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Perpetuate the sunrise
through the offering of blood.
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00:00:39,160 --> 00:00:43,400
This was the premise of the sacrifice
human in Mexican culture.
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One individual sacrifice per day
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00:00:47,000 --> 00:00:50,120
to ensure well-being
of an entire community.
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00:00:52,840 --> 00:00:56,240
The place of sacrifice:
the top of a pyramid.
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00:00:57,720 --> 00:00:59,640
The relationship between art and offering
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00:00:59,640 --> 00:01:01,920
For the Aztecs it was absolute,
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and was consecrated in this act.
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Therefore, in Mexico,
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pre-Hispanic cultures
They shined for their humanism.
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Mictlan, the Underworld,
the place of the dead.
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00:01:15,920 --> 00:01:20,120
Each one examines and revisits
the honorable actions of this life.
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Nine levels to navigate
towards the total liberation of the soul.
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And Death said:
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"I am the charming and sad magician
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that, by reaping love and joy,
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pain fever
forever extinguish."
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00:02:10,120 --> 00:02:17,120
IN LATIN: REMEMBER THAT YOU HAVE TO DIE
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00:02:25,000 --> 00:02:29,760
This film was filmed in the three
sold out shows that Depeche Mode played
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00:02:29,760 --> 00:02:32,520
in Mexico City
for more than 200,000 fans
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00:02:32,520 --> 00:02:34,760
as part of the MEMENTO MORI tour.
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00:02:39,640 --> 00:02:41,800
The nationalization of death
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00:02:41,800 --> 00:02:44,520
{\an8}and the glorification of attitude
Mexican towards her
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00:02:44,520 --> 00:02:46,080
{\an8}is a 20th century phenomenon.
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00:02:48,040 --> 00:02:51,880
I don't know why they gave us
the "copyright" of Death,
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00:02:51,880 --> 00:02:55,720
{\an8}the idea that the Mexican
laughs at death.
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00:02:56,160 --> 00:03:01,640
{\an8}The ancient poems of the Mexica
They do not mock death,
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but there is a feeling
hypertragic of existence.
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00:03:09,400 --> 00:03:13,960
{\an8}We realize that rituality
funeral home in Mexico is very complex
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00:03:13,960 --> 00:03:17,560
{\an8}and that it is still registered
within everyday life.
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00:08:06,520 --> 00:08:08,560
MEMENTO MORI TOUR
32
00:08:22,960 --> 00:08:27,280
Depeche Mode!
33
00:11:47,320 --> 00:11:49,640
I think Depeche Mode
It's from another era.
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00:11:49,640 --> 00:11:53,840
{\an8}It is tattooed on the heart
of three or four generations.
35
00:11:53,840 --> 00:11:58,240
{\an8}And that allows you to connect
with new generations.
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00:11:58,240 --> 00:12:01,120
What I see as complicated is
than a modern day band
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00:12:01,120 --> 00:12:04,040
can last so long over time
like Depeche.
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00:12:06,640 --> 00:12:11,280
Clearly, fill so many times
The Foro Sol stadium is impressive.
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00:12:11,280 --> 00:12:14,800
People here "get" his music.
We feel it.
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00:12:14,800 --> 00:12:18,200
We are well aware
that background of death
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and the darkness.
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00:12:20,680 --> 00:12:23,680
In the end, Mexico has a reality
quite dark.
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00:12:23,680 --> 00:12:27,160
Memento Mori is
a mature and interesting album.
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00:12:27,360 --> 00:12:31,080
It's a great album on a conceptual level.
and displays the darkness
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00:12:31,080 --> 00:12:34,480
in relation to death, the pandemic
and what happens in the world,
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00:12:34,480 --> 00:12:36,480
where every time
We are going further down.
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00:12:37,120 --> 00:12:38,120
It's this type of record.
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00:12:38,120 --> 00:12:44,400
In which country can we celebrate
in some way that isn't tragic?
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In Mexico.
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Because, in this part, we celebrate
and we remember the dead,
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We celebrate what we were in life.
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00:12:52,480 --> 00:12:55,960
I think this album
brings us back to reality,
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00:12:55,960 --> 00:13:01,320
not only poetically,
but with respect to experience.
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00:13:01,320 --> 00:13:04,280
Especially after all the years
what have happened
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00:13:04,280 --> 00:13:06,360
And what the band has experienced, right?
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00:13:06,360 --> 00:13:09,840
In the end, we must not forget
that we are all going to die,
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and think that something is forever
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It's not good, right?
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00:13:28,120 --> 00:13:29,800
Thank you so much.
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Good evening, Mexico City!
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Sing!
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Let's play, guys!
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00:23:40,400 --> 00:23:42,400
Are you ready?
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00:24:28,720 --> 00:24:30,240
Thank you so much!
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00:28:32,440 --> 00:28:35,000
And I entered a room
full of eyes,
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walls made of eyes,
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roof of eyes,
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00:28:39,560 --> 00:28:41,640
corners of eyes,
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open eyes
looking in different directions.
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00:28:46,360 --> 00:28:50,200
As if there was something else
what eyes peering eyes.
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Then suddenly everyone saw me
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00:28:55,000 --> 00:28:57,840
and they all blinked at the same time.
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"Come back here, behind the hill,
to the beyond."
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00:29:01,240 --> 00:29:03,560
My people who are visiting tell me:
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00:29:04,800 --> 00:29:06,840
"It's similar to the one over here,
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but things are more... Do you know how?
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Like the break between parties
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when maybe another one comes.
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00:29:15,160 --> 00:29:17,360
But now there is silence.
80
00:29:19,520 --> 00:29:23,400
A long silence
that does not decide to take shape.
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00:29:25,280 --> 00:29:28,320
And no, to answer your question,
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there is no divine justice.
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00:29:30,880 --> 00:29:33,400
The only justice is
Cato's justice.
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00:29:34,520 --> 00:29:36,760
I want to answer them, but how?
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00:29:37,520 --> 00:29:41,920
Yes, very little that I know,
I learned it this side of the blink.
86
00:39:20,800 --> 00:39:23,960
What we have here on the sides is
a "Huey tzompantli".
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00:39:25,160 --> 00:39:29,160
It is an altar made by the Mexicans
to honor the gods.
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It's made with corpses,
skeletons and skulls.
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00:39:32,600 --> 00:39:36,480
I also have here
technological corpses
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00:39:36,480 --> 00:39:39,760
that have reached their commercial death
years ago,
91
00:39:39,760 --> 00:39:43,120
but I see the opportunity in them
to transcend that death
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00:39:43,120 --> 00:39:44,480
and give them a new purpose.
93
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Can you see me well?
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No, move it a little.
95
00:39:49,560 --> 00:39:52,360
No, there it is. You have it. Perfect.
96
00:39:53,080 --> 00:39:55,040
Depeche Mode was present
all my life,
97
00:39:55,040 --> 00:39:58,400
and I remember seeing them
on those massive televisions
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00:39:58,400 --> 00:39:59,840
which I now collect.
99
00:39:59,840 --> 00:40:03,440
That connection with music videos
from the beginning
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he still accompanies them.
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00:40:06,040 --> 00:40:08,320
And despite everything
his theatrical show,
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the songs themselves
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they go deeper into reflections
specific and personal.
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00:40:15,000 --> 00:40:16,840
{\an8}The effect of Pepper's ghost is
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00:40:16,840 --> 00:40:18,360
{\an8}the one I use the most in my work.
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00:40:18,360 --> 00:40:19,680
{\an8}JOSHUA ELLINGSON
VISUAL ARTIST
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{\an8}It is an old stage magic technique
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that uses reflections in glass
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to create a ghostly illusion
of an object or a person.
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It dates back to the 19th century,
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and John Henry Pepper was
who popularized it.
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In my version of this effect,
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I take an image that is trapped
on a television,
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with all its analog texture
and imperfections,
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and I bring it to the real world.
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00:40:49,400 --> 00:40:51,800
Let me introduce you
to Mictlantecuhtli,
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the Aztec guardian of the Underworld.
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Thank you.
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00:45:13,160 --> 00:45:18,760
The wonderful angelic voice
by Mr. Martin L. Gore.
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00:45:25,800 --> 00:45:29,120
And of course
the wonderful Mr. Peter Gordeno.
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00:45:33,520 --> 00:45:37,680
Here we have Mr. Christian Eigner!
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00:49:47,400 --> 00:49:48,400
Thank you!
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00:49:51,560 --> 00:49:53,720
There is a long tradition of ties
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between death
and technological advancement,
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especially with technology
of the representation.
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I mention it
because of obsolete technology.
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00:50:03,640 --> 00:50:06,760
This brings us to the question:
"What is real?
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What is it to represent reality?
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Maybe represent the real
It is rather to represent a sensation
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or a moment.
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It is interesting to think that,
in an aesthetic universe,
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where we have at hand
the most technology possible
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that we have had
in the history of humanity,
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It actually feels more authentic.
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a thing that uses
an earlier technology.
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That!
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00:54:32,840 --> 00:54:37,600
How does death come
to become a national symbol?
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00:54:37,600 --> 00:54:42,280
That's a weird thing
and curious about Mexico
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because many things that are considered
typical Mexicans they really are not.
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00:54:47,920 --> 00:54:50,400
Starting with the Day of the Dead.
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00:54:51,280 --> 00:54:55,240
And in that sense,
I think it should be compared
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with something like, so to speak,
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00:54:57,160 --> 00:55:00,080
the nationalization of sex in Brazil.
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00:55:01,320 --> 00:55:05,320
In Brazil Carnival was nationalized,
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00:55:05,320 --> 00:55:08,320
in Mexico he became nationalized
the Day of the Dead.
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00:55:08,320 --> 00:55:11,240
And neither of them is
a national holiday.
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00:55:11,240 --> 00:55:14,640
Carnival and the Day of the Dead
They are Catholic holidays, both.
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No, Carnival is not Brazilian.
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00:55:17,760 --> 00:55:20,120
The Day of the Dead is not Mexican.
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00:55:20,120 --> 00:55:23,720
And why, in the 20th century,
in those countries,
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00:55:23,720 --> 00:55:27,000
what they are and are being put together
as "mixed-race" countries,
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Do those two topics merge?
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00:55:28,880 --> 00:55:30,800
Death and sex are similar
154
00:55:30,800 --> 00:55:34,800
because, in both cases,
the bodies are confused,
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bodies dissolve.
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and they dissolve
for the good of the collective.
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01:00:41,080 --> 01:00:43,800
Every death is a unique event.
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01:00:54,680 --> 01:00:57,520
The radical singularity
159
01:00:57,520 --> 01:01:01,720
from that moment of transit
It's quite overwhelming.
160
01:01:01,720 --> 01:01:04,480
And at the same time,
there is a brutal contrast
161
01:01:04,480 --> 01:01:09,800
with the fact that thousands are born
and they die every day.
162
01:01:09,800 --> 01:01:12,040
Then we come to the topic of grief,
163
01:01:12,040 --> 01:01:14,080
which has to do with memory.
164
01:03:16,240 --> 01:03:17,880
Yeah! That's all!
165
01:05:20,640 --> 01:05:23,280
Our friend and colleague,
Mr. Andrew Fletcher.
166
01:05:23,280 --> 01:05:25,160
ANDY FLETCHER
JUL 8, 1961 - MAY 26, 2022
167
01:05:41,720 --> 01:05:43,800
Mexico City!
168
01:08:22,000 --> 01:08:23,680
Yeah! That's how it is!
169
01:08:44,600 --> 01:08:45,800
Remember!
170
01:08:48,840 --> 01:08:50,240
Mexico City!
171
01:09:59,080 --> 01:10:00,680
He sure knows how to move!
172
01:11:13,480 --> 01:11:15,640
One, two, three, four!
173
01:11:59,360 --> 01:12:01,320
Ladies and gentlemen!
174
01:12:04,880 --> 01:12:07,200
Boys and girls!
175
01:12:10,840 --> 01:12:12,200
Mr. Melody!
176
01:12:14,920 --> 01:12:16,080
Well...
177
01:16:13,800 --> 01:16:15,040
Let's go!
178
01:17:00,400 --> 01:17:01,600
Thank you!
179
01:17:22,560 --> 01:17:25,520
One night I dreamed
that my mother had died.
180
01:17:26,640 --> 01:17:27,800
At the end of the garden,
181
01:17:27,800 --> 01:17:31,200
I saw it as a natural stepping stone
limestone,
182
01:17:31,200 --> 01:17:34,200
a malformation, perhaps an altar,
183
01:17:35,200 --> 01:17:38,480
and above, hundreds of heads crying,
184
01:17:38,480 --> 01:17:40,800
praying to their dead with hatred.
185
01:17:42,640 --> 01:17:45,480
I remembered India
with my mother's osteoporosis,
186
01:17:45,480 --> 01:17:48,440
and I bent down to pray too,
187
01:17:48,440 --> 01:17:51,560
but my language was different
to theirs.
188
01:17:52,720 --> 01:17:54,960
Then Death hit me on the back of the neck
189
01:17:54,960 --> 01:17:56,920
with contempt and rebuked me:
190
01:17:58,560 --> 01:18:01,840
"You should learn to beg first
by strangers."
191
01:18:04,720 --> 01:18:09,160
Someone put a tray in my hand
with glasses, and Death added:
192
01:18:09,760 --> 01:18:12,320
"Now I'm going to pray for the corpse
of a girl,
193
01:18:12,320 --> 01:18:14,760
and you are going to dance
to the rhythm of my crying
194
01:18:14,760 --> 01:18:17,560
without pouring a single drop
of these cups
195
01:18:19,000 --> 01:18:22,360
until the wine or the bones
of your mother are consumed
196
01:18:22,360 --> 01:18:26,800
and discover that the pain
of this entity that heals
197
01:18:26,800 --> 01:18:30,720
It does not lie in prayer,
but in the dance."
198
01:22:32,760 --> 01:22:34,080
Let's go!
199
01:25:36,160 --> 01:25:37,520
Yes!
200
01:27:32,760 --> 01:27:33,760
Yes!
201
01:27:38,240 --> 01:27:39,240
Martin!
202
01:28:36,360 --> 01:28:37,360
Let's go!
203
01:29:10,760 --> 01:29:11,760
That!
204
01:29:32,520 --> 01:29:33,520
Very good!
205
01:30:01,240 --> 01:30:02,560
Once again!
206
01:30:58,760 --> 01:31:02,520
In the first written story
of which there is a record,
207
01:31:02,520 --> 01:31:06,040
the sumerians narrate
the story of Gilgamesh,
208
01:31:06,040 --> 01:31:10,520
a man who sought to be God
to achieve immortality.
209
01:31:11,440 --> 01:31:15,160
In your search,
Gilgamesh finally learns
210
01:31:15,160 --> 01:31:18,160
that immortality
does not lie in eternal life,
211
01:31:19,000 --> 01:31:21,480
but in the legacy
of our actions,
212
01:31:21,480 --> 01:31:26,040
that will live in memory
and in the hearts of others.
213
01:34:39,760 --> 01:34:40,960
{\an8}Thank you!