
00:15:43,609 --> 00:15:44,558
"Because it's beautiful.
250
00:15:44,777 --> 00:15:46,651
"Because filming is like a woman.
251
00:15:46,862 --> 00:15:47,858
"He's like a man.
252
00:15:48,072 --> 00:15:49,531
"It might hurt you,
253
00:15:49,740 --> 00:15:51,400
"tear him apart.
It can be ugly.
254
00:15:51,617 --> 00:15:52,862
"But it's good anyway.
255
00:15:53,077 --> 00:15:55,034
"Because of the zooms,
because it tracks,
256
00:15:55,704 --> 00:15:57,744
"Because camera, action, cut!
257
00:15:58,373 --> 00:16:00,947
"Because we dream
with 24 images per second.
258
00:16:01,168 --> 00:16:03,207
"So he runs through the night
259
00:16:03,420 --> 00:16:05,044
"At 86,400 images per hour
260
00:16:05,255 --> 00:16:07,082
"Making the TGV green with envy.
261
00:16:07,299 --> 00:16:08,958
"Because it's black and white
262
00:16:09,175 --> 00:16:10,338
"and so much more.
263
00:16:10,552 --> 00:16:11,832
"Because I love it.
264
00:16:12,053 --> 00:16:14,295
"And that's all I know how to do."
265
00:16:19,018 --> 00:16:20,761
In the multimedia library
266
00:16:20,978 --> 00:16:22,093
a ballet awaited us,
267
00:16:22,355 --> 00:16:24,846
to the melody of Jacques' dialogues
268
00:16:25,274 --> 00:16:26,305
and an exhibition.
269
00:16:35,033 --> 00:16:37,358
The inevitable lunch at La Cigale,
270
00:16:37,619 --> 00:16:40,110
the Eldorado Bar in Lola,
271
00:16:40,497 --> 00:16:42,157
and the confectionery in Jacquot
from Nantes.
272
00:16:46,836 --> 00:16:49,208
The next day,
at the Pommeraye Pass,
273
00:16:49,964 --> 00:16:52,372
another emblematic place
in Nantes and in the cinema,
274
00:16:52,592 --> 00:16:53,671
we meet people
275
00:16:53,885 --> 00:16:55,628
we signed autographs
276
00:16:56,345 --> 00:16:58,836
and a book about Jacques Demy
277
00:16:59,557 --> 00:17:01,015
that had just come out.
278
00:17:09,858 --> 00:17:13,108
At the Pommeraye Pass,
Lola is always there.
279
00:17:14,112 --> 00:17:17,528
Anouk Aimée,
50 years after filming,
280
00:17:17,741 --> 00:17:19,567
charming, vivacious,
281
00:17:19,784 --> 00:17:22,322
repeating the coquettish gestures
by Lola...
282
00:17:22,620 --> 00:17:24,114
Miraculous.
283
00:17:24,330 --> 00:17:28,079
Michel Legrand's theme for Lola
filled the air.
284
00:17:49,229 --> 00:17:50,557
As for naval shipyards,
285
00:17:50,772 --> 00:17:54,556
scene of great strikes
in 1955 and 1979,
286
00:17:55,026 --> 00:17:57,778
were recycled in the offices.
287
00:17:58,279 --> 00:17:59,773
And the big hangar
288
00:18:00,365 --> 00:18:02,404
it now houses a leisure complex.
289
00:18:04,911 --> 00:18:07,662
There is still a
mechanical construction studio
290
00:18:08,122 --> 00:18:10,447
which works with many technicians.
291
00:18:11,041 --> 00:18:12,868
They build playful machines
292
00:18:13,752 --> 00:18:15,959
designed by François Delarozière
293
00:18:16,547 --> 00:18:17,827
and below
294
00:18:18,048 --> 00:18:20,254
articulated marine animals.
295
00:18:45,699 --> 00:18:48,949
François invented, together with
Jean-Luc Courcoult,
296
00:18:49,453 --> 00:18:53,036
the giants and elephants of
Royal Deluxe, Street Theater.
297
00:18:53,791 --> 00:18:55,285
Another elephant
298
00:18:55,709 --> 00:18:59,244
arrives every day after
a tour of the Island of Nantes.
299
00:19:09,889 --> 00:19:12,843
It is also a means of transport
to return to the center
300
00:19:13,309 --> 00:19:16,061
for the reassuring calm
of the Art Museum.
301
00:19:19,565 --> 00:19:22,482
A big, beautiful exhibition of
Cuban painter Wifredo Lam,
302
00:19:23,611 --> 00:19:26,695
organized by Blandine Chavanne,
director of the museum.
303
00:19:27,364 --> 00:19:29,404
We haven't seen one in 30 years.
304
00:19:31,201 --> 00:19:34,736
He came to my yard
in the 60s.
305
00:19:35,080 --> 00:19:39,872
I discovered your work in Cuba,
in 1962, at Saul Yelin.
306
00:19:40,335 --> 00:19:42,873
I like to photograph
his daughter Karen.
307
00:19:43,171 --> 00:19:44,998
43 years later,
308
00:19:45,215 --> 00:19:48,251
I get a letter from your little girl,
now an adult,
309
00:19:48,468 --> 00:19:51,172
I wanted a copy of this
photography
310
00:19:51,387 --> 00:19:54,139
and a copy of my film
Salut les Cubains!
311
00:19:55,599 --> 00:19:57,343
I carried the image with me.
312
00:19:57,560 --> 00:20:00,051
I waited to see this painting again,
but no.
313
00:20:00,354 --> 00:20:04,221
The closest was
Fiancée, from Papua New Guinea.
314
00:20:05,317 --> 00:20:07,855
Back to various pieces
of the forties.
315
00:20:10,781 --> 00:20:12,405
Magic, tropical poetry,
316
00:20:13,366 --> 00:20:14,991
bodies and vegetation.
317
00:20:16,328 --> 00:20:17,738
Androgynous Orisha,
318
00:20:17,954 --> 00:20:20,527
with breasts and a goatee
penis shaped
319
00:20:20,832 --> 00:20:23,583
hand on ear, listen
the sounds of the forest.
320
00:20:54,155 --> 00:20:57,856
I loved Wifredo Lam's eyes,
full of tenderness.
321
00:21:00,453 --> 00:21:01,615
Another time,
322
00:21:02,163 --> 00:21:04,950
Ernesto Neto invaded the Atrium
323
00:21:06,083 --> 00:21:07,743
with its soft shapes,
324
00:21:08,419 --> 00:21:09,877
figs or testicles,
325
00:21:10,129 --> 00:21:12,370
in an interlacing helix.
326
00:21:13,841 --> 00:21:17,885
Recently, Judit Reigl's paintings,
of Hungarian origin.
327
00:21:19,596 --> 00:21:21,304
Rarely shown,
328
00:21:21,515 --> 00:21:23,840
his work is, however,
rich and powerful
329
00:21:24,392 --> 00:21:26,468
like your beautiful face.
330
00:21:28,813 --> 00:21:31,351
The tragedy that occurred in New York
in September 2011,
331
00:21:31,566 --> 00:21:33,226
and people jumping from towers,
332
00:21:33,901 --> 00:21:36,819
inspired variations on the theme
of standing bodies,
333
00:21:37,280 --> 00:21:39,687
already the greatest aspect of his work.
334
00:21:40,908 --> 00:21:42,735
These bodies are in free fall.
335
00:21:43,369 --> 00:21:44,946
Tragic fall.
336
00:21:47,706 --> 00:21:49,948
And there are the museum's permanent collections,
337
00:21:51,376 --> 00:21:53,950
including Wheat Separators,
de Coubert...
338
00:21:55,088 --> 00:21:56,286
Gustave.
339
00:21:57,591 --> 00:21:59,583
And two splendid Picassos,
340
00:22:00,051 --> 00:22:01,759
Old man with cane
341
00:22:03,096 --> 00:22:04,376
and The Couple.
342
00:22:08,851 --> 00:22:10,891
I will always watch The Shipwreck
by Emily, by Isabey.
343
00:22:11,104 --> 00:22:13,345
This time, I'm with Pierrick Sorin.
344
00:22:20,571 --> 00:22:24,189
It seems that the painter wanted
suggest a skull.
345
00:22:24,408 --> 00:22:25,688
It's on purpose, I think.
346
00:22:25,909 --> 00:22:28,863
Death is swallowing
347
00:22:29,079 --> 00:22:30,158
all those poor fishermen.
348
00:22:33,375 --> 00:22:34,537
When Pierrick,
349
00:22:35,126 --> 00:22:39,254
At the moment he occupies the old factory
of the famous LU cookies.
350
00:22:40,298 --> 00:22:41,578
No longer a factory,
351
00:22:41,799 --> 00:22:45,334
LU is now Lugar Único.
352
00:22:45,928 --> 00:22:47,636
Unique and varied.
353
00:22:47,847 --> 00:22:49,306
The trumpets of fame
354
00:22:49,640 --> 00:22:51,182
are looking at Pierrick.
355
00:22:52,184 --> 00:22:53,928
Is he proud of this great
exposure?
356
00:22:54,436 --> 00:22:56,476
The interesting part
is meeting people,
357
00:22:56,689 --> 00:22:59,773
talk to the people who come.
358
00:23:02,569 --> 00:23:05,274
Yet you're spitting
in us.
359
00:23:05,489 --> 00:23:06,769
Maybe this means
360
00:23:07,240 --> 00:23:10,858
that I like the public,
but they scare me a little.
361
00:23:11,077 --> 00:23:13,699
So I keep them at bay,
362
00:23:14,080 --> 00:23:15,824
spitting on them.
363
00:23:16,166 --> 00:23:18,241
But spit,
I'm also showing myself,
364
00:23:18,459 --> 00:23:22,208
and showing me,
I'm drawing attention to myself,
365
00:23:22,421 --> 00:23:24,912
meaning I want
the public likes me.
366
00:23:26,884 --> 00:23:29,173
And then you clean the window.
367
00:23:29,845 --> 00:23:32,419
Clean, so I can start over
spitting.
368
00:23:35,350 --> 00:23:37,888
Or you can't see me.
369
00:23:38,103 --> 00:23:41,554
I wipe the paint so you can see
this little character
370
00:23:42,607 --> 00:23:43,888
expressing yourself,
371
00:23:44,109 --> 00:23:46,860
stuck behind your window.
372
00:23:48,321 --> 00:23:50,942
And even more stuck
in an aquarium.
373
00:24:01,709 --> 00:24:03,120
You're having fun.
374
00:24:03,335 --> 00:24:05,873
Making a fool of yourself, being stupid.
375
00:24:06,797 --> 00:24:08,125
I'm being stupid,
376
00:24:08,799 --> 00:24:11,290
but like a depressed idiot
377
00:24:11,510 --> 00:24:12,838
We feel...
378
00:24:14,721 --> 00:24:19,383
We feel like the guy is trying
escape some form of depression.
379
00:24:23,772 --> 00:24:27,187
And when you run, you skate
and laugh on the records?
380
00:24:27,901 --> 00:24:29,940
Maybe he's chasing me.
381
00:24:30,153 --> 00:24:32,940
Maybe you're trying
382
00:24:33,948 --> 00:24:39,322
make up my mind
take my body.
383
00:24:40,955 --> 00:24:43,446
I wanted to describe
the myth of Sisyphus
384
00:24:43,666 --> 00:24:46,869
like someone running without ceasing
on a recorder.
385
00:24:48,879 --> 00:24:50,290
Getting nowhere.
386
00:24:50,505 --> 00:24:51,881
If you listen carefully,
387
00:24:52,090 --> 00:24:56,088
you will hear excerpts of sentences
coming from the disk.
388
00:24:56,303 --> 00:24:57,548
Only excerpts however,
389
00:24:57,762 --> 00:25:00,051
not enough to create
a sense.
390
00:25:00,348 --> 00:25:04,262
But at the same time it's magical,
in the style of Méliès!
391
00:25:05,269 --> 00:25:08,555
Yes, I love to make it simple,
magical things,
392
00:25:08,940 --> 00:25:10,350
almost childish.
393
00:25:14,528 --> 00:25:16,437
Like this totem of images.
394
00:25:16,906 --> 00:25:19,147
As a child,
Did you have a book like that?
395
00:25:19,366 --> 00:25:20,611
Of course.
396
00:25:38,801 --> 00:25:40,841
So the exposure is you,
397
00:25:41,054 --> 00:25:42,761
you and more you.
398
00:25:43,473 --> 00:25:45,216
Because I'm an only child.
399
00:25:45,433 --> 00:25:48,766
I got used to playing alone
very young,
400
00:25:50,104 --> 00:25:51,646
I did everything alone.
401
00:26:04,409 --> 00:26:08,738
The mini-machines that come with
the multi-self self-portrait
402
00:26:09,372 --> 00:26:11,780
also appear in
concerts-events,
403
00:26:12,750 --> 00:26:16,166
improvised with Pierre Bastien
and François Ripoche.
404
00:26:20,132 --> 00:26:23,418
Pierrick puts on a light show
using your videos.
405
00:26:31,435 --> 00:26:34,471
The title for this invention
incredible
406
00:26:34,688 --> 00:26:38,816
is a personal operator
for facial surgery.
407
00:26:50,912 --> 00:26:52,655
With Pierrick's consent,
408
00:26:53,289 --> 00:26:55,495
I stepped in front of the video.
409
00:27:28,156 --> 00:27:29,733
Behind the Unique Place,
410
00:27:30,158 --> 00:27:32,280
there is a single wall.
411
00:27:35,746 --> 00:27:38,154
This vast wall, seen up close,
412
00:27:38,415 --> 00:27:41,665
It's a store with opaque windows,
413
00:27:41,877 --> 00:27:43,455
sealed for 100 years.
414
00:27:43,962 --> 00:27:46,916
Holds objects
The Store of the Century.
415
00:27:47,424 --> 00:27:50,460
Jean Blaise had the idea,
I think,
416
00:27:50,677 --> 00:27:54,128
after reading Perec's book,
Life, How to Use It.
417
00:27:54,347 --> 00:27:56,672
I think that's where he got the idea
418
00:27:56,891 --> 00:27:59,596
to collect objects like that,
419
00:27:59,811 --> 00:28:01,471
asking people to bring them.
420
00:28:01,688 --> 00:28:03,763
I coordinated the project.
421
00:28:03,981 --> 00:28:05,808
In a warehouse,
422
00:28:06,025 --> 00:28:09,524
we tidy up an area
where people could come.
423
00:28:09,737 --> 00:28:11,196
For more than 3 months,
424
00:28:11,405 --> 00:28:13,563
11,855 people came
425
00:28:13,782 --> 00:28:15,656
and left us their objects.
426
00:28:16,076 --> 00:28:18,116
We number them.
427
00:28:18,328 --> 00:28:21,531
We kept a record
people's names, ages,
428
00:28:21,748 --> 00:28:23,159
Why did they leave the objects?
429
00:28:23,375 --> 00:28:25,451
what it meant to them,
430
00:28:25,669 --> 00:28:28,586
then we seal the objects in cans
431
00:28:29,589 --> 00:28:32,460
and we stack them on pallets.
432
00:28:33,510 --> 00:28:35,965
In 15 days they were placed
433
00:28:36,304 --> 00:28:38,877
on the wall of
The Store of the Century.
434
00:28:40,975 --> 00:28:42,932
What made them donate was
435
00:28:43,352 --> 00:28:44,597
that we gave them a receipt
436
00:28:44,812 --> 00:28:49,770
and this receipt will be given to the grandchildren
and great-grandchildren.
437
00:28:49,984 --> 00:28:52,272
And these great-grandchildren
438
00:28:52,486 --> 00:28:55,321
will come in 2100 when the
files are opened.
439
00:28:55,531 --> 00:28:57,938
With receipt.
They will not be able to have the object
440
00:28:58,158 --> 00:29:01,443
because they were donated to the city.
441
00:29:01,661 --> 00:29:04,448
But they might find out
what was given.
442
00:29:04,664 --> 00:29:05,494
A clock radio.
443
00:29:05,707 --> 00:29:06,703
A blowtorch.
444
00:29:06,916 --> 00:29:07,782
My phone.
445
00:29:08,001 --> 00:29:08,831
My health insurance card.
446
00:29:09,043 --> 00:29:09,992
An old needle.
447
00:29:10,211 --> 00:29:10,993
A compass game.
448
00:29:11,379 --> 00:29:12,577
A red hat.
449
00:29:14,006 --> 00:29:15,501
Our first purchase.
450
00:29:15,758 --> 00:29:16,837
An electric train.
451
00:29:17,260 --> 00:29:18,588
Loire sand.
452
00:29:18,803 --> 00:29:19,549
My magic cube.
453
00:29:19,762 --> 00:29:20,462
Subway tickets
454
00:29:20,679 --> 00:29:21,344
An eel trap.
455
00:29:21,555 --> 00:29:22,337
Baby bottles.
456
00:29:22,556 --> 00:29:23,054
Shoes.
457
00:29:23,265 --> 00:29:24,261
My lucky teddy bear.
458
00:29:24,767 --> 00:29:28,017
I'm fascinated by the idea
to gather
459
00:29:29,021 --> 00:29:30,978
as many people as possible.
460
00:29:31,565 --> 00:29:34,352
I'm talking about hundreds,
perhaps thousands.
461
00:29:34,943 --> 00:29:37,399
People who will bring
something of them.
462
00:29:37,612 --> 00:29:40,649
I'm fascinated by individuals,
463
00:29:41,449 --> 00:29:42,612
your private life,
464
00:29:42,826 --> 00:29:44,320
your inner life
465
00:29:44,661 --> 00:29:45,823
within a large group.
466
00:29:46,579 --> 00:29:47,860
It is a collective memory.
467
00:29:48,081 --> 00:29:50,750
When they analyze much later,
468
00:29:50,958 --> 00:29:53,710
will find meaning in it,
as a whole.
469
00:30:01,844 --> 00:30:03,883
On the banks of the Loire,
470
00:30:04,096 --> 00:30:06,931
we reached the sumptuous hotel
of the region.
471
00:30:08,684 --> 00:30:10,391
In this imposing building,
472
00:30:10,602 --> 00:30:11,633
a surprise.
473
00:30:11,853 --> 00:30:13,264
It's raining.
474
00:30:13,480 --> 00:30:15,353
Raining inside a small hut.
475
00:30:15,565 --> 00:30:17,605
It is the work of Stéphane Thidet.
476
00:30:58,981 --> 00:31:00,689
Here is a photograph,
477
00:31:00,900 --> 00:31:03,225
but I still hear the rain.
478
00:31:03,486 --> 00:31:05,063
Or is it a guitar?
479
00:31:05,279 --> 00:31:07,770
The one who accompanies
Amália Rodrigues...
480
00:31:21,753 --> 00:31:23,911
I arrive in Portugal with rain.
481
00:31:24,130 --> 00:31:26,704
It rains. It rains.
482
00:31:36,642 --> 00:31:39,014
On the editing table
with these images
483
00:31:40,021 --> 00:31:42,725
we play at stopping them in
movement.
484
00:31:43,357 --> 00:31:45,978
Cartier-Bresson called it
"the decisive moment".
485
00:31:46,193 --> 00:31:47,474
Case in point.
486
00:31:47,861 --> 00:31:49,320
And give me the opportunity
487
00:31:49,530 --> 00:31:52,530
to ramble on a subject
which is dear to me.
488
00:31:52,741 --> 00:31:54,484
Movement or no movement.
489
00:31:54,910 --> 00:31:56,949
Cinema and photography.
490
00:31:57,245 --> 00:31:58,953
The instant and duration.
491
00:32:01,374 --> 00:32:03,995
The decisive moment in Portugal.
492
00:32:04,544 --> 00:32:07,379
Or when that salt worker
descending a salt slope
493
00:32:07,589 --> 00:32:09,498
reaches roof level.
494
00:32:12,009 --> 00:32:13,254
Other times,
495
00:32:13,553 --> 00:32:17,467
I choose the stillness of people
and the silence of frozen time.
496
00:32:24,605 --> 00:32:26,229
Here is a still portrait
497
00:32:26,440 --> 00:32:29,394
in honor of the film by Luis Buñuel
The Golden Age.
498
00:32:31,069 --> 00:32:35,114
But it's one image out of 24 per second
in a film sequence.
499
00:32:35,365 --> 00:32:36,824
This is cinema
500
00:32:37,033 --> 00:32:41,197
with blood that is hemoglobin
and fake pain.
501
00:32:46,959 --> 00:32:47,741
Here,
502
00:32:47,960 --> 00:32:49,704
at 5 images per second
503
00:32:49,921 --> 00:32:50,869
or in zoom.
504
00:32:51,380 --> 00:32:54,998
I refilmed photographs
to the rhythm of a Benny More song.
505
00:33:05,268 --> 00:33:07,938
This photograph is a composition.
506
00:33:08,146 --> 00:33:09,060
I put the models
507
00:33:09,272 --> 00:33:11,016
in relation to a dead goat
508
00:33:11,232 --> 00:33:12,561
falling off a cliff.
509
00:33:15,778 --> 00:33:18,448
Here is a picture, a snapshot,
510
00:33:18,656 --> 00:33:22,274
taken in Marseille,
in Le Corbusier's Cité Radieuse.
511
00:33:22,702 --> 00:33:25,406
I went up to the terrace and clicked.
512
00:33:26,414 --> 00:33:28,951
I often ask myself
who are these people,
513
00:33:29,166 --> 00:33:31,455
and what happened before
of this moment
514
00:33:31,669 --> 00:33:32,748
and then.
515
00:33:33,337 --> 00:33:35,460
I decided to imagine a script.
516
00:33:35,672 --> 00:33:38,839
Make these people unknown
characters in a skit.
517
00:33:40,177 --> 00:33:42,253
Like in the movies, I chose the location,
518
00:33:42,471 --> 00:33:44,463
the Seaside Theater in Sète,
519
00:33:44,681 --> 00:33:46,720
and there was a scenario built
520
00:33:46,933 --> 00:33:49,222
from the wall
who was behind them.
521
00:33:50,353 --> 00:33:52,262
I put together a team.
522
00:33:52,897 --> 00:33:55,020
The equipment was rented.
523
00:33:55,942 --> 00:33:58,148
We set up the tracking rails.
524
00:33:59,195 --> 00:34:01,271
I selected local actors
525
00:34:02,031 --> 00:34:03,062
and drove
526
00:34:03,282 --> 00:34:04,610
in 2007
527
00:34:04,825 --> 00:34:09,653
the unlikely story of a photograph
taken in the mid-fifties.
528
00:34:13,542 --> 00:34:15,166
It's so beautiful!
529
00:34:15,377 --> 00:34:16,954
So old!
530
00:34:18,672 --> 00:34:20,296
The sea is beautiful.
531
00:34:21,633 --> 00:34:22,961
So beautiful.
532
00:34:23,301 --> 00:34:24,961
Do you think they arrived?
533
00:34:28,890 --> 00:34:31,178
You should have brought one
hat for the little one
534
00:34:31,392 --> 00:34:32,673
I know...
535
00:34:34,395 --> 00:34:36,269
You can take some photos,
mom.
536
00:34:36,939 --> 00:34:38,267
There they are!
537
00:34:39,692 --> 00:34:40,723
Hi, mom.
538
00:34:43,487 --> 00:34:45,563
What a beautiful baby!
539
00:34:46,323 --> 00:34:47,603
Hi, my dear.
540
00:34:49,701 --> 00:34:51,030
- How are you?
- Good.
541
00:34:51,453 --> 00:34:53,327
Let me kiss you.
542
00:34:53,830 --> 00:34:56,499
It was so hot in the car.
543
00:35:02,922 --> 00:35:04,582
Cool, very modern.
544
00:35:11,847 --> 00:35:13,721
Look at me, smile!
545
00:35:15,559 --> 00:35:18,430
The background is not good.
Let's change.
546
00:35:22,316 --> 00:35:24,308
It's more beautiful here.
Go ahead.
547
00:35:27,779 --> 00:35:30,400
Let Jean-Pierre hold you,
It's his son.
548
00:35:36,955 --> 00:35:39,576
I want to be in the photo with
my daughter.
549
00:35:45,087 --> 00:35:46,914
Family photos are always
a success.
550
00:35:47,923 --> 00:35:49,466
Sometimes they miss you...
551
00:35:49,842 --> 00:35:53,922
This was taken by a soldier from
1st License War.
552
00:35:54,179 --> 00:35:56,302
So you had to stay still
553
00:35:56,515 --> 00:35:58,757
for a minute or so,
without moving.
554
00:35:58,976 --> 00:36:00,636
This woman moved.
555
00:36:01,019 --> 00:36:04,353
So in this family photo
two people are missing.
556
00:36:04,564 --> 00:36:05,727
One, who took it away,
557
00:36:05,941 --> 00:36:08,147
double sense,
because he died in the war
558
00:36:08,818 --> 00:36:11,025
and one that became
an ectoplasm.
559
00:36:12,614 --> 00:36:14,653
To conclude my
digression into images,
560
00:36:14,866 --> 00:36:17,238
here is a photo of
a fisherman.
561
00:36:19,120 --> 00:36:22,785
On the wall he stood on
she was filmed and is rocking.
562
00:36:23,708 --> 00:36:25,665
It's the sea, the ocean.
563
00:36:26,335 --> 00:36:28,660
The Atlantic Ocean in the mouth
of the Tagus.
564
00:36:34,259 --> 00:36:36,086
We are in Portugal again.
565
00:36:37,054 --> 00:36:40,505
In Lisbon, in Porto,
everywhere,
566
00:36:40,724 --> 00:36:43,012
we see these famous ceramics,
567
00:36:43,810 --> 00:36:45,388
the tiles.
568
00:36:46,729 --> 00:36:49,351
They are at the French Embassy,
569
00:36:49,565 --> 00:36:51,143
where I am a guest.
570
00:37:00,826 --> 00:37:02,700
It's a museum of ancient art,
571
00:37:03,245 --> 00:37:06,828
except for a fresco
by Martinha Maia.
572
00:37:11,586 --> 00:37:13,129
When they host dinners,
573
00:37:13,630 --> 00:37:16,251
invite guests
to see the chapel.
574
00:37:17,467 --> 00:37:18,747
In it
575
00:37:19,260 --> 00:37:20,458
there is an angel,
576
00:37:20,678 --> 00:37:22,718
known as The Angel of Silence.
577
00:37:26,267 --> 00:37:28,972
It was silence
in the work of Ana Vieira
578
00:37:29,228 --> 00:37:32,763
that impressed me
at the Gulbenkian Foundation.
579
00:37:34,108 --> 00:37:35,685
On the veiled walls,
580
00:37:35,901 --> 00:37:39,068
objects and furniture
of this house barely exist,
581
00:37:39,280 --> 00:37:40,904
but they're all still here.
582
00:37:41,115 --> 00:37:42,146
chandeliers,
583
00:37:42,741 --> 00:37:44,116
chairs,
584
00:37:44,326 --> 00:37:45,524
a table laid out.
585
00:37:46,244 --> 00:37:48,202
Everything is absence and silence.
586
00:37:49,664 --> 00:37:51,538
The same quality of absence
587
00:37:51,750 --> 00:37:55,415
It's in those boxes and trunks
by the same artist.
588
00:37:56,212 --> 00:37:58,501
Covered by a translucent sheet,
589
00:37:58,715 --> 00:38:01,087
is like a woman
lying under a shroud.
590
00:38:05,555 --> 00:38:08,674
Less secret are the wax saints
591
00:38:08,933 --> 00:38:10,475
shown in churches
592
00:38:10,684 --> 00:38:12,677
where gold is baroque.
593
00:38:18,984 --> 00:38:20,893
Another style in Porto:
594
00:38:21,153 --> 00:38:23,525
a bridge built by Eiffel,
595
00:38:23,739 --> 00:38:26,989
connecting the sardine side of the river
596
00:38:27,701 --> 00:38:29,195
with the Port wine side.
597
00:38:29,411 --> 00:38:31,284
Two local specialties.
598
00:38:33,456 --> 00:38:36,825
Further on is the tour
on the beach.
599
00:38:38,044 --> 00:38:40,582
That's where I find
Manoel de Oliveira,
600
00:38:40,796 --> 00:38:42,919
the 102-year-old filmmaker
601
00:38:43,132 --> 00:38:44,710
which is still filming,
602
00:38:45,885 --> 00:38:48,257
and his wife, Maria Isabel.
603
00:38:48,971 --> 00:38:50,798
We were invited by the consul.
604
00:38:51,181 --> 00:38:52,557
How did you meet Manoel?
605
00:38:52,766 --> 00:38:54,344
- I?
- Yes.
606
00:38:54,560 --> 00:38:58,604
Here on the beach,
he saw me for the first time.
607
00:38:59,940 --> 00:39:02,347
- How long ago was that?
- A long time ago.
608
00:39:03,026 --> 00:39:06,644
We got married in 1941 or 1942,
I don't remember.
609
00:39:07,489 --> 00:39:09,565
Have you ever worked with your husband?
610
00:39:10,199 --> 00:39:12,690
What is the title in French?
611
00:39:12,910 --> 00:39:14,025
Columbus.
612
00:39:14,245 --> 00:39:15,573
About the life of Columbus.
613
00:39:15,788 --> 00:39:17,781
- Christopher Columbus.
- Right.
614
00:39:18,457 --> 00:39:23,000
Manoel asked Maria Isabel
acted in this film.
615
00:39:23,712 --> 00:39:25,254
I sang a song,
616
00:39:25,464 --> 00:39:28,381
a very beautiful song,
617
00:39:28,634 --> 00:39:31,670
when I arrived in America.
618
00:39:32,304 --> 00:39:34,593
The Lady in the Sea.
619
00:39:35,724 --> 00:39:37,763
An indomitable woman,
620
00:39:37,976 --> 00:39:39,767
With torch lit,
621
00:39:39,978 --> 00:39:42,054
And with the living fire
622
00:39:42,272 --> 00:39:43,647
And what is his nickname
623
00:39:43,857 --> 00:39:46,561
Mother of the Outcast
624
00:39:46,818 --> 00:39:49,653
From the lighthouse that he holds in the air.
625
00:39:49,904 --> 00:39:54,400
Radiates welcome
To an entire land
626
00:39:59,330 --> 00:40:02,580
Among the guests,
is João Fernandez.
627
00:40:03,208 --> 00:40:06,577
He manages the Serralves Museum
where they are showing my film.
628
00:40:07,212 --> 00:40:09,999
He invites Oliveira to watch him.
629
00:40:14,177 --> 00:40:15,552
They both came.
630
00:40:15,762 --> 00:40:17,173
It's surprising.
631
00:40:22,101 --> 00:40:23,893
Here's what I say at the end of the film.
632
00:40:24,604 --> 00:40:28,055
The combined sensation instantly
with the image, which remains.
633
00:40:30,484 --> 00:40:32,477
As long as I live, I remember.
634
00:40:34,029 --> 00:40:35,523
And now, I film what I live.
635
00:40:35,948 --> 00:40:38,653
I'm a guest filming
my own reception.
636
00:40:40,077 --> 00:40:42,828
After answering the questions
of the audience,
637
00:40:43,080 --> 00:40:46,448
I wanted to hear some more
by João and Manoel.
638
00:40:48,793 --> 00:40:50,453
I work a lot in cinema,
639
00:40:50,670 --> 00:40:52,544
even when I'm not filming.
640
00:40:52,756 --> 00:40:54,166
I write
641
00:40:55,049 --> 00:40:57,338
film after film after film.
642
00:40:57,885 --> 00:41:00,127
Manoel works with conventions.
643
00:41:00,346 --> 00:41:02,884
He says reality does not exist.
644
00:41:03,099 --> 00:41:06,799
He says that reality is merely
the result of certain conventions.
645
00:41:07,019 --> 00:41:10,767
An organized dramatization
by society
646
00:41:12,274 --> 00:41:14,895
to create all the laws
647
00:41:15,110 --> 00:41:18,277
presented to us by
realities in which we live.
648
00:41:18,488 --> 00:41:21,489
It's very important,
in Manoel's films,
649
00:41:21,700 --> 00:41:25,151
understand that society
becomes the artifice.
650
00:41:25,370 --> 00:41:27,030
It is not cinema that is an artifice.
651
00:41:27,747 --> 00:41:32,243
Manoel's films help us
to distance ourselves
652
00:41:32,460 --> 00:41:35,033
of the reality that is imposed on us
653
00:41:35,296 --> 00:41:39,507
so we can interpret it
otherwise.
654
00:41:42,178 --> 00:41:44,965
This is the strange story
by Angelica.
655
00:41:45,180 --> 00:41:47,932
Here she is dead,
on his deathbed.
656
00:41:48,308 --> 00:41:51,594
A photographer was brought in
take the final image
657
00:41:51,812 --> 00:41:53,472
before she leaves.
658
00:42:06,201 --> 00:42:09,450
Cinema becomes an exercise
of what is real.
659
00:42:12,582 --> 00:42:15,417
A photographer is, in theory,
a proof of what is real.
660
00:42:15,793 --> 00:42:17,371
But here it's different.
661
00:42:19,004 --> 00:42:21,875
I think of Marker's film La Jetée,
662
00:42:22,383 --> 00:42:24,043
made of photographs
663
00:42:24,343 --> 00:42:26,798
and suddenly the young woman
open your eyes.
664
00:42:39,691 --> 00:42:43,225
The next part of this magical scene
It's admirable.
665
00:42:43,611 --> 00:42:45,319
The photographer leans over his counter
666
00:42:45,822 --> 00:42:47,067
and look.
667
00:42:49,075 --> 00:42:51,826
Three huge tank trucks
pass.
668
00:42:55,706 --> 00:42:57,699
What do you think of reality?
669
00:43:05,007 --> 00:43:09,170
Say, Manoel, you can talk
about reality and loneliness?
670
00:43:09,803 --> 00:43:12,009
- Loneliness?
- Yes.
671
00:43:13,765 --> 00:43:15,176
I don't know.
672
00:43:15,475 --> 00:43:17,966
Loneliness is something
673
00:43:18,478 --> 00:43:21,597
which I have no experience with.
674
00:43:22,440 --> 00:43:23,815
Not yet.
675
00:43:26,736 --> 00:43:28,858
We are alone when we create,
aren't we?
676
00:43:29,071 --> 00:43:31,313
No, we are not alone.
677
00:43:33,450 --> 00:43:37,863
We are with the angel of creation.
678
00:43:39,414 --> 00:43:41,656
We are always accompanied.
679
00:43:42,250 --> 00:43:43,828
We don't see it,
680
00:43:44,044 --> 00:43:45,538
but he is there.
681
00:43:47,422 --> 00:43:51,716
Angels are the setting
of the spirit.
682
00:43:52,468 --> 00:43:53,797
And the guardian angel?
683
00:43:54,262 --> 00:43:55,507
The guardian angel
684
00:43:56,222 --> 00:43:58,511
It's destiny,
685
00:43:58,975 --> 00:44:00,137
a spirit.
686
00:44:00,351 --> 00:44:02,676
A spirit that commands us.
687
00:44:03,521 --> 00:44:06,356
We believe we are free.
688
00:44:06,565 --> 00:44:11,191
But we don't know
the dark forces
689
00:44:11,862 --> 00:44:13,273
who command us.
690
00:44:14,823 --> 00:44:17,314
What strength does Manoel command?
691
00:44:17,701 --> 00:44:19,444
fighting for a smile?
692
00:44:21,162 --> 00:44:23,119
"Against who?" I asked him.
693
00:44:23,707 --> 00:44:25,664
"Against fate!" he replied.
694
00:44:30,797 --> 00:44:32,504
I think it's over.
695
00:44:32,715 --> 00:44:33,960
We're not even close.
696
00:44:35,718 --> 00:44:38,043
He wants to make his friends happy.
697
00:45:10,334 --> 00:45:12,327
He asks Rosalie questions.
698
00:45:12,712 --> 00:45:14,371
He is interested in my camera.
699
00:45:14,880 --> 00:45:15,959
I show it to him.
700
00:45:16,757 --> 00:45:18,335
I explain how it works.
701
00:45:18,717 --> 00:45:20,093
I let him use it.
702
00:45:20,469 --> 00:45:21,749
I adjust the sockets.
703
00:45:21,970 --> 00:45:23,595
But not very well.
704
00:45:24,056 --> 00:45:25,882
It's full of raindrops.
705
00:45:26,099 --> 00:45:27,262
Look at me.
706
00:45:27,476 --> 00:45:28,756
Look at me!
707
00:45:29,895 --> 00:45:33,061
Manoel de Oliveira is filming me!
708
00:45:33,565 --> 00:45:35,641
Today is my day!
709
00:45:37,235 --> 00:45:38,231
Here we are.
710
00:45:38,444 --> 00:45:40,816
Maria Isabel, Manoel and me.
711
00:45:41,447 --> 00:45:42,941
We did the math
712
00:45:43,449 --> 00:45:46,154
We have more than 276 years
of age.