All language subtitles for 4857500

Downloaded from
YTS.MX

Official YIFY movies site:
YTS.MX

Come quickly.

Can you hear it?
Or are you deaf?

Do you hear?

The wind goes into the pipes
and the pipes play.

It all began
with this old pipe.

All of a sudden I heard a whistle,
but not a human one.

I thought, if nature
offers you something like this

you'd be a fool
not to accept it.

Nature is my big boss.

I arrive at a site.
And the site speaks to me.

I hear the site.

How does a person feel when
nature speaks to him?

You wouldn't be able to understand it.

Only a true artist would.

I can tell you no more.

Come on dad, be nice!
-I am.

So you could say that nature is
the one thing in this world

that you actually listen to.

No, not the sole thing,
I listen to my wife and daughters too

but nature...
has a tremendous power.

Nature doesn't talk of Netanyahu at all.
You understand?

What do you mean by that?

I mean that over there,
I don't have to listen to nature.

Enough with Netanyahu just now.
We're here to talk about your art.

My art is political.

I respond to events
in a political way.

And when they say
''Art and politics don't belong together''

I reply with
a single word.

Guernica.

What?
-Guernica.

Haven't you heard of Guernica?

The drawing by Picasso called Guernica.
-No.

Hava...

Noa...

Tammy, let's go.

The guy doesn't know
what Guernica is.

I'm willing to give you
a free art course. Absolutely free of charge.

How's it going?
-Don't ask, Hava.

What happened?
-You're lucky not to have come with us.

The monument is spectacular
but the place looks like...

A trash heap.
-Yes.

He waited for me and
gave me the keys to the tower.

But the water isn't running.

Never mind the water not running,
see how it all looks like a dump.

The water should run
all the way to the well over there

and come back here.

It drives me crazy and I'll fight
to the grave and beyond the grave.

I can't stand my works
not being properly maintained.

I'm not going up,
I'm no longer able to.

I'm physically unable to go up.

When I went to Paris
about two months ago

one eye went dark
in the middle of the flight.

This I know,
you already told me that...

No, no.

You were here and you
even admired the pictures.

Here? Really?
-Really. You were here...

You don't say.
-And I see that everything is written.

I suffer from forgetfulness.
I didn't remember being at his office.

I don't remember any of that.
Only his face was familiar.

This is how it is.

But this is new?
-Yes.

Little by little, this forgetfulness
becomes more critical.

Names I've been
forgetting for years.

Words, too.
Every so often, I lose a word.

I just don't want to get...
What's the name of that illness?

Where you forget
basically everything?

Let's interrupt him.

Why rush him, Dani?
-What do you care?

You may be able to help me.
Have you gone over everything?

Including that... What's it called?
The neurologist's diagnosis.

Your memory loss could very well
be something natural that we all experience.

The more information we absorb,
the more we forget

or believe we forget.

He just loves to see the doctor.
-That's her regular line.

For him, it's...

an actual pleasure.
-You see?

He goes to the doctor's like it's a celebration.
-That's dirt.

You want dirt about me?
Ask her.

Me, I'm miserable
when I have to see a doctor.

I can only think about
when it will all be over.

When he goes to the doctor's
it makes him so happy.

They'll talk about him,
then he'll explain

that he had trouble breathing
and that his ear hurt

and that he's been having problems
and there's someone to listen

which is pure joy.

The Axe Majeur of Cergy-Pontoise

is one of the most
important works in my life.

An urban sculpture
of three kilometers.

I have been
working on it for 40 years.

Can you imagine
what it means?

To work 40 years
on the same project?

Your name?
-Dani Karavan.

I like your project.
It's amazing.

Thank you.
-It's magnificent.

I'm proud to live here.
-Are you?

Thank you very much.
-Many people come here...

Yes, I noticed
a lot of people just now.

Thank you very much.
-Thank you.

I'm going to tell everyone
that I ran into you.

It's set up like a musical piece.

You don't see
everything at once.

It's a piece
that develops over time.

Time and progress are
very important in all of my works.

It's a process.

Look.

It's amazing from here, dad.
-Yeah?

It's a scandal that they let the
vegetation grow and didn't cut it on time.

It's not my work anymore.
It's environmental art.

It's disrespectful
towards a piece of art.

It's disrespectful.

That dirt up there,
it's an outrage.

They should have their arms
and legs cut off for allowing this.

It breaks my heart.

I did this work...
I don't remember when.

Maybe 20, 30 years ago.

It's an exit
from a metro station

and these cubes insert light
to the garage downstairs.

And at night, it's as if
the light from the garage comes out.

So this work
looks unique at night.

Hello Hava.

I'm in Nanterre and
everything looks extraordinary.

It's a shame
you're not here.

It's amazing,
we should film here at night.

It's not good,
we're not filming this.

Take a picture of this
for me, Anne. Could you?

I'll send it to him.

Dad, do you want to go near one that's lit?
- What for?

It's not my actual piece,
there's no reason to film it.

It has to be clear this isn't
how a piece of art should be maintained.

The poles aren't lit,
some of the cubes aren't lit.

Here it's dead,
over there it's alive.

It's an outrage.
I won't allow it. I am furious.

I'm going to write a letter.

This is out of the question,
they need to turn on the light.

I have more than
70 works around the world.

Many of them are
in a very bad state of repair.

These works will stay here forever.

And if I won't take care of
their maintains, nobody will.

Dani, how long ago
did you do this?

I don't recall dates.

10 years or 40 years?
-Look, the date is written here.

March 1988. Go back eight
years, so I started it in 1980.

The water doesn't run here.
Shit.

Water should run here in the canal.
They promised me it will.

Hello?
-What's going on?

The water doesn't run...

Where?
-The water doesn't run.

How come the water doesn't run?
-It just did, a minute ago.

It didn't.

It's been a while
since I climbed here.

How many stairs are there?
-I don't know, I didn't count.

He wants me to get a stroke.

You're in good shape Dani.

Call a...

Call an ambulance.

In this work, the void
between the shapes is more important

than the shapes themselves.

You can't move them one millimeter.

Try and the entire balance
and shape would be damaged.

They're not keeping it clean.

It needs to be cleaned
on a daily basis

just like you do at home.

Not like an artwork.
-And why don't they?

Ask them.

Our guest is a sculptor,
stage designer and painter

whose monuments span the globe.

He has won
the Israel Prize for sculpture

the Goslar Kaiser Ring
for Visual Art in Germany

the Japanese Praemium Imperiale

and the first
UNESCO Artist of Peace Award.

Hello Dani Karavan.
-Hello.

Let's discuss the work you
have done here at the Knesset (parliament).

My dad helped to find this special rock
from an Arab village in the north.

Sometimes I wish a stone
would just fall off on someone.

The biblical verse
'The stones of the wall will cry out'

is sadly false
because my stones remain silent.

What's the story
behind your signature?

I didn't want to sign it because I believe
these things shouldn't be signed.

I belong to the Renaissance.
Michelangelo never signed anything

no comparison of course.

People who take an interest in these
things just find out who the artist is.

Ultimately, I gave in.
But I gave in for a reason.

I wanted my name
to appear in both Hebrew and Arabic.

If the work had inscriptions
in both languages

then it could not be claimed that
Arabic was never an official language in Israel.

I'd like a taxi to
8 Eliyahu Sapir Street, Tel Aviv.

Coming in 5-6 minutes.

No longer than that
because I have a doctor's appointment.

That's not it.

Not that either.

Shekem Taxis?

I'm waiting for a taxi,
is it you?

No.

Shekem!

One of your taxis has just
picked up some woman...

You're not the
only one on that street.

He'll be there in 2-3 minutes.

Hello.

Labs.

72.6 kg.
I'll remember that.

I'll get on the scale
at home as well.

Should I write it down for you?
-Yes please.

What are you
currently working on?

I'm working on
a Polish commission.

It's near the Jewish museum
which is called POLIN. -Yes.

And outside the museum
I'm setting up

a tribute to Polish righteous gentiles
who saved Jews.

That's what I'm doing right now.

And it's a very
important piece for me.

The main attribute is the
light coming out from the ground

since they were the small light
that persisted in the darkness of that war.

For me those people
are superheroes.

You take all your family in risk

your children, your brothers,
everybody in the risk.

So this is incredible.
Incredible.

Therefore I believe that what
we're doing here is very very important.

And I'm....

I'm absolutely...

I hope it will really work.

And when people will come here,
they'll feel something.

There is a
very powerful drive

which ever since the change
of government has become official

to identify the Polish righteous

as representative of
Polish attitudes during the war.

And this of course
is falsification of history.

They were a minority. The people they were
most afraid of weren't the Germans

but their Polish neighbours,
who could denounce them to the Germans.

We cannot deny them recognition
because others behaved shamefully.

We don't want
to provide an alibi to the liars.

If they use my work
to clean off their crimes

If they use my work
to clean off their crimes

the crimes of...
some Poles, not all

then I'd get terribly upset.
And terribly angry.

I might never forgive myself
for getting involved in this whole thing.

Anyhow...
What?

This cafe is...
Where is it?

I think it's over there.

There's no menu,
I have no idea about the price.

Let's just leave without paying.

No, no.

We have to go.
You want to be paid?

So where you are?

OK.

Where is he?

We want to pay.
-OK, just a moment.

''Just a moment.''

We sit and we wait.
-There's my colleague and she's waiting.

No, nobody's there.

Colleague-shmolleague,
they're not there.

How much we said?
About 17.

Now is not the time
to set up this monument.

You, an Israeli and a Jew,
approve a monument to righteous gentiles

which is what the Polish
government has been promoting recently.

They're claiming
that numerous Poles had saved Jews

and deserve recognition
as ''Righteous Among the Nations''.

I don't want to cancel.
I'm in favor of keeping this option open

because governments change.

People cannot be changed.

There can be
another government

that would issue other laws,
which could be sensible.

You better take this idea somewhere else.
- Not possible. No way.

Every idea belongs to a certain place.
Site-specific, as they say.

You've created wonderful pieces.

You really don't need
a piece that's problematic.

It's problematic from
a Jewish perspective

from a national perspective

and it's historically problematic.

Yad Vashem has recognized
6.883 Poles as righteous gentiles

on the basis of
some very strict criteria.

Suppose the actual number
is three times that.

We can't tell for certain.

People died or were killed without anyone
knowing they had tried to rescue Jews.

Suppose we take that and
add those who did not rescue Jews

but helped them in some way.

So you multiply the number
of righteous gentiles by three

and then
multiply the result by five.

Why five?

No special reason.
-OK.

You end up with some 100.000 people.
-Yes.

Poland had 21 million ethnic Poles,
with Jews all over.

You'd find Jews in
the smallest village.

So 100.000 Poles were
not hostile towards the Jews.

What about the
remaining 20.900.000?

That's why
I support your project.

It draws attention to that.
-I see.

To the few versus the many.

And it also has a message
that there was another way.

That's the thing.

If I put myself in your position
and in your head, I would

stick to the initial idea
because I think it's more important than ever.

If you remember what you have
written yourself in this circle, it says:

''Only morality in our actions
can give beauty and dignity to our life.''

This is a beautiful thing you're making

with the water.

Are you proud sometimes
when you see some of your old works?

Do they make you feel happy?
-Yes, yes.

Good.

It was a time that I was
always not in peace with my works.

I thought they should be better

and I want to destroy them.

But after some time,
I became...

More gentle with yourself.
-Yes.

Now I'm a little bit
maturer I think.

So I'm not
really stupid like I was.

It's about time,
now that you're 87.

87 and a half.

He's incredible.

I love that in his work, that he
leaves so much space for every viewer

to dream himself
or herself in it.

I mean, I could come here
every day and sit here and...

be happy.

You are too fast.

I don't hear,
I don't hear.

I love him because of his youthfulness
and because of his endless optimism.

He really still has
the child in him all the time.

Look, look, look.

Look how beautiful this tree is.

Look, it's like a drawing.
-Yes.

Look, look, look.
Look!

Do you know any sculptor that
could create something like that? I don't.

Look at this,
the design of this one.

Who designed it?
It's done by itself?

Because it's a pattern
and it will always be the same

in another thousand years
when we're long forgotten

it would still be the same.

No, we are never forgotten.
Never.

You and me,
we will never be forgotten.

What do you think you will be remembered for
and is there something you still wanna do

to what other people
will remember you for?

The Garden of Finzi Continis.

The garden which not exist.

The non-existing garden.
But you wanna make it exist.

And the imagination.
-I want to make it as an emptiness.

Emptiness is the
toughest thing to produce.

But it’s the
most beautiful thing.

The emptiness is
really the void between two.

This is the tension.

Let me see your hands.

Let me see your hands, Dani.

I love your hands, Dani.

Your hands are full of wisdom.

Put them in front of your face.

A little bit more this way.

That's it.

I love it.

Thank you.

From here and up,
the hills don't get any higher.

But the values
go deeper and deeper.

It's the valleys.
-Valleys, yes.

Because if the values go
deeper and deeper, then we're in trouble.

We're in trouble,
you don't know?

So you're making
a tour of all your works?

You're also going to Korea?

No, no. It's too far
and I'm too old to travel.

Here it says Mauthausen.
-Which is?

Mauthausen.
You don't know this name?

Buchenwald.

Buchenwald.

If you look closely, you'll see that
the Reichstag triangle reflects this one.

That's something
I hadn't thought of.

It's one of those things that you
realize and then your hair stands on edge.

The flower was the
initial idea of this work.

These were the Romanis' graves.

The wild flowers
grew on their graves.

Then I thought:
How do I protect this flower?

Then came the water.

There's a small animal here

which runs away.

The wild flower
disappears right here.

At 13:00 sharp it reappears
with a different flower.

Always at the same time.

The flower just changed,
Hava. Just now.

Well this is the dark water.

If you look into the dark water

the silentness
which it suggests

like a center
to get aware of yourself.

To get aware of yourself
needs to look into your own dark side.

The genius of Dani
is to imagine

what kind of need
a person who wants to memorize.

The simplicity,
as well as the beauty of the make of it

that is the
effectiveness of him which

comes to my heart and...

that's the gift.

I never believed I would create
so many works in Germany. Especially in Nuremberg.

- EVERY PERSON HAS THE RIGHT FOR A HOMELAND -

It's one of my most important works,
especially because of its political impact.

This work changed Nuremberg from the city
of the racial laws to the city of human rights.

You brought only the winter sketch, right?
-I have no idea. This is what she gave me.

Ok then. Over there
should have been azure.

Blue in the middle.
-That's wrong too. It's yellow.

And this needs to be fixed.

Correct?

This flower there is overgrown.

It's like Israel,
occupying any territory.

Maybe it should be
taken out altogether.

All of it?
-Yes, until further notice.

This is Lital.

She took part
in designing the square.

Why didn't you plan
any shade here?

How exactly? By planting trees?
-Yes.

Yeah?
Then it wouldn't be a square.

Or maybe artificial shade.

Have you ever seen
a square that's artificially shaded?

Even in winter it's very hot in here.
-The whole world comes here in winter.

If you can't listen
then there's no point talking.

-I'm listening.
No, you interrupt everything I say.

People sit here,
enjoying themselves

at least 8 months a year,
enjoying a bit of sun. That's all.

It's the Middle East, we're hot.

At least have shade over there...

Hold on just one minute...
-People are avoiding the square.

This square is a global success,
there's no other one like it.

Listen.
-No, I'm fed up with you.

You would kill beauty
to have some shade.

No, I think that...
-OK.

Let's go.
I'm tired of him.

He's a pain in the butt.

You are just...

totally obsessed
with this shade nonsense.

They want a pergola.
Unbelievable.

It's driving you crazy.
-Of course, because it's idiotic.

Just think about the world's famous
squares with artificial shade, God forbid.

The Piazza Navona with a pergola?
The main square in Sienna with a pergola?

San Marco Square with a pergola?
What would that look like?

Yes, he could have
come up with a solution for the shade.

It doesn't necessarily mean a proper roof.
But he insists.

I can't tell you how
to plan the square with shade.

We were talking behind your back.
-I know.

I don't know how to do it.
If you do, go ahead, plan it.

I don't know how to do this
but I can tell you one thing.

You wouldn't believe how many people
approach me to say 'Thank you so much'.

You've seen them.
-I have.

There's no
constant shade here either.

That's why it's so stupid.
Shade isn't static, it moves.

The Square of Culture too
has times where the building provides shade.

At other times it doesn't.
But the trees and the arbor still do.

There is shade.
It's just that people are...

bastards.

I am very sensitive to criticism.
Especially when it's untrue.

And what if it's true?

There has never been
a criticism about me that was true.

It sounds like you're saying:
''I always do everything great''.

If I didn’t think that way
I'd stop doing.

I'm sure I'm doing the best,
my utmost best.

What is your
touch here as an artist?

The proportions.

That's the entire story?
-Yes.

You know what?
That's the story.

The distance from this wall to that wall,
between here and there.

Does looking at it
make you feel good?

Does it annoy you or not?
That's exactly it.

But what did you do? You threw
some cactuses and circled them.

I didn't throw them.

I measured the space,
I decided about the distances

I established the proportions
to make this look right.

If it was smaller, it would have been less good.
If it was bigger, it would have been worst.

These are the exact measurements
and that's my touch.

And I still insist that this work
is very very very very simple.

That's the beauty of it.

There's nothing
more beautiful than simplicity.

The simpler it is,
the happier I am for having done that.

Simplicity is the
most complicated thing.

I have a piece in Nitzana, a hundred pillars
set up towards the Egyptian border.

Each bearing the word ''Peace''
in 100 different languages.

Now they want to build a neighbourhood there.
Once they do it, the whole thing is over.

Can you imagine the
houses they'll build here?

The ugliness of it all?
It's outrageous.

It'll look just like
Tel Aviv's suburbs. Disgusting.

You want us to stay
a 90-family community forever?

That I maintain
the Egyptian border with 90 families?

The desert is enormous,
build wherever you want.

Keep off this thing.
I am an artist of the location.

None of my works
has ever been transferred.

It's because the work belongs here.
The location is part of it.

I don't care. If they asked me
to set up a piece over there

I might have done
something else. That's it.

I suggest...
-No suggestions.

Dani.
-Your suggestion is rejected.

Let's just take a moment to see it.
-No problem.

Ultimately, it's your decision.
-I've already made my decision.

Let's just take a look.
-OK, I don't mind looking.

You see what's going on here?
-I don't care.

Come on, Dani. Open your mind.
You can't be this strict.

You didn't understand me.

But never mind.

I might be forced
to blow up the entire piece.

Once this piece loses its meaning,
then it should cease to exist.

What are you drawing today?

Some landscape.

What if you draw from memory?
-You can't draw landscapes from memory.

I mean inventing a landscape.
-You don't invent landscapes.

Landscapes should be drawn on site.

I can't compete with nature.

What do you want to listen to?
-Bach.

Which piece?
-Anything. A cantata.

What's the most challenging
obstacle you had overcome?

Something you thought was so
difficult that it couldn't be overcome?

Well, anything
I ever confronted.

I was always sure
I wouldn't succeed.

Like what?
You mean work?

Of course.

It's not that obvious,
there are other things apart from work.

Work isn't the only thing.

Nothing is more important
than work for me.

Disgusting.
How can you even say that?

And with me
sitting here. So rude.

You think it's normal
to tell your daughter

that nothing's more important
than your work?

You're not 20, you know.

How can you actually
say such a thing out loud?

Do I really need to
explain myself all the time?

You're saying some tough words.
-Enough, I can't draw like this.

You'll manage.

I can't...
I'll make coffee.

Perhaps you make it?
-No, I'm not making coffee

for a father saying such
things to his own daughter.

And how can you
draw so many hearts

while you're hearing words like that?
-It's what helps me survive your words.

I'd paint the entire
sheet black if I were you.

You are so, so lucky.

I'm lucky.

I don't think
we'll keep drawing together.

I wanted the flowers
to be arranged according to my sketch.

It's outrageous what I see here.

Where did
that purple line come from?

There's a specific plan
that should be followed.

They're pissing all over me.
-But it's amazing.

It would have been even more amazing
if they followed my instructions.

You don't
plant such small flowers.

You should have
plants that are grown-up.

This tree is about to die.
Someone has to look into it.

It grows on a
concrete floor, that's right.

But this soil needs to sustain it.
Or it should be enriched with something.

I saw this coming five years ago.
I said, ''Look up there''.

5, 6 or even 10 years that
I've been saying this and nothing is done.

Until it finally dies
and needs to be removed.

Look at the state of these cactuses.

The number of times
I complained about this...

Where is their gardening sense?
How can a gardener treat his garden like this?

This work is my daughter, my son.
I created it, see?

You probably didn't notice
that the pool and the garden

have exactly
the same proportions.

It's elementary.
-Oh yes, elementary.

You'd have done the same thing.
-Of course.

Any second-year art student
could have designed this square.

Most of them could...
Not all of them.

Hello.
-Hello. How do you do?

Hello sir, nice to meet you.
-Hello.

Did you call me ''Sir''?
My oh my.

I suppose
it will be 90 seconds long.

A bit longer.
-Really?

It's a project we're doing.

Will it be on the news channel?
-Yes.

When will they broadcast this?
-In a few weeks.

Let us know when.
-Of course.

OK.

OK?

How would you describe your work
at the POLIN Museum?

Is it unique compared to other works?
-No, it isn't.

Is it more emotional?
-It's not special.

It's about the place, about the subject,
like any of my other works.

So are you taking it in a purely
professional way?

Or are you also emotionally involved?
-Of course it's...

It does excite me
just by realizing

that I'm doing
something important

commemorating
all those brave people.

These righteous gentiles
really are a tiny minority

within the
entire Polish population.

And here,
they chose an Israeli artist...

The most
successful Israeli artist.

Not the most successful.
Just successful.

An award-winning artist
who is then used

as means of whitewashing,
of serving Poland

rather than as...

It doesn't serve the Poles.

It only serves those Poles
who had risked their lives to save Jews

putting their families and themselves
at risk amidst a hostile environment

and that's the only thing
that this work celebrates.

Anyone can think
whatever they want. I don't care.

I don't need
anyone lecturing me...

On Poland,
or on anything else.

If someone uses me,
how can I help it?

It is indeed problematic.

The whole thing
is very problematic.

If I knew it before,
I might have declined the offer.

Really?
-Yes.

Good morning, Dani Karavan here.
How are you?

Alright.

Can I talk to the professor?

Good, thank you.

I've got this terrible weakness.

I've had it for a week now. My doctor
advised that I should go to the hospital.

I'm definitely not entering the ER.

We can film two pieces of mine
in his department.

We already have,
don't you remember?

No.

Do you remember it, Kobi?
-Yes.

Well, you're no longer 20.
It's OK to forget.

They'll kill me.

Who will?

This whole...

Wasting time thing.

Waiting and waiting...

It's bad enough to await death
without waiting here too.

Hello. (Arabic)

Good evening everyone.

We're meeting this evening for
the world's biggest Arabic lesson ever.

We invite a dear friend,
Israel Prize recipient Dani Karavan

who designed the
Square of Culture where we are

to say a few words.

First of all, I'd like to thank
everyone who's here tonight

who came to protest
the fascist Nation-State Law.

They sit in front of
my work in the Knesset

where the stones bear Hebrew and Arabic
inscriptions that cannot be erased.

So let them take a good look,
and then go to hell.

Well said brother.
You are like a father to us.

More like a grandfather.
-You're a father.

I'm 54 years old.
-I'm 88.

All citizens are equal,
Jews and Arabs!

All citizens are equal,
Jews and Arabs!

All citizens are equal,
Jews and Arabs!

Jews and Arabs
refuse to be enemies!

We're not afraid,
we're the people of this country! (Arabic)

We're not afraid,
we're the people of this country! (Arabic)

In hints of lightning
the storm gave notice.

In hieroglyphs of fire
– signs, signs, signs.

Soon it caught the forest boughs,
and they were indifferent, unseeing!

In the treetops it was
like a slaughterer’s knife.

Running from branch to branch.
Unstoppable plunder.

It came as judgement day.

They call it sudden,
but it was punishment for deafness.

Take care, bye.

So how is the
atmosphere in Warsaw now?

Rather bad.
-Bad? OK.

Within a month or two
it will be clear whether the government

has decided to continue
their outrageous campaign

or whether they have
decided to back down.

Right now I must say
I'm very glad

that we were not able
to complete the project now, as I had hoped.

To inaugurate the project
right now would be a disaster.

But why do you say that if we could
inaugurate it now it would be a disaster?

Because it would be
instrumentalized by the Polish government

and support the government's
position of that horrible law they passed.

Do you think
this project could be absolutely...

Dead?
Will be dead completely.

We will know that in May at the latest
and then we could reach our decision.

We might want to freeze the project
for a moment. I had never said back down

but freeze.

When did you have
the pacemaker implanted?

I can't remember.
5 years. Maybe 10, 8.

This place is like hell.

It demonstrates what
a person goes through in hell.

I can't find my card.

I can't find it.
-Look for it at home, it's fine.

OK.

They'll issue you a new one.
-Good, thank you.

And if it pops up
we'll keep it for you.

How do you get out of here?
I can't remember where the elevators are.

Give me a call.

I think I also lost my mobile.

Or it might have been stolen.

''The number you have dialed is unavailable.''
-OK, I see. Call Hava.

In case I left it at home.

I didn't,
as far as I can remember.

That's just what I need,
to lose my phone.

I'm confused, I can't...

Something's wrong.
I'm just confused.

You should stop filming.
-Why?

Because you don't have a client.

You are not the client, you are the hero.
-I'm the hero, fine.

What kind of a hero...
I'm a rag, not a hero.

She's not answering.

Hava, did I leave
my phone at home?

Then it's gone.

I lost that card too.

I just can't go out
on my own anymore, Hava.

You hear me, Hava?
It's over. I have no memory.

I don't understand
what's happening to me.

It suddenly dawned on me

that death is on the doorstep.

It turned my whole world
upside down.

All of a sudden.

I don't plan goodbyes.

No goodbye planned.

I can't imagine
living without Hava.

I won't allow you to.
-I don't want to lose her, no way.

As soon as I'm gone
you'll have 50 chicks on the doorstep.

No way will I allow him
to live without Hava, no way.

We'll manage...
-Together.

We need to die together.

When one has to die, the other...
-I suggest we change the subject.

- A conference in honor of Dani Karavan -

You've got something
in your eye.

You need to look your best
for everyone who's coming.

Leave it.
-But you need to take it out.

People are coming
to celebrate your birthday.

And what's that in your ear?
-That's to help me hear.

That thing?
-Yes, it's a hearing aid.

And does it help you?

In one ear I can hear without it.
In the other one I'm practically deaf.

All in all, you're in a
pretty bad state of repair. -Exactly.

We want to live longer, right?

So this is the price we pay.

We wander out in the open

and we are in a continuous relationship
with everything that surrounds us:

Works of architecture

large open spaces,
environmental edifices.

These structures are
constantly talking to us and educating us.

And whether we want it or not,
we are under constant ideologic attack of values.

So anyone taking part
in creating this space is engaged in political work.

''Passages - Homage to Walter Benjamin'',
at Portbou.

It's difficult
to imagine a work of art

that expresses the horror of those
contradictory, opposing sentiments

of longing and fear,
hope and danger

by someone who has
never been a refugee himself.

I asked Dani,
''Where is this coming from?''

When you look at this piece,
where a person slides down this dark, rusty tunnel

eventually reaching a point where,
in order to get into the water

he must dive
right into the turbulence

on top of the barrier of tempered glass
that is penetrated by bullets.

How could he understand
what a refugee feels like?

Dani claimed
it was the restrictions.

''The budget was so-and-so,
that material wasn't available...''

Don't believe him.
There are always restrictions.

But they can't explain
the message of the work.

That's why you are
a politician, Dani.

And an educator.

I'm very excited that you
have come to see my exhibition.

I'm very sorry
that I wasn't able to be with you.

I am, after all, 90 years old
and it's not easy for me.

I hope you can sense the political message
I have been trying to convey.

Of not giving up.
Of fighting for the rights of the other.

For the Palestinians' right
to live in a democracy.

I believe in hope,
but I won't wait 2.000 years.

It must happen tomorrow.