All language subtitles for Passion.1982.720p.BluRay.FLAC2.0.x264-VietHD_track2_[eng]

Let me talk to you.

At least, let me talk to you.

Wait... but wait, they're here.

Listen, Jerzy, come...

Come on, stop!

What's this story,
Miss Lucachevsky?

It's not a lie,
but something made up,

which is never exactly the truth,

nor is it the opposite,

but which, in any case,
is separated from the real world

by profoundly calculated
approximations

of verisimilitude.

What's this story, Mr. Bonnel?

It's because this composition

is full of holes
and badly-filled spaces.

Don't scrutinize the structure,
or the shots.

Do like Rembrandt,
look closely at the human beings,

for a long time, at the lips,

and into the eyes.

"Lord, why hast Thou forsaken me?"

What's this story, Mr. Coutard?

No story.
Everything is properly lit,

from left to right,
top to bottom, and front to back.

It's not a "Nightwatch"
but a "Daywatch,"

lit by a sun already low on
the horizon.

Notice, sir,

where it fills a dark corner
of the canvas,

a bit low in the middleground,

between a red man
and the captain in black.

This off-center light
has more of a role,

in sudden contrast
with its surroundings.

Without extreme caution,

that accidental explosion
of light would be enough

to upset the painting.

Stop talking. Where's Jerzy?

It's not going well.

No, we'll stop.
Tomorrow we'll see.

What isn't going well?

You. Why don't you want to work?

It's not me. It's the lighting—

It's been going on 4 months.
I give you 1 week.

Then I quit.

Good. I quit, too. Now.

- Listen, Jerzy.
- I quit.

I was fired,

but I'm going to appeal.

I'm going to appeal.

- I don't believe it—
- I won't let it happen.

I'm going to be fired, too.

There's a meeting tonight.

I was the first to tell you.

It's not going well for me either,
you know.

You can't save yourself
by saving the world.

I think it's a mistake.

You know,

I'm discovering
that you have to live stories

before inventing them.

It's hard to have
to record everything—

It's me that has to leave,
not them that make me leave.

I have to find the necessity
to leave—

You must come this time.

It's been 3 times..—

I need you—

That you haven't kept
your promise.

You gave your word.

To give is to give—

To take back is to steal.

Sometimes you have to go
through others.

I'm asking you to come.

What are you writing all the time?

Did you see—.
Poland-Argentina: 2-2?

I thought of you Sunday.

I don't approve.

If that's Solidarity—..

For Chrissake, Jerzy—

Go see what that clown is up to.

- Faster
- Yes, sir.

He says he's looking.

- Looking for what?
- A knife wound—

A knife wound.
What do you mean?

I don't know, sir.

What does he see in that girl?
No ass.

I have to open my eyes.

Hi, Isabelle. How's business?

You shouldn't make fun
of the working class.

I forbid you to talk
to my employees.

And what are you doing here?

I have the right to buy gas—

Not super, not at this place—

You came to buy the hotel?

Lt' s mine.

I'll train you all yet.

- Who are you talking about?
- I know what I'm saying.

And I know what I think.

I know you know what you think.

Tonight, we'll see.
Get your ass ready.

Yes, boss.

If she starts up again,

call and we're there in 5 minutes.

Don't forget the favor I asked.

Yeah, yeah.

My check.

What check?

Fratini, does that ring a bell?

50 dollars?

500 dollars!

You'll get it tomorrow.

More important than the factory?

Than the work?

Oh no, not you now.

And anyway, why?

You're late.

It's five and I'm late
for an important appointment.

With whom?

You don't want to tell.

If I told you,
what would that do?

That's true.

Saying proves nothing—,
one must do.

Are you angry?
You'll forgive me?

See you—

How will I manage alone?

Want a beer?

Yes, thank you.

- Will you come?
- Not tonight.

- You're leaving?
- Is Jerzy coming?

No, he can't.

Hi. Glad you came—

Sit down—

Go on, Grandpa, hurry up.

You must go to bed now.

Go on, be nice, eat your soup.

Grandpa, go to bed.

He won't go up
until he's said his line.

Go on, say your line—

Don't get me angry.

So are you going to say your line?

"As a rule, the poor are right—"

You'll give it back to Jean.

What is it?

It's "The Night
of the Proletarians."

"The Commune
and the Military Question"

"The Words that Shook the World"

God forgives you.

"Poverty, the Wealth of Nations"

Don't get me started.

"Hello, Mafia"

You do nothing
to change yourselves.

In pain from the chains

that the dead man's weight
dug into her wrists,

she bit her lips to not cry out,

and watched in despair
her lover's blood.

It should concern everybody.

Why didn't Magali stay?

I think she went to get
her work permit—

Not true. She also went
to work on the movie.

It is not a movie, it's TV.

What's the difference?

What's the title?

"Passion"

- I prepared this.
- Go ahead.

I have to produce 2000 pieces
a day on the machine,

even if I'm paid by the hour—

It's painful to sit at the machine.

I have to hunch over it,

with the chair behind me.

So, after 9 hours, I'm done in.

And you?

I'm paid by the hour,
with a bonus,

if I make the number of pieces
required—

But I'm against the bonus,

because this work is delicate.

You need time to do good work—

It doesn't work to just look,

and then put it there, like this.

I think we need a.—.

What if he calls the police?

A declaration—

Something

more important than oneself.

This isn't Customs.
What do you want me to declare?

Declare war.

We have to see what to write.

See.

I remember a Spanish poem,

when I was little—.

"That face five o'clock
in the afternoon."

Declare, as in "love"?

Yes.

Anyway, you won't stick by me,

if I really cause trouble.

If you know that already,
why are we meeting?

O.K., what's wrong?

The soap—

- The bikes—
- The heating—

- The smocks.
- The meat—

You've got work.

- Toilet paper.
- I don't, anymore.

Don't go too far.

I agree. We can't demand

everything at once.

If he calls the police,
what will you do?

- Me?
- Yes, you.

What do you want us to do?

Me, I want nothing.

And you, what do you want?

What do you want,
us to get fired, too?

Not me, you.

Me, I know.

But you... you all.

We're not going to argue.
Let's write it and sign it.

Let's see what we're going
to write.

See—..

If he gives me an indemnity
of $4,000,

he'll take it

from your salaries.

O.K., what do I write?

Put the date, say that we've met,

and then the decision.

Francois, you'll kiss her later.

We can write this:

"One should work to love,
or love to work."

Bring the lamp closer.

O.K., stop. It's over.

What's happening now?

Nothing—
The lighting isn't working.

It's the most modern studio
in Europe.

$40,000 a day.

It's not working.

It doesn't go anywhere,
or come from anywhere.

Okay, we stop.
I'll try again tomorrow.

- Tell the workers it's over—
- You're the boss.

I'm nothing at all, Sophie,
nothing at all.

But sir, it's not true.

I do nothing, Sophie.

I observe, I transform,
I transfer.

I file down the rough edges,
that's all.

There are rules you must observe,
if you observe.

No, Sophie,
there are no rules in the cinema,

and that's why they still love it.

It's not true.
You must have a story and follow it.

That's the rule— Mr. Lazlo is right.

Are there rules in the cinema?

No sir, no rules.

O.K., we turn everything off—
It's over.

- Sir?
- Yes?

I think there are two rules—.

Minimum effort
and maximum adversity.

You've got trouble?

Want a ride? I'll take you.

Hey, watch out for my Japanese car!

Idiots... damn!

Watch out for my Japanese car!

Damned idiots!

Don't you have eyes,
for Chrissakes?

What is Magali doing there?

I'm gonna box her ears!

Thank God you can't fire me
like that.

What?

The hotel is mine.

Ah, Michel...

I wanted so much
to love you passionately.

How does he do it?
Always a new one.

I should ask him sometime.

I handle more money than he does.

But they all make you feel
so inferior.

Do you think that's what cinema is?

Not all of them.

Not all, I know.

And now, with what's happening
in Poland, he'll look better to you.

Michel, you never knew anything.

Anyway, I want you to pay this girl.

Isabelle what's-her-name.

She's been hanging around
for days.

She talks to the other girls,
Marianne, Sarah...

I'll pay her when I feel like it.

She has upset everything—

If business is bad, it's your fault,
my dear.

Are you really selling the hotel?

I'm hesitating.

Barbara, you forgot the main thing.

What are you doing, Sarah?

I'm practising.

Quick—

And my roses?

They're there.

I haven't seen them.

Say your line.

So what's this story with—..

Say your line.

We need stories.

We're making a last attempt.

After three months.

Say your line.

Say your line.

The 21 st, yes... no,
it's the 22nd.

Hi!

What's happening?

She wants to quit.

We're nice to you.
You've signed a contract.

I don't feel like it.

You said yes.

I don't feel like it now—

If it's $200, O.K.

- I handle the money.
- No, it's me.

I found that cassette.

That's my job.

Let me talk to her.

Was he bad to you?

No, I was very nice.

It's true—

So what's the matter?

It's all of you.

What is she talking about?

You're not reliable people.

Your factory or his,
it's all the same.

I don't understand. Do you?

What does she want?

I want it all to be calm
and pleasant.

There is no pleasant work.

She should be disciplined.

You can't escape them.

Love is one thing,
work is something else.

I'm coming.

What I said about work is true.

I'll look for a replacement.

But what do you see in her?

I'll join you at the factory.

Is my check signed?

We must have a talk sometime.

Someday, you'll have to tell me.

Do you have the check or not?

Are you joking?

It's ready but not signed,
because...

Mr. Devoselle is on vacation.

You're the boss, you can sign.

He'll come if the train strike ends—

I've got a family and employees—
I want it now.

I have to go.

I don't care. Where's the check?

Come back and we'll clear it up.

Now or tomorrow? When?

Enough. That's it—

There's the daughter
and the father:

"Daddy, why do things
have contours, question mark."

The father: "Do they? I'm not sure."

"Anyway, what things?"

Did I scare you?

I didn't think you'd come back.

To come back is the only thing
I know how to do.

I took the train.
Lazlo is furious, but it's O—K—

I'm going to pull it off—

The film will be made,

with the proper lighting.

It's been 3 months.
We have to get to work—

Now it's tough.

It bores me to get undressed.

People who are bored
blame it on work.

Don't you understand me?

It's a long time
since I spoke German.

The work you demand of me

is too close to love.

Possibly.

Possibly or probably?

What's today?

The 21 st.

No, the 22nd.

Why do you ask me?

Why must there always be a story?

- What's the fuss?
- You won't get in.

Get to work.
You have no business here.

You wont get in.

Shit!

I got you, after all—

This way. Come with me.

Why are you always here?

We're looking for extras.

Still?

I'd like to have a talk sometime.

An image is not strong

because it's brutal or unreal.

It's strong because
the solidarity of ideas works—

No, you won't get by.

You must pay me,

or let me work.

Did you find what you wanted?

Yes, yes.

That one.

Patrick, I'm waiting for you.

- That one? Sorry, it's my niece.
- She'd be good.

I promised her mother I'd watch her.
She's a deaf-mute—

We can talk now.

I've got someone else in the shop.

Was that your friend there?

Maybe more.

Could I come and see you work,

see how it's done?

You have to ask Jerzy.
He's talked about you.

- No, really?
- Yes, really.

I have to ask you a question.

Go ahead.

Sometimes I go to the movies,

or watch television,

and they never show people at work.

Do you know why?

It's forbidden to shoot
in factories—

Then I was right.

About what?

I believe, ultimately,

that work is the same as pleasure.

The same gestures as love.

Not the same speed,

but the same gestures.

I have to make a call—

But, come.

Yes, I'm coming.

Come.

It's because of this woman.

Which one? There are so many.

You know, the owner of the hotel.

I don't care.

Find him. In the meantime,
I'll go calm down the Italians—

Look— But look. You must look.

Go on, look.

It's the work we did.

Look, look.

Yes..—

I am working.

Yes, but what's the difference?

To love to work, to work to love,
show me the difference.

Ah, you don't know.

Do you think it's good?

Yes, not bad.

Good, tell Patrick
to come get me here.

Okay, see you later.

What's going on?

What have you done
with my money?

- I'll show you.
- Show me.

$200. $500—

$200. $601. $30,000.

$600. $1,000.

$3. $4. $7.

5$— For the pants, $30.

500,000.

3 cents.

$200. $60.000—

It's me you have to talk to.

Come, sweetheart.

I've told you 50000 times,
it's me you have to talk to.

It's me you have to talk to.

Where's that prick of a Pole?

He's working. He's working.

Go call him.

Listen.

I count up to eight million—

Eight, and that's it—

You see, it's not hard.

What's hard with you is to talk
the way you want.

Even if I spoke Polish,
I don't...

understand the way you talk.

I don't know the adjectives,
the verbs,

where to put them,
where you want me to.

Take advantage of it—

What?

Before the sentence is formed,
you can begin to speak,

you can begin to live.

Why did the white men
kill the Indians?

Because the Indians didn't say,
"I don't understand."

They said, "Me no understand."

So?

So the white men killed them,

because they didn't say it right.

Me, I understand.

And at the same time,
I don't understand—

It's not always useful
to understand,

to take is enough.

Take me...

in your arms.

Oh, brothers who live after us,

Harden not your hearts against us.

For if you have pity
for us Poor ones,

God will soon have more for you—

"Love is ageless."

You see us five or six
hanging here,

"The calm sea..."

And the flesh that we have overfed,

What are they all doing there?

You must tell them what to do.

We rehearsed all morning,
we don't know what to do.

That won't do, sir.

No point in rehearsing—.
The lighting isn't working.

Anyway, they're paid until January.

It's not only money.

You have to live stories
before inventing them.

You think they fall out of the sky,
your dirty stories?

We have 45 minutes.

It's difficult, I'm searching—..

Tell the gaffers to prepare
the background.

The background of what, Daddy?

Because of what's going on
in Poland?

Yes and no—

You're going back?

You have a family, a kid,
Patrick told me.

I'll go back if I want to.

We all feel bad
about what's going on there.

We think about it in France.

It's not true— One country
never thinks about another.

- Who's she?
- The new accountant.

Where's Lazlo?

He's in the bar with the Italians—

Do you know how much over budget
we are?

$4 million.

Yes, he's here.

Here are the costumes made in Rome.

Yes, they're fine.

That's fine for the Virgin.

The new one—

O.K., sir.

Who's that one?

She's supposed to replace Magali.

She's too pretty for Delacroix.

Miss, can you get in the water
for a minute?

Miss in the water!

She's the deaf-mute daughter
of the boss—

His niece, not daughter.

I don't care.
Get her in the water.

Have her do a star.
Show her.

I don't get it.

What, the star? It's like this—
Ever seen a star?

Put on the music I gave you.

Yes, sir—

I'm fed up with a production
that produces nothing.

I'm fed up.

Do what you're told.

That's O.K—, thank you.

What are you looking at?

The "universal wound".

Miss, a telex to..—

Gaumont-Brazil:

My associates

and I refuse to sell you our film
"Passion" for $40,000,

payable only a year later.

Your conditions are unacceptable—

Hard to see things
before talking, eh?

Background ready, sir—

Guess how much we've gone
over budget?

O.K., O.K.

The Italians are our last chance.
Otherwise, it's the U.S—A.

Oh, no. Not America.

Background ready, sir—

I'm never going back to the East,
comrade.

O.K., tell me
about the lighting problem.

Can we turn everything off
on the background?

- The city, too?
- Yes.

Can we put the two parts
of the sky together?

Turn everything off.

Have to see things before talking.

So, comrade.

I see day and night—

It's like these two women,
Hanna and Isabelle.

One open, the other closed.

Why does it bug you that I see them?

I'm in between.
I'm searching—

But everybody's searching.
Everybody's in between.

Of course. I'm like everybody.

It's an ordinary film.
We lost the center, so we search.

We move heaven and earth,
no exaggeration.

Can I take the extra back
to the factory?

I want to go too, to see Isabelle.

They gave me this for you—

It's my money, not yours.

What do you see in her?

True, she's got something
the others don't.

Why does she still stutter
since her cure?

You can't talk about the factory,
the work,

just like that, right off the bat.

I've seen enough of you.

Jerzy, drop it.

Why go back to the factory?
Stay with us.

You're an idiot.

My work, my money.

My work.

Take her, take her.

Get going. No hassles.

Yes, lots of hassles—

He won't let me work or pay me.

He won't pay me or let me work.

Off you go. That's enough.

Help me for God's sake.

You see, I told you.

Don't buy me, go back to work.

So there—
You always want to be right.

- You, too.
- Yeah, me too.

Come on, let's go.

No, no, tomorrow, no, not now—

No, off you go.

No, tomorrow.

Sophie, later—

Let me introduce..—

She doesn't have the part,
it's Hanna.

It's not you, it's Hanna.

It's me you have to talk to.

Gently!

- No, not gently.
- Yes, gently!

There aren't any real shadows.

There are only reflections—

Delacroix said that.

He started by painting warriors,
then saints—

From there he went on to lovers,
then tigers.

At the end of his life,

it was flowers—

But what do you want?

I too, wanted to

love you passionately.

Jean-Francois,
send the 104 and the 105.

Yes, sir—

What bursts into light is the echo

of what the night has submerged,

extending into the invisible,

what bursts into light.

Get to work, Miss.

Take your places.

Why don't you want to work?

I'm quitting too, now.

Get to work, Miss.

I love you, too—

Hurry up.

Come in.

Hi.

No, not there. On the chair—

That's not what I ordered.

Then what do you want?

A whale.

It's the record you gave my sister.

Yes.

And with the whale?

Some tomatoes.

No, not there.

What are you doing?

I'm taking the order.

There.

Thanks.

There they are.

Hello, get me Louis, please—

Hello, Louis, what's the news?

I don't care.

I don't care at all.

I couldn't care less.

O—K—, see you next week.

Fox said no, too.

They want a story.

Are you listening or not?

Yes, I'm listening.

Look.

She'd be great for the Rubens.

There are stories
and lighting there.

It's not my fault, forget her.

To work. I'll get the crew.

What are you doing?
Forget her.

I'm doing what you want
forgetting her.

I'm forgetting her.

I begin to talk to myself—

So in this ways,
I can also say that

sometimes I love
what I don't like.

A story. You must find a story.

I need a story.

She's got a story.

No, talk to me.
It's me you have to talk to.

He's only asking if she has a story.

A story of what, of whom?

Of hers? A story to tell?

What's the difference?

I'm forgetting you,

but you don't forget me.

- I travel into myself.
- Don't forget me.

Don't forget me—

I'm forgetting you.

I'm forgetting you.

I'm forgetting you.

This for the hotel,
this for the factory.

This for love, this for money.

And this for the memories.

Are you fired, or them?

We don't know yet.

I'll call Tom in L—A.

He knows the head of Metro.

We really must have a talk sometime.

That's twice, now—

All the checks are ready.

This is not the time.

So is it paid now?

You can relax, your check
went through, I've seen it.

Is it really true?

Yes, it went through yesterday.

By the way,
give me your address again.

You have it, 25 rue de la Servette.

Oh dear,
I hope there was no mix-up.

Wait for me in the office.

10 seconds maximum.

Who is it?

The one in the second Delacroix.

Anyway, I don't feel like—..

We live in an age without blood.

I'm sure you forgot
to make her learn her lines.

It's not true. Go ahead.

The situation in this fatal hour
and this relentless place,

had as its supreme result,

the dire melancholy of Enjolras.

I'd just like to introduce my wife.

He had in him the fullness
of the revolution.

He was as incomplete
as the absolute can be.

Watch her, I'm counting on you.

He wanted violent means because
the situation called for it—

Any soup left?

Like the music?

Oh yes, I listen to it all the time.

O.K., then, comrade?

On no, not "comrade"—

What, then?

You'll always be... my prince.

O.K., princess,
you'll have to explain.

But don't forget the soup.

I heard you talking
to your friend earlier.

He said we live in an age
without blood.

I don't agree,

don't agree.

What are you doing?

If I killed myself for you,

wouldn't that make blood?

Try it, we'll see.

Try it yourself.

My check.

My check, sir, my check.

Sir, my check, my check!

What's a "catastrophe"?

It's the first strophe
of a love poem.

My check. My check!

Why is everybody afraid
of the Americans?

What about my soup?

Is it true you're leaving?

Maybe—

Is Poland beautiful?

It's beautiful everywhere.

What is your film called?

The film we're making around here?

Yes, your work.

"Passion."

What's the story?

Oh no, not you, too!

I've seen you this time.
I've got you—

Is it serious?

The blade didn't go in—
It'll heal in a week.

Go on, you must eat.

It's O.K., now, I assure you.

Why have you abandoned me?

Not again, Isabelle,
I'm going home.

I finally know it's home.

Through your good graces,
I know it's home.

My good graces?

Yes, grace—

The first time we met, we talked of
that instead of politics.

Of grace.

But it's because of...

what's happening in Poland.

No, it just happened
at the same time.

The radio reported deaths.

I know, Isabelle.

I still don't know

if you have a wife.

What are you going to do
with this money?

I don't know—
I give it to you,

for the film.

You need it.

It would cost you less to buy
the factory from Mr. Gulla.

You should do it.

It's true,

what you said to his wife,

that you'd like
to take her home with you.

But it wasn't possible,

because she wanted to stay here
with you—

It wasn't working with me either

because I wanted to go home
with you,

and you wanted
to stay home with me.

It's true—

Say it again.

What?

That it's true—

It's true. I said it to Hanna.

It's the first time that—..

you're telling the truth...

in a simple way.

What's the matter?

She says it's the last time
it happens to her.

You say it's the first time.

It's true—

Shall I tell him to come in?

It's your friend—

He's my only male friend.

Jerzy...

It's important.

O—K—, I'm going...

I'm going upstairs.

Listen, Metro agrees.
Look Tom's telex—

Then it's California—

When are you leaving?

Now, tonight.

I got a round-trip for you,
one-way for me,

simple as that—

You'll see the lighting there.

Sternberg's, eh?

Boris Kaufman's.

No.

No, don't put it back on.

So he left for...

America.

- I'll get it.
- No, not you.

Anybody here?

Me.

There's no light.

Hi, Isabelle.

Sorry to disturb you.

I brought his jacket back.

I mended it.

Is he here?

There is somebody.

Who is it?

It's me, Hanna.

I brought your jacket.
It's mended—

Can I see you for five minutes?

I can stay five minutes.

I won't be in the way.

We said it would be possible
one last time.

Possible, yes—

Probable, no.

It's not my fault.

Good night.

See you—

And you, what have you lost here?

I have a right to go where I want.

Your wife's not around.

Did you get the money?

Yes, thank you.

Why don't you go into business?

What kind?

I don't know...

biscuits.—. a garage..—

You've got more energy than me,

ultimately—

I'm quitting.

You're going to Poland?

You know the difference
between a boss and a worker?

I don't want to know anymore—

Good luck.

Why did you refuse to let me

come watch you work?

That's what I was saying,

that you've abandoned me.

Work.

You like work.

Oh, yes.

I'm going to miss the factory now.

When you say you love work,

does "to love" come from "love"?

Not comes from,

goes to.

So, Isabelle, let's go.

Are you still a virgin?

Maybe—

Lamb of God

That taketh away

The sins of the world

Give them

rest.

Lamb of God

That taketh away
the sins of the world,

Give them eternal rest.

From behind now.

Yes.

From behind.

It must...

It must not...

leave a trace.

It doesn't work,

it can't work,
because it's not the right passage.

I have to keep searching

to find the opening—

Please.

Please, sir.

Barbara, what are you doing?

Hi, how are you?

Seen Jerzy?

He came to say good-bye—

But where is he?

What are you doing here?

We don't know.

They left us.

They went to Hollywood.

They went to America.

Hi.

Where's Jerzy?

I'm looking for a definitive phrase,
but I can't find one—

What are you doing here?

I'm going.

What about your sister?

They're hiring at Peugeot
for the new model.

I can drop you at the station.

No thanks. I don't like cars.

Good-bye.

What are you doing here?

Like everybody,

I'm going home.

But it's no longer home for you.

Climb in.

Where are you going?

To Poland, of course.

The story's over, Isabelle,
it's over.

It was already over when it began.

Are you going with us to Poland?

No, I told you, I don't like cars—

What are you doing there, princess?

Like everybody, I'm going home.

And you?

They're going to Poland—

I have to watch those 2 broads—

Is this the boss's car?

Yes, the only one I found.

Do you want to get in?

No, I don't like cars.

It's not a car,
it's a flying carpet.

Get in, princess.

Subtitles by Brocks Riley
and Barbet Schroeder

Subtitling by TVS - TITRA FILM