All language subtitles for LInconnu.De.La.Grande.Arche.2025.1080p.BluRay.x264.AAC5.1-[YTS.BZ]

This film is inspired by events
that occurred between 1983 and 1987.

The role of the architect's wife,
their life and dialogue are fictional.

The President of the French Republic.

What do you think?

Very impressive.

I'm glad you approve.

The structure isn't too high?

Not at all, sir.

Congratulations, it's a bold choice.

Who is the architect?

You'll have to ask Subilon.

No, Mr President.

You should announce the winner.

My glasses...

I extend my congratulations to the jury

for their proposals.

Here, Mr President.

Johan Otto von Spreckelsen.

Otto who?

A total stranger...

Subilon,
can you tell us more about our winner?

Well...

His name is Johan Otto von Spreckelsen.

He was born in Denmark in 1929.

He submitted his project independently,

not through an agency.

That's all I have here.

Call the winner
so I can congratulate him.

I only have a postal address.

Phone the Danish Embassy.

It's a small country,
they'll advise you.

Hello,
the President of the French Republic

wishes to contact
a Danish compatriot,

appointed to design
the future CICOM,

International Communication Centre
in Paris.

The architect,
Johan Otto von Spreckelsen.

Von, yes, Spreckelsen.

Very good.

Alright.

Thank you.

It's incredible.
No one knows the guy.

Sir!

Are you Johan Otto von Spreckelsen?

Otto, yes.

You've won
the Paris La Défense competition.

The French President
would like to meet you.

What?

We need to act on this excellent news.

He says you've won.

Won what?

The competition in Paris.

- The Cube?
- Yes.

Mr Spreckelsen speaks French,
so you can interview him.

You, madam.

Simple question, who are you?

Hello...

My name is Otto von Spreckelsen,
and I'm Danish.

I'm 53 years old.

I teach architecture in Copenhagen.

Architecture is my passion.

It interests me.

It was very stimulating
to enter a competition

for a project

in Paris.

Can you tell us
how this idea came about?

Yes...

It seemed logical to me.

That's why I presented my proposal.

Paris has famous monuments.

The Eiffel Tower, the Arc de Triomphe,

the Pompidou Centre.

These monuments don't look alike.

They don't look like Paris,
but they symbolise the city.

I wanted to find a new form for Paris.

And Paris has no cube.

What is the aim of
this international communication centre?

So far, it's rather unclear.

He asks what the building
will be used for.

It will be a meeting place.

For whom?

Humanity.

You told us you're 53,
a respectable age, mine too.

But in all seriousness,

it's uncommon to enter
the limelight now, isn't it?

Age is just a number.

What have you built to date?

My house and four churches.

THE GREAT ARCH

They pay for everything?

Of course.

Even the minibar?

Yes. And if not, we'll pay.

Money's no problem now.

Hello?

An outside call for you.

Who is it?

Mr Subilon, the President's advisor.

I'll put him on.

- Hello, Mr Spreckelsen.
- Hello.

The President wishes to review
your proposal.

In what way?

He called me to reaffirm

how committed he is to the perspective
envisioned by Le Nôtre.

The avenue beginning
at the Palais du Louvre,

extending
past the Arc de Triomphe,

means a lot to the President.

After all,
it's the historic royal axis.

Yes, I know.

Did you know that your Cube

sits on this axis?

Of course,
it was the proposed site.

The President doesn't want
the view spoiled.

No, it won't be spoiled.

Please reassure him.

What I mean is,
the President would like

a fuller understanding of things.

Can you be more specific?

The President has seen the model,
hasn't he?

Exactly, he would like something else.

Something else... than the model?

Yes.

Alright.

- I'll take care of it.
- Thank you.

Coming from the north,
what do you think of our cathedrals

and their often ostentatious splendour?

I'm sorry, Mr President,
but I think they're too tall.

You were right to choose my Cube
over a cathedral.

It was a straightforward question.

I still happen to ask a few...

Usually, when I'm on friendly ground.

I understand you've built
several chapels.

Yes, two Catholic chapels,

and two Protestant churches.

Why are you so interested
in places of worship?

I had a religious upbringing.

So did I,
but I haven't built four churches.

Until I got married, I sang in a choir.

I was often in churches.
I like them.

Excuse me.

We're ready, sir.

Very good. We'll be right there.

Mr President.

- Do you have binoculars?
- Of course.

Here.

- The binoculars.
- Of course.

Let's go this way,
it'll be nicer to walk.

I am the sole person responsible
for the perspective.

I must take every precaution
my position requires.

But the Cube is not elevated.

It will respect the balance.

You'll see the simulation.
Everything's very clear.

Here's the Cube, Mr President.

What you see will be
the upper part of the building.

I remind you that the Cube will be open.

Excellent.

And the perspective is respected.

It's really very good.

But it's blue.

Yes, it's blue.

I would prefer it to be pink.

When the sun sets, it'll be pink.

Can I see?

Yes, of course.

Tonight, if you like.

Mr President!

They're getting restless.
See you tonight.

- You can't do this.
- Calm down.

No one knows I'm here.
This is the safest place for me.

We can't do it again.

We did it this morning.

Getting the crane was a nightmare.

We'll find another.

There's no other crane that big
in France.

In fact, it's German.

Subilon,
the President wants to see.

Meanwhile, the CICOM is paying.

The CICOM is the President's idea.
He's the customer.

The customer always knows best,
doesn't he?

Mr Tavelli, the crane operator.

Mr Tavelli, please come in.

A pleasure to see you.

Actually,
we were wondering if we could

repeat this wonderful experience
tonight?

When the sun sets, please.

It'll be tricky.

It's my niece's wedding.
The crane has to go back.

I understand,
but we absolutely must repeat the test.

We'll add 7,500 francs
to your fee.

I'd be happy to do it for 50,000.

- 50,000?
- Weekend overtime rate.

- He wants 50,000?
- Yes.

And it's my niece's wedding.

I'd rather go.

We won't quibble over this.

I'll accept your rate.

Thank you, Mr Tavelli,

for your time.

Goodbye.

Very good.

It's pink!

- I told you so.
- It's good.

It's perfectly pink.

It's very good.

We'll inaugurate your Cube to mark
the Bicentenary of the Revolution.

On behalf of France, I congratulate you,

and thank you once again.

It's an honour, Mr President.

Visit any time
to report on construction.

Certainly, Mr President.

Goodbye.

Can we get this plate down
and free the crane?

The prefect's badgering me.

Yes. We've finished.

Splendid...

We've finished.

Thanks to you...

Otto!

Careful! Coming through!

The Cube.

Very impressive.

We're creating a new world.
We must celebrate.

- Please.
- I can't.

I'm too superstitious.

- I'm sorry.
- It's alright.

Who will cut up this masterpiece?

Here's to your niece's wedding.

Wedding, my ass.

Sorry?

There was no wedding.

I don't have a niece.

Nor a niece.

It was to raise the stakes.

You can't teach an old dog.

Come here, Otto!

No, thank you.

I'll eat it.

This time, it's on.

Have you had a chance
to think about your construction team?

No, not yet.

You must. This is for the Bicentenary,
so we have to move quickly.

I've prepared an initial list.

They're trusted companies.

Otto...

Beautiful car.

Very, but we're going to be late.

This is the first high-rise district
built in Paris, by the Seine.

It faced
both urban and technical challenges,

especially with the utility networks.

Saint-Germain designed the paving slabs.

That's correct.

And several towers.

Most recently, this one.

We began in '81 and progressed quickly.

It's the one we'll visit.

Wonderful.

Are you feeling unwell, Otto?

Did they do the paving?

Yes, the whole expanse.

And this?
What's this called?

A snail?

No, these.

The joints?

They did the joints?

We can check, but it had to be them.

The joints aren't uniform.

Yes, but don't dismiss them
on one detail.

Subilon, it's not a detail.

Look.

This...

There's grass between these joints,
and here, nothing.

The pattern hasn't been adhered to,
it's essential.

- Otto...
- Essential.

They're only paving joints.

Visit the building
and get to know Mr Saint-Germain.

He loves construction.
He's fascinated by your Cube.

He'll listen to you,
it's his job.

No.

I can't.

You can't what?

I can't see anything else.

I'm talking to you,
but I'm preoccupied by the joints.

They're waiting for us...

Can we postpone the meeting?

- Otto...
- Subilon...

Listen to me carefully.

This is very important.

It's the building's foundation.

The foundation.

It's very important.

Say I had a dizzy spell...

Say what you like.

There's a mistake.
It says 25 instead of 2.5.

There isn't.
I asked for 25 million.

In fees?

That's excessive without an agency.

Anyone can have an agency.

You have a vision.

They may see it as provocation,
I think.

There'll be negotiations.

You know how they love to talk.

There has to be a margin,
so I prefer to set a higher figure.

But 25 million francs is madness.

Listen to me...

The Cube is estimated
at 1.3 billion francs.

We're asking less than 10%.

It's very reasonable.

Look.

You mustn't cede your rights.

What does that mean?

The copyright must be yours.
If anyone photographs the Cube,

you get royalties.

Ok, but...

the Cube will be part
of the urban landscape.

Yes, but...

it's an original work all the same.

With a copyright.

Why is it different
from a sculptor or a visual artist?

Is it legal?

The law is a bit vague.

You designed the Cube.

You created it.

It's your work.

Why would you cede the copyright?

I bet no one ever asked for this before.

Ever.

No one has ever won
a competition like this.

Have you found a contractor?

What did you think of Bergeron?
You met him today.

My husband isn't convinced.

He only talks about concrete.

Just keep in mind
he carries out directives.

The Cube requires a delicate approach
that I don't see in his work.

Is that so?

We'll still need to agree
on a French contractor.

What about Tilbot?

I'm afraid that's impossible.

Impossible.

It's about building a relationship
with a partner.

Subilon,

our project has to be very precise.

It's like a fugue,
but grander, monumental.

Yes, I get the idea, but...

No, hold on.

A fugue is a subject, response,
and repetition of the same motif.

That's what we're proposing
with the Cube.

We have the main cube
and the little cubes.

Subject and response.

Solids and voids.

You're meeting GSC this afternoon.
They're excellent.

I want to go to Denmark
to meet some contractors.

There are skilled people there.

Sorry,
but we must find someone here.

The regulations clearly stipulate

the winning architect
must work with a French company.

Did you receive our contract proposal?

My husband is working
and is happy to do so,

but there isn't a framework in place.

Over time, this could be uncomfortable
for both you and us.

- Louise.
- Yes?

What's the status
of Mr Spreckelsen's contract?

It's ready to be signed.

Bring it here then.
Let's proceed.

The file is here.

We have a deadline.

The President wants
to inaugurate the CICOM

for the Bicentenary.

We must move fast.

So, let's move fast
and do it flawlessly.

...a fee of 25 million francs...

When I lose a competition,
I take it badly

because I'm convinced
my proposal is the best.

In the case of La Défense,

I bowed out when I saw your design.

You won everyone over.

I'm happy to meet a man
so unanimously approved.

That's very kind of you.

Thank you.

I'd like to see your glass tubes,
please.

Sure,
but I want you to see this view I like.

It shows the airport's logic

and its innovative layout.

We're both geometric enthusiasts.

You designed a cube,
and I saw Roissy as a circle.

It's very striking,
and I grasp the concept,

but for my work...

- I'd like to see the tubes.
- Let's go.

You have an example of a tube
right here.

Some compare the terminal
to a bicycle wheel.

Concrete is wonderful,
but it's coarse and bulky.

The glass brings lightness.

But it's not just glass, is it?

True, there's aluminium
for the structure.

But I want a structure

made purely of glass.

Explain to me
exactly what you're looking for.

Well...

You know...

the main Cube...

Like this...

With smaller cubes next to it.

Like this.

I want the clouds

to connect the different parts.

You want those clouds made of glass?

I want them to be light.

I want them to float.

In that case,
you could make them from fibreglass.

Or even canvas.

That's another option.

How would you fix them? On pylons?

I want the clouds to float.

Then they need to be suspended.

I want two types of clouds

to create variation.

Like this...

I understand.

Even so, you'll need an attachment.
May I?

It could be higher up...

Here and here.

You need a construction office.

I've the necessary teams
for this complex project.

I can't accept the idea

that no French contractor
is worthy of your arch.

I'm French,

and I believe I'm capable
of bringing this construction to life.

You have many projects.
Why do you want to do the Cube?

I'm proposing this partnership

because I too think
the Arch is ideal.

Is that all?

It's already a lot.

I'm used to large-scale projects,

but this one is truly unique.

This way...

After you.

Very impressive.

All the proportions are right.

Thank you.

I designed everything,

and oversaw
the creation of every accessory.

The organ,

the beams,

the handles,

the altar,

everything.

I created it all.

I designed the Cube the same way.

I want to be in control
until its completion.

But I suppose...

you don't just want to build?

I'm an architect.

I've built airports
of international standing.

Exactly.

What role
do you want to have on the Cube?

I was thinking
of shared project management,

one project, two architects.

Forgive me.

But Despite all the esteem
I have for you and your work,

this configuration
will not meet with my approval.

The Cube is my life's work.

My life's work.

All my work, all my research,
my very life,

has led me to this design.

So I say it without pretention, If you
and I are to collaborate on the Cube

there has to be a hierarchy between us.

I understand.

The Arch is important.

I propose to be your project manager.

What do you mean?

Two architects,
but I'd be your executor.

You design,

I oversee
the operational completion of the Arch.

I've noticed
you say "Arch" not "Cube".

Yes, because your Cube is open.

I can call it a cube if you prefer.

It's fine by me.

That I call it the Arch?

Yes.

And that you be my project manager.

Thank you.

I need to see your plans.

There's this...

It's nice work
but don't you have anything else?

We have this too.

I need the floor plans.

You haven't drawn up any other plans?

I've drawn the equilibrium
between the big Cube and the small ones.

And I've thought a lot about the clouds.

I'm still working out their shape.

I also have this sketch I really like.

Here, the clouds are lower.

But I think we need to do
some tests in situ.

We should start with an outline,
the plan, the foundations,

before thinking about all the rest.

Afterwards, we can run
computer simulations for the clouds.

Very well, as you wish.
But, Andreu...

I only work by hand. I hate...

Computers.

I'm scared they'll influence us
and our constructions.

The design is yours.

The machines will only implement
what you've decided, fear not.

Fine, but...

I prefer working without computers.

Please.

What's unique about your Cube

is that it's both a building,
with exhibition space and offices,

and a civil engineering structure.

It's a bridge that must span
all these networks.

While bridges move,
offices stay stable.

This is the technical challenge.

To meet it, we must calculate quickly
due to tight deadlines.

Without computers, it's impossible.

We must embrace modernity
and its resources

to determine
the forces at play accurately.

So, I'll compile your sketches,
to convert them into plans.

Here.

My wife needs to modify the model.

Don't worry,
I only deal with the models.

It's essential for the glass facades
to be absolutely plane.

I understand. But for the Arch,
we'll never have perfect flatness.

We must strive for it.

There will always be gaps,
it's inevitable.

In the church I built in Stavnsholt,
the altar is monumental

and I created an absolutely flat
4 m² pane

from 4 different samples
for each facade.

Your monumental altar measures 4 m²?

For each facade, yes.

In our case,
we need to cover 2 hectares vertically.

-I know I designed it.
-Of course.

If it's possible in a laboratory,

it's also possible on a large scale.

That's the very principle
of experimentation.

And it's our job to find the solutions.

Let's not give up so quickly.
We haven't even started yet.

-It will be complicated.
-Yes, but I like a challenge.

The mix of matte and gloss
is very stylish.

We're still seeking a solution

for the glass.

Ideally, a single piece.

Subilon told me
you're working with Andreu.

Yes,
but he's only handling construction.

We decided on "project manager"
as his title.

Why not.

How do you find French architects?

Not Andreu, but in general.

I'm interested in your outside view.

They work reasonably well, but...

I sometimes find them...

inhibited.

You're quite right.

Indeed,
they only build outside France.

We have to change that too.

If you please.

It's the Champs Elysées perspective.

You must get down to street level.

That's it, just a little lower.

Can you see the perspective better now?

Very good.

You know, for your glass facades,
I have someone in mind.

- An architect?
- Yes, but not French.

You should meet Pei.

He built a glass tower in Boston.
I've seen it. Not a pane out of place.

It's breathtaking.

We can arrange a meeting.

Of course,
it should've been done by now.

I saw him yesterday, he's still here.
Don't miss him.

So it is possible.

Of course it's possible.

I did a lot of tests before,
there is only one solution.

It's glued glass.
With silicone glue.

There is no attachments,
no visible joints.

That's exactly what I want.

But you know my constructor said
it couldn't be done.

-Who is your contractor?
-Paul Andreu.

I appreciate him, but I feel he hides
behind the technique.

We know each other very well.
Tell him to call me.

I'll be happy to invite the two of you
to Boston to visit my tower.

That will be difficult right now.

Why is it so difficult?

Because Subilon is very keen
to start building right now.

So the cube will be there for
hundreds and hundreds of years,

but it's very important
that we start right away.

You know what. In Chinese we say:

-What does that mean?
-If it's urgent, take your time.

That's very good.

So what do you think about my pyramid?

I think it will be absolutely amazing.

We know bonded glass.

I don't understand.

Why didn't you say anything?

- It's an effective technique.
- Thank you.

But not for your Cube.

Why not?

It's perfect for the Cube.

Bonded glass is not approved.

The Americans use silicon glue.

Pei showed me his tower in Boston.

Yes, but it's not authorised in France.

The CEP has forbidden it.

The what?

The Centre for Prevision and Prevention.

Its assessment was confirmed
by the CSTB,

the official body.

The President told me to talk to Pei.

If Pei recommends
a technique forbidden by legislation,

the issue remains.

Can we ask for this law to be amended?

No,
the safety committees are independent.

How can I create a smooth facade?

How can I meet the customer's needs?

The customer won't complain
about complying with legislation.

And you?

What do you say?

There's nothing to say.

I told you it would be impossible.

We'll try everything we can

without bypassing the safety commission.

Service is over, sir.

I'm meeting Mr Leloup.

He's waiting at the back.

Thank you.

I've an outside view,
while knowing the area very well.

I know you're facing a few problems.

No details are spared
in a radical project like yours.

I'd rather be frank.

At this rate, in two years,
you'll still be on the foundations.

I know Subilon inside out.

He's a technocrat.

I don't know.

It's nothing personal.

Just observation.

Subilon is a symptom
of a typically French disease.

It's quite paradoxical.

He wants to move fast,
but hampers us.

He's out of touch with reality.

His logic is bureaucratic.

He doesn't understand
construction too well.

That'd be fine
if he stuck to his job.

Andreu, however, isn't a bad choice.

But with these deadlines,
your project management lacks know-how

and perseverance.

Mr Laloup...

Leloup.

You asked to meet with me

and on the phone,
you talked about solutions.

I rather hear about those

than I want to sit and talk about
the problems I already know about.

Are you having a problem with glued glass?

Yeah, I am.

News travels fast here.

Today, it's glass.

Tomorrow will be something else.

Lifts, security access...

Not to mention the marble.

No, the marble is too important.
I identified certain varieties in Tuscany.

It doesn't matter.
If you keep the current configuration,

you willl be locked
into a balance of power

that will always be unfavourable
to you,

whatever the subject.

So?

What do you recommend?

With Subilon,
you won't get anywhere.

Do I really have a choice?

Of course you do.

You can make a case for
an incompatibility of character

and I'll take care of the rest.

I have economic arguments to make.

And I also have my own support network
among elected officials.

I built all the towers in La Défense.

I want to make this area
the largest business district in Europe,

bigger than the City in London.

And your Cube will be the cornerstone
of this neighborhood.

Its manifesto.

Today, if you entrust me
with the project,

I'll be the investor to help you build
your Cube

exactly as you designed it.

Subilon is Mitterrand's man.

You said it.

He's his valet.

Mitterrand is my client,

and I always respect my client.

Subilon has Mitterrand's trust.

So, he has my trust too.

Let me finish my proposal.

I've understood.
You want to take over.

But I'm not interested
in your schemes and strategies.

I'm an architect.

Goodbye.

We've a glazing system
for the facade.

Yes, discreet clips

that hold the glass in place,
no matter the structure.

For the interior, we've templates
to carry out the tests.

When can we start?

Soon, but we must consider
maintenance access.

Yes, with no opening windows.

I want the interior windows to open.

I don't understand.

The windows behind the facade
must open for ventilation.

Ventilation?

Like Le Corbusier.

Have you heard of this guy ?

Suppose you heard of him.

It was you who designed
the facade

and the windows
attached to the concrete structure?

Yes, indeed. That's what I want.

Can we get some quiet?

We're in a meeting.

Thank you.

You demanded a 90 cm gap
between them?

Exactly.

To create breathing,

an opening in the inside
closed offices.

You can't open the interior windows.

And why is that?

Because it would be too hot.

No it won't.

Paris is not Kuala Lumpur.

Perhaps, you've built too many airports
in the South, my friend.

70°C between the two in summer
is the lowest estimation.

All the calculations from your drawings
are categorical.

If your computers already have all the
calculations and all the decisions for us,

my presence here
is no longer needed.

Stay and talk about the marble.
You put it on the agenda.

It's no longer on the agenda.

I'll sort the marble.

If they act up, damage will be done.

I want you to go back,
attend the meetings, and keep an eye.

They're playing us.

- You want to go to Italy now?
- I may as well.

- Sure?
- Yes.

I'll stay for the meeting.

Alright.

Alexandra, make room
for the architect's wife.

I'm looking for a marble that will
turn slightly pink with the sunset.

Carrara's will be perfect then,

because the more nitrates in the stone,

the more the veins react to warmth,

and our marble here in Carrara
is naturally rich in nitrates.

Yes. The more nitrates a stone contains,

the more it reacts to warm colors.

It is the case of Carrara marble.

I didn't know it was due to nitrates.

What I want to cover is this facade

and the counter-part on the other side.

How high is it, more or less?

From here to there, it's 111 meters.

Like the pyramids of Giza.

And I want to cover the floors as well.

That makes 1,000 square metres.

1,000 on each side.

Plus the paving.

The same amount for the paving.

So you would need between
3 and 4 hectares of marble?

That's right.

It's quite a lot, I know.

That would make
5,000 tonnes of marble.

At least.

Could you extract them?

Of course.

We often do that.

Our quarry is a big one.

Come and see.

The marble for La Pietà

came from our quarry
where we were this morning.

Michelangelo himself

came and stood
in exactly the same spot as you.

600 years ago,
Michelangelo was here.

The marble of his La Pietà statue

came from Carrara.

Precisely from our quarry.

-From here?
-Yes.

-You could have met him!
-Well...

Well... Let's wish the same posterity
for the Cube as for the Pieta...

Look,

if you observe closely

the peak of that mountain,

you see the outline of the Pietà.

You can recognize the shape
of "la Pieta" statue.

Michelangelo was not such a big artist,

becouse everything was just there.

He did not invent anything.

Well... To Michelangelo.

To the Cube.

To you.

We just received these.
I think it's for you.

Thank you!
But that could've waited until tomorrow.

I was happy to bring them to you.

Are you going to work?

No, I'm going to sleep now.
I'll have a look at this in the morning.

Would you like to have a last drink
with me in honour of your marble?

That is very nice of you,
but I really need to rest.

-Good night.
-Good night.

I'm awfully sorry,
but I really need to sleep.

It's for you.

-What's for me ?
-The telephone.

It's the guy who sent the documents.

Here.

Yes?

Did you get the pillar plans?

Yes.

Have you seen the time?

Sign them and fax them back
to launch production tomorrow.

No, I won't sign anything.

Why?
You validated the sketches.

You changed the pillars' curve.

Their curve?

You widened the base
and that's not my design.

They'll be below ground.

No, I won't change
the shape of the pillars.

I don't get it.
No one will see them.

God will see them.

Listen, old chap.
Sign and let's get this done.

These whims are absurd.

I'm not old, I won't sign,

and I'm the one saying no now.

When are you back?

No idea.
I'm looking for the marble.

That's what matters.

Otto, catch a plane and hurry back.

I'll go and sleep now,

then drive back tomorrow.

That'll take forever.

I don't like airports.

Work and stop pestering me
with your pillars, please.

This one is beautiful.

This piece comes from Carrara.

It has pure Italian sensuality.

- Isn't it pink?
- No, it's as white as snow.

But, in the evening light,
it will look pink.

It's the nitrates.

Beautiful.

The veins are perfect.

It's the same marble
as for Michelangelo's Pietà.

- I'd noticed.
- I mean, it's from the same quarry.

I suspected as much.

And the ribbing is tight.

That makes it beautiful.

The other piece has fewer nitrates.

It's from Rance, in Flanders.

Let's use this one.

It's very pure,
and the exact hue we want.

Nuances change between quarries.

Very good. It's the best choice.

The Rwandan President and his wife.

Thank you.

If I may, Mr President,

I'll leave it as a gift.

It's hard to resist Italy's charms,
don't you agree?

You're making things impossible!

It's the President's choice.

And, Subilon,
this marble is a wonder.

That's not how it works!

We invite tenders for public works.

Your marble man costs a fortune!

Whatever you told him,
he sensed a good deal.

You have to ask the President.

Stop sheltering behind the President.
That's too easy.

Your attitude
threatens the whole project.

Excuse me.

I can't work if you make all this noise.

Of course, my apologies.

The architect selects the materials.

Discussion over.

I'm sorry, but not at all.

We'll need 3.5 hectares of marble.
Realise the extra cost?

Listen to me.

The Cube is glass and marble.

You've corrupted the glass.

No one touches the marble.

No one, understand?

We'll need a compromise.
Not to mention adherence.

What adherence?

Your marble is too slippery
for the paving.

You agree users mustn't slip
or be injured.

The marble is excellent
and that's very easy to check.

Stop watering now,
it's getting dangerous.

Do you know Rome's Olympic stadium?

No, I don't think so.

Go there.
You'll see all the pathways are marble,

and no one slips,
even when it rains.

Maybe they made the marble
more abrasive.

No, it's not that.

This marble doesn't need
any kind of treatment.

Perhaps Italian shoes
are particularly efficient.

Like yours.

Who's first? I'll go.

Wait.

What's wrong with my shoes?

I'm not criticising them,
but they may have exceptional grip.

Will you agree to lend me your shoes?

Give me them and I'll show you
this marble isn't slippery.

I don't think we wear the same size.

- Give them to me.
- I'll ask an assistant.

Vandenbergh,

you have bigger feet than me.

It's obvious.

- What size do you wear?
- 41.

And you, Forestier?

It depends.

- The ones you have on today.
- 43.

Mr President!

Mr President, welcome.

Mr President...

The support rods, 12 in all,
each shaped elliptically.

I designed the feet so the Cube
would rest naturally on them.

Each elephant foot

can bear three times the weight
of the Eiffel Tower.

A little more.
30,000 tonnes per foot.

That's needed to bear
the Arch's megastructure.

Let's move on.

Here, we're in the future basement
of the building.

The foundations...

Sorry, Mr President,
it's a construction site.

Mr President...

I recognise our Carrara marble.

Exactly.

I asked for a few slabs
to be placed here.

We'll need 34,000 slabs
to cover the unglazed sections

and the whole square.

Any rain will turn it
into a skating rink, Mr President.

No, I don't think so.

Run a test.

Exactly, we'll run a test.

Mr President, would you like me...

to go first?

The marble is admirable.

It will confer a new lustre
on the site.

Paris has no marble.
You're righting a historic wrong.

Excellent news, isn't it?

It's a beautiful marble, but...

What about you?

What do you think?

It's an excellent marble,
but it must be treated

or it'll deteriorate.

No, I don't agree.

The air is acidic in Paris.

Pollution will affect the marble.

We have no choice.

We always have a choice.
It's what sets us apart.

You always put technique above the work,
and I'm the other way around.

- It's conclusive.
- I agree.

But we're wondering...

Should we treat the marble?
I don't think so.

Just to ensure it lasts.

We'll seal its pores
to protect it from the elements.

Stone is stone.

If you alter its nature,
it won't evolve as expected.

As for marble's resistance
to the elements,

there are enough examples
to consider that has been proved.

Thank you, Mr President.

Andreu approves your marble.

Subilon will pay.
That's what's important.

So you can let them treat it.

No.

This marble is perfection.
I don't want them touching it.

You're too attached to your marble.

- No.
- Yes.

You're in love.

You're in love with your marble,
so you're overreacting.

I'm not overreacting.

And I'm not in love with my marble.

I'm in love with you.

Future site of the Great Arch

- Thank you.
- Enjoy.

My wife doesn't like me eating pizza.

- Coffee?
- Please.

The foundations are down,

the main lines have been validated...

I'll go away for a while.

As you wish.

We've had our conflicts, Andreu.

But I have faith in you
to build my Cube.

Thank you for your trust.

It's a reduction by 100th.

It's very good.

- Subilon's calling.
- Not now.

He's tried several times.

Is it a work in progress?

It's an initial proposal.

May I draw on it?

If you wish.

The reduction respects
the proportions.

Yes, I know.

Each line represents a floor.

The painting will be inside the Cube?

No one will ever see my whole painting?

No one.

But...

floor by floor,

they'll discover the whole painting.

That's not how I imagined it.

I imagined an outside mural.

Think of it as a musical score.

Think of it like a musical score.

You hear the notes one after the other
and you discover them progressively.

The fresco will be a symphony of colors
that won't be apprehended all at once,

but in successive touches,

creating a perception
- a sensation that evolves.

I could call it "Symphony for a Cube"
or "Symphonic Arc".

Excellent idea.

I'll write something
to outline the concept

and we could both sign it.

Look at this.

It's fabulous.

- Otto.
- Yeah?

Call him back.

We need focus.

- It's urgent.
- Tell him I'm busy with his Cube.

We need to give our ideas...

I won't be disturbed.

Mitterrand has lost the elections.
Return to Paris urgently.

We're meeting Juppé now.

He hinted the CICOM
will be dissolved.

- Who is Juppé?
- The new Budget Minister.

- What does the President say?
- Nothing.

- He's no longer President?
- He is, but decides nothing.

He has to deal with a parliament
that has changed sides.

It's called cohabitation.

I don't understand.

Who's in charge?

A left-wing President
has a right-wing government.

Subilon, the Cube
is neither right- nor left-wing

The Cube is for everyone.

It's expensive and the Right
only cares about austerity measures.

And the Bicentenary of the Revolution?
The future of humanity?

That's our project.
We have a contract.

They can't stop the CICOM.
What'll they do with our Cube?

Don't get up, I can't stay.

The President's Cube...

The Arch of Humanity, Mr Minister.

I'm told it's a fine project.
Congratulations.

Thank you.

Mr Minister,

we hear you plan
to dissolve the CICOM...

Is the announcement imminent?

The decree will be published this week.

If the CICOM is dissolved,

how will the new government
use the building?

That's up to you.

You or those who buy it.

The situation is simple.

You have dug,

well, the previous Socialist government,

has dug a gaping abyss in record time.

We inherit a critical situation

and need to save 400 million urgently.

The state can't back
every ambitious project.

Who'll undertake future expenditure?

Deals have been made,

we have over 150 specialised workers
on site daily.

I've no idea.

But the state is pulling out.

You find the synergies.

From now on,
we'll favour private initiative.

Your building is ideal
to attract investors.

That's your task now.
Find the funding.

Leloup would be a perfect buyer.

Leloup?

Him or another.

Leloup was interested in your roof.

You just need to open it up.

Hold on.

You want to open up the roof?

I want nothing,

except to stop paying for the work.

Sir, if we sell the roof
to a private company,

it'll want its name in huge letters.

Each time a wreath is laid
under the Arc de Triomphe,

we'll see Olida or Pernod Ricard in neon.
Is that what you want?

Sorry, Subilon, I don't understand.

Are you against private firms?

No one talks about the Cube that way.

I agree.

Juppé sounds like a petty shopkeeper.

It's true, but he's the Budget Minister.

I don't talk to ministers.

Minister comes from the word "minus".

A minister is a servant
and I don't serve servants.

Maybe.

But if we ignore them,
they'll halt the work.

No.

I don't agree.

No one can halt the President's project.

No one.

Otto, please...

Mr Spreckelsen,

the President won't be back tonight.

I must speak to the President.
It's urgent.

He isn't here.

But I can wait for him.

He won't be coming.

You have to leave now.

Where is he?

In Venezuela.

There's no sense in waiting.

I don't believe you.

Sir...

Sir, we're closing to visitors.

I'm not a visitor.

I'm his architect.

Can I call him?
What time is it there?

The President can't be reached.
Sorry.

What do I do?

Shall I call a car?
There's a taxi rank nearby too.

What do I do about my Cube?

What would you do in my shoes?

You have to go now, sir.

Get up, sir.

I thought you had abandoned me.

They want us to throw in the towel.
They've given us an impossible task.

A public building can't become
profitable office space like that.

But if we play it smart,
we'll catch them in their own trap.

What trap?

I wanted to see the President.

And they told me he wasn't there.

You think that's a trap too?

Juppé is forcing us to sell.

But even if all the spaces are sold,
we would be far from the 3.5 billion.

He knows it.

That's what's making Subilon so desperate,
and he's been quick to do the math.

Andreu...

The Cube was never designed to make
any money.

That was never the idea.

But it can easily generate more.

That means producing more office space.

What office space?

It's only the CICOM that was supposed
to have its offices there.

There's no more CICOM.

But if we add 15 floors to the Cube

the new space we've created will
allow us to finance the operation.

You want to alter the Cube?

Paradoxically,
enlarging it will let us build it.

Not, that's impossible.

We can't alter the Cube's geometry.

That would call into question the whole
urban harmony of the project. No.

You see its dimensions as final?

Of course!
What kind of question is that?

The Cube is a cube, Andreu.

If you change it,
it's not a cube anymore.

If we keep the main Cube,

we must replace
the smaller cubes on the square

with taller, closer-packed buildings.

You'll remove the small cubes?

To save the main one, yes.
No hesitation.

With four buildings of your design,

we'll save the main Cube,
the square, the gardens and the clouds.

But the President chose the project
with the small cubes.

He's no longer in charge.

With the new government,
we need office space to save the Cube.

You're playing their game.

No, I'm fooling them.

They're right to be pragmatic.

Building is like that. So let's adapt.

If we don't, the Arch is dead.

You're carefully distorting the project
to make it your own.

-You're stealing my Cube.
-No, I'm trying to save the Cube...

No, you're not.

You're trying to ruin it
by any means necessary.

A project is never static.
You know that.

It evolves
and we have to keep moving with it.

This two-timing game of yours is vile.
You're a thief.

You're taking my Cube, my idea.

The Cube is my life's work!

Liv?

- We must sue.
- What time is it?

- We must attack them.
- Who?

They want to disfigure the Cube.
Andreu intended to add 15 floors.

He's lost his mind.

It's 1 am. We...

We have a contract.
Tomorrow, we take them down.

- Who exactly?
- Everyone.

Even Mitterrand's undermining us.

He's washed his hands of this.

It's like I no longer exist.

But we have a contract.
The Cube is non-negociable.

- You want to sue the State?
- We'll sue France.

- They will pay.
- They already paid you.

They'll be liable
if they break their promises.

Tomorrow, you file the lawsuit.

We'll see.

No!

You'll do it tomorrow morning.

If we don't fight, they'll crush us.

They're cannibals, savages...

I know,
but suing the State will be difficult.

Go to sleep.
We'll find the best solution...

We'll sue Andreu and Subilon.

Their actions have consequences.

They think they're untouchable.
They look down on me.

But now, we fight back.

The law is on our side.
We have the sketches.

All competition designs
are public property.

They can't contest them.

So the Cube, the small cubes,

and the clouds must be built.

Everything must be built as planned.

Otherwise, it's an obstruction
to my work, my integrity,

my artistic vision,

and to me.

Andreu?

I'm looking for Andreu.

The architect?

No, the project manager.

He's on the gantry.

What is it?

It's not my marble.

Ask Subilon.
I just validated it technically.

You never said a word. Why?

No idea.
Maybe you weren't around.

We make budgetary decisions daily.

It's not my marble.

We have a deadline.
I told you it's urgent we move ahead...

We spoke about this yesterday and you
said nothing about changing the marble !

It's too late to discuss it,
Spreckelsen!

It's not white, it's grey!

Stop!

We're working.

You were saying?

Martinelli...

Call him and set up a full meeting.

Why didn't you tell me about the marble?

What?

What's happened?

You thought
it'd be better not to tell me?

What are you playing at?

I don't understand.

They replaced the marble.

Don't play the fool.

I didn't know.

How could I?

I told you to keep an eye on them.

I told you

they were plotting against me.

You were meant to monitor them,
but they act freely.

- That's not true.
- It was your responsibility!

That was your job!

What do I do if I can't trust you?

Don't shout at me.

I refuse to be spoken to like that.

You need to calm down.

What do I do if I can't trust you?

You can trust me, Otto.

Clearly not.

It's plain to see.

You can't say that.

It's unacceptable.

Did you file the lawsuit?

No.

You see?

You're not on my side.

If you're not on my side,
I have no one.

I'm all alone in this.
There's no one left.

Otto...

I'm surrounded
by fools, thugs and crooks.

What's going on?

As you can tell, I'm leaving.

I'm sorry.

Please forgive me, Liv.

Yes.

But it doesn't change
how you spoke to me.

It won't happen again.

I assure you, it won't.

But it hurts me when I'm shouted at.

It breaks me. You understand?

Yes.

No, Liv, hold on.

You've apologised,
I've acknowledged it.

But I'm still hurt.

Wait a moment, please.

Just a second.

I can't live like this.

I cancelled your marble
as the price was too high.

Andreu didn't want to change it,

but he helped out when I told him
we would abandon your marble.

I didn't do it happily. I did it

for the sake of the Cube.

When I see how things are now,

I feel it was
the only possible solution.

Our relations have been chaotic,
I won't deny it.

We'll find a virtuous way
of doing things.

Do whatever you want.

I'm through.

Mr President,

I've come to offer you my resignation.

Impossible!

Why?

You both have ideas.

And now you're free.

You're the architect.

And we have a contract.

You don't respect that contract.

It's meaningless now.

Otto...

we need you.

No, that's not true.

The small cubes have vanished.

The clouds have vanished.

Bonded glass is banned in France.

Now you've changed the fine marble
the President chose for an ugly one.

The Cube was to be white and smooth.
Now it's grey and grim.

It's not my Cube.
I won't be able to look at it.

May I have a word alone
with our architect?

Of course.

Mr Spreckelsen, you confirm
you abide by your decision?

Yes, Mr President.

I was very proud
to be invited by France

to serve your ambition to change life.

But, in recent weeks,

I've felt very much alone.

I've encountered too many barriers.

I appreciate your honesty.

It doesn't surprise me.

Your Cube is an unequivocal work

and you designed it in your image.

Actually, it's not just that.

The Cube takes up too much space.

It distances me from my own life.

I want to return to my wife.

I've forgotten what really matters.

What does she love?

What book? What music?

I don't know how she sleeps,

what her skin is like...

I want to find that again.

I want to go to the opera with her,
to go fishing with her.

I don't want the Cube everywhere.

Between her and me.

You're probably making the right choice.

Of course,

I fully respect your decision.

I shall give orders
for this parting to occur elegantly

and for your remuneration
to remain unchanged.

Thank you, Mr President.

It's only natural,

given the quality of the conversations
I had with you.

In return,

given the political context
undermining the project,

let's agree not to talk
about your resignation

to the press or the profession.

The contract stipulates it.

Let's maintain
a measure of confidentiality

so as not to tarnish
neither the image of the Cube,

nor your image, of course.

Of course.

I don't agree with your decision.

It's not the first time.

When I designed Roissy, I was 29.

More than once
I wondered if I was an impostor.

I wondered what I was doing there.
My head even spun at times.

But I kept going.

Because giving up was too easy.

You're mistaken.

This requires belief in your ideas.

You're not defending them,
you're giving up.

You're putting your ego first.

If it was about my ego,
I wouldn't have quit.

This commission is too prestigious
and you know it.

In any case,
your radicalism impresses me.

It inspires me.

It's good if you've learned from me.

Better late than never.

Andreu is right.

You're abandoning your project
and those who believed in your Cube,

those who believed in you.

We each did all we could
to bring the Cube to life.

Myself included.

I contributed my time,
my energy and my faith.

A project revolves around a single idea.

A strong idea.

Here, the beam configuration changes.

In two directions,

to reveal a magnificent staircase

running through the building.

Beautiful and effective.

Excellent.

You haven't understood the plan.

It's the wrong scale.

And you haven't respected
the choice of materials.

You're ready to work in France.

I've still given you a good mark

because I feel your passion
for the project.

That's the most important thing.

I congratulate you on your projects,

because they each have
their own identity.

And that's essential.

The next step

is to respect the customer's wishes.

Sir,

can I have a word?

Yes.

Not to mention Paris,

but we want to petition
against the black bars.

What black bars?

They've replaced your small cubes.

When I saw they were black,
I was surprised.

Don't worry about it.

I signed a document

rescinding my rights.

It's no longer my project.

They're betraying your idea.

These bars will be next to your Cube.

It's no longer my Cube.

I've put it behind me.

Excuse me!

We're looking
for Johan Otto von Spreckelsen.

His grave is supposed to be
in the eastern area of the cemetery.

Where is it ?

I think it's this way.

We went. But we did not find it.

He may be in the destitute square.

- The common grave.
- It can't be.

Thank you!

Who was he?

He was an architect.

A great architect.

On October 11, 1986, Otto von Spreckelsen
was taken ill in Paris.

He died on March 16,1987,
without seeing his Cube finished.

The construction work
was completed by Paul Andreu.

François Mitterrand inaugurated the Arch
on July 14, 1989,

for the Bicentenary of the Revolution.

THE GREAT ARCH