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Interview 8 with Helena Garrie.

Helena, the movie is coming to an end.

Do you feel fulfilled?

Do you want me to turn off the recorder?

I won't. At least he listens to me.

What's going on, Helena?

I feel a butt and a pair of flabby breasts.

Is the weather bad only with you?

Or is it a generalized thing?

They are all obsessed.

Obsessed with what?

They're all obsessed.

Obsessed with what?

With the script.

With the sequences, one with the other.

They're idiots.

They keep praising themselves all the time.

But they don't include me.

She doesn't let me.

The time of the sea?

The cow?

It seduces itself.

But what's actually happening?

A report needs facts.

They're filming 18, 20 hours a day,

but no one complains.

They look like followers of a sect.

The followers of the cow.

But what about the director's insecurity, the producer's fumes?

Everything has changed in the last week.

The agent has become an idiot, convinced,

and Manolo looks like a butcher behind the chair.

Facts, Helena.

Is she or isn't she having an affair with Vicente?

Manolo doesn't get out of it.

But they're both in love.

Did you see that night?

That's beautiful.

But much worse.

And why Manolo doesn't give a shit about the situation?

Ok, the break is over.

We have a movie to finish by tomorrow.

They are all crazy.

If you were in the set, you would understand.

They think they are doing art, and by art they touch anything.

And that over there is just another movie of bullshit.

I have to talk to you.

I want to start with a general behind the cauldron, camera.

I need to talk to you now.

Come on, just me and you.

I saw the copiers.

Vicente, have you gone mad?

Did you film Flint on his back or in the dark in all the scenes?

Flint is a shitty actor.

No news so far.

But in the copiers, he looks mysterious. Doesn't he?

He does.

Vicente, Lassen likes Flint.

He'll be pissed off if he doesn't see the guy's face in the movie.

Roll some of his clothes and react, it doesn't cost anything.

There's no time, you know that.

Lazen is the owner of the movie, Vicente.

But he's not here making it happen.

He's coming to the set, now.

And he's the one paying you.

What are you going to film now?

The scene that the accountant writes.

I cut this shit out of the movie.

I re-wrote that scene last night, read it.

It's the night of Nuxia, frustrated with the accountant.

He can't get along with his wife

because he feels guilty for his sister-in-law's death.

I'll find another way to get rid of this shitload of shit.

He's not going to do it.

Filming is bullshit.

And the bullshit is the non-bushy.

What's your problem, Manolo?

This happens to everyone.

You've never done it.

I'm not going to do it on stage.

Who wrote this bullshit shit here?

Shut up, you bitch.

No one's going to do it here.

Why does he do it?

I don't want to be marked as an actress who does it to men.

Are you listening to this?

Come here.

You're doing well. I liked what I saw so far, but don't rush.

Listen to your audience. Nobody likes girls.

All right, let me think.

Flint, you come from the door, with Helena on your lap,

dressed as a bride, to the center of the room.

Put her here. You're going to let go of her dress.

When her dress falls, you say her sister's name.

Then, Helena, you turn.

Good afternoon, everyone.

I hate that hair.

I thought you weren't coming anymore.

I wasn't going to miss the last scene of the day.

For nothing in this world.

You're going to like it.

Authorization of those who broke the 6,000th art auction.

Be quiet on the set, get ready to roll.

Scene 63, plan 1, take 2.

Cut, cut.

Why did you cut?

The character of Helena is a sensitive woman,

she is not a professional striptease.

But I liked it.

But we'll do it again.

Helena, do more recatada, okay?

This last exercise of our course

has as an objective the observation

that pleasure is not limited to one or two individuals.

Opa, the objective of Suruba.

So now, I'd like you to choose two pairs.

I've never done it with a woman.

You're going to love it, chubby.

Why chubby?

Because chubby people are forced.

In the search for cosmic orgasm, we must dissolve the hearts of prejudice.

Look, I'm Carlos. He's Vivo.

I'm Mácia.

I'm Isabel.

You're beautiful, Aurora.

Aurora is my sister's name.

Why did you cut?

The scene was funny.

That's right. The scene isn't supposed to be funny.

Every scene is supposed to be funny, boy.

This is a comedy.

I'm sorry, Larsen, but this movie is more than a comedy.

If you cut it again, you won't be able to shoot the next scene of this movie.

You have to get Larsen out of here.

You know what I don't understand?

But I think you're going to tell me.

It doesn't make any sense for a girl like you to sleep with a truck driver.

What do you want me to do? I fire my boss.

He's going to ruin this movie.

He's the owner of the movie. You can do whatever you want, Vicente.

Do you think I should sleep with you?

I'm saying that if you want to go up in the life of cinema,

you should sleep with the boss of the boss.

You're as in love with this movie as I am.

Get the hell out of here.

He came to see the scene of the lesbian kiss.

Spin this shit, he's leaving.

I'm happy with who I sleep with.

Boss, excuse me.

We're going to shoot scene 22, but Noru is calling.

Let's make a scene.

I'm the guide.

I came to get sick.

Cut. Excellent. Let's go to the next scene.

That's it? What do you mean?

What do you mean, Larsen?

The scene was beautiful, we're late, let's go.

That kiss was shit.

Enough of the lie of this sugar bread projected from this window.

I want a real kiss.

It has to be such a good kiss, better than the test kiss.

The test kiss was the test kiss, Larsen.

It has nothing to do with history, they are sisters, they hate each other.

It doesn't matter, you have to kiss.

Roll that shit, then edit it.

Let's do a test scene, okay?

But it doesn't make any sense.

Are you afraid to kiss me?

I don't know what I'm going to kiss you.

It's the character in your grave.

You're trying to steal another scene from me.

Listen, can you stop fighting now?

Make a sound.

Take the camera.

Go, Dora.

Wake up, sister.

I came to make you hell.

Cut it.

Don't cut it.

Cut, Wolf.

Don't cut it, Wolf.

If not, you're fired.

Let's go. I want one of you to take off your clothes.

I'm in.

Dora is in, too. Let's go with that.

I'm not directing this scene.

It doesn't matter. I take it.

Is it rolling, Wolf?

It's still rolling.

Action, Dora. Action, Dora.

Let's go, action.

I want that idiot out of this movie.

It's not that simple.

Of course it is.

You obey and he leaves.

He has contacts in censorship.

If you get pissed, you can stop the movie.

I'm already in Dorethia this morning.

Dr. Sully, I've been accumulating Armando's vacation

and Vicente's absence for almost two weeks now.

Vicente is on an important mission.

Far from doubting me.

I feel irony in your voice, and I don't like it.

I ask for permission to speak openly.

Then he got an extra negative for us.

Negative? How?

He gave a way to release the film of Inácio in the censorship

and Inácio paid with negative and revelation.

I don't trust Vicente.

Be clearer.

I can't be clearer now, Dr. Sully. It's a feeling I have.

You are making intrigue with a colleague at work.

Don't say that, Dr. Sully.

Do you have any proof that sustains your distrust?

You offered his services to another producer.

You didn't want a movie that was 20% cheaper.

I had to do some malabarism.

I don't fall into anyone's hands.

The others fall into mine.

I'll find out what's wrong with that guy.

Good night, Angel.

Thank you.

Thank you, Caliço.

Good night.

Good night.

See you tomorrow.

Thank you.

Did you forget about me, Vicente?

I thought you were already gone.

What do you think of me as an actress?

Helena, I think you're very beautiful.

Do you really think so?

But, honestly, I think you should be a model.

You know what I think?

That you're hitting on me because you know I'll be fired.

No one will take this movie from me.

Do you like Dora?

She's a good actress.

And I'm a bitch.

It was you who asked me to be honest.

You don't know Dora, Vicente.

She's the one you fell in love with.

But then it will be too late.

If this dress doesn't come out,

Your brother is not going to be the only body in the movie theater.

Are you more interested in making this movie than stealing the money?

What are you busy with?

You are a monster.

And you are a saint.

Did you have to shoot that scene that way?

You got mad, just like your director.

He did what you should have done.

No, Dora, I did what he should have done.

Did you serve your owner?

I took Larsa out of the shooting studio and went there to see the scene.

He saw it and left.

He was disgusting.

But it worked.

Vicente's little bastard had to shit on the way out, right?

It's hard for Larsa not to want to film with him again.

The scenes are getting amazing.

Oh yeah, I saw your hug, Lou Vicente.

What is it?

I already told you and I'll say it for the last time.

I'm going to say this for the last time.

I don't want to be in the shape of a cone or a deer.

I'm really jealous of myself.

The director said I should change my profession.

He just wants to know about Vera.

Vera, Dora.

It's all the same thing.

We agreed on the truth.

It turns out you're a reporter.

And there are things we don't even tell a priest.

Pay attention.

A reporter keeps a secret better than a priest.

Porta doesn't even trust God.

Adora. Her name is Vera.

She has an artistic name.

That's not a crime.

I don't know when your name is artistic.

Hide who you really are.

Who is she really?

I don't know.

I just know she's about to swallow Vicente.

Are you thirsty?

There's something I admire about you.

And which of my many qualities do you like the most?

I'm a 45-year-old lawyer,

too old to be a hippie,

and too dumb to take advantage of the 70s.

I'm the daughter of a general married to a federal police officer.

Did I scare you?

I did. But that's scary.

I'm a housewife who didn't even know the 70s existed.

Hold this for me. Let me introduce you.

What's this?

It was in the 70s. Also known as lysergic acid diethylamide, LSD.

At the top of the stove, I hate you.

As if you were looking at the counter.

We're going to join the scene that we've already shot from the front,

shooting a bullet in the head.

All right?

What happened?

Helena got a boyfriend?

Who knows, she'll calm down.

Let's do it in five minutes, guys!

Aren't you going to introduce me to your friend?

Dora, my dear, give me a hug.

Thank you.

This is Gilberto, my brother.

I've always wanted to meet a film set.

Elena said I could come and watch.

She should have said that this is a work place.

People from outside disturb.

You can be the producer's wife,

the director's darling,

but don't go to the set.

I'm going to talk to Vicente.

I'm going to talk to Vicente.

I'm going to ask the same thing.

I'm doing my part.

The movie.

Helena's brother.

I told her I'm a reporter.

I'm making a secret article about her.

What for?

To stop you from seducing Vicente, for example.

I'm not seducing anyone.

Look here, if you move away from this mess.

Take care of your life.

My life depends on yours.

Dora, wait.

What happened?

This woman brought her brother to the set.

There's a lack of professionalism.

Calm down. You need to be nervous.

He won't be here when the shooting starts.

You promise?

Of course.

So, let's go? The set is ready.

I want to ask you to say something.

They told me the script was without lines.

Just one line.

Look at her and say,

You're going to die.

You're going to die.

I hate you.

I don't want to do this scene with him.

Why not?

Because he scares me.

Exactly. I'm scared, too.

Is he an actor?

Good, boss. That's what he says.

It's just a scene. He can't hurt you.

Check everything and let's get ready for the close-up.

How's it going?

How slow are we?

Let's zoom in for fifty.

Voltaire, do me a favor.

I want you to come back and rip off her blouse.

No problem.

Then I want you to make a movement of penetration.

No problem.

When he makes the movement, you can start to touch her body.

I respect that she's my wife.

I sign your check.

Dora, you tell me I hate you.

Then Walter comes close to your ear and says...

You're going to die if you don't do what I want.

No, just say...

You're going to die.

What he said is better, more real.

You're right.

Tell me how you're going to make it more real.

Don't worry, it's going to be real.

I came to warn you.

You're going to die if you don't do what I want.

Scene 73, plan 2, take 1.

And action.

You're going to die if you don't do what I want.

You too. It was amazing.

Thank you for everything, Manolo.

So, why the face of a funeral?

It's very strange that we don't have anything to film tomorrow.

Oh, there's still a lot to do.

Set up, finish, launch.

Think of the next movie.

Hey, Calhauca! Calhauca, phone!

Hello. Are you crying, girl?

Oh, my God.

A woman is an unsatisfied animal, huh?

What we did was good, right?

It was good, wasn't it?

Get used to it.

After this movie, you'll become a star.

They called the lab.

They burned two rolls of the movie.

Holy shit.

I'm not going to say that.

What scenes?

The depressed counter at the window

and the lesbian kiss of the sisters.

We forget the counter scene.

And we cut the lesbian kiss.

I'm going to call Larsen. Hold this.

But Larsen...

Send me to film again, and you go to the lab.

But the lab is in Rio de Janeiro.

It was there that Inácio paid.

Fuck it, solve it.

I have to redo this scene tomorrow.

I can't go to Rio de Janeiro, I have to stay here.

You're going to pressure the lab to refund my money.

Take the train tonight, I want you there at 1 am tomorrow morning.

He says you need to re-film the scene of the lesbian kiss.

And if his dick doesn't get up, he'll buy half a dozen

of fucking gringos and put them in the fucking movie.

I'll make a plan for tomorrow with Wolf.

Don't be sad.

I'll put him here tonight.

Manolo is the fuck.

I'm going to the station now.

My husband is a man.

Soon he'll be a man too.

Dora, tomorrow we'll get you right.

A drink with me?

I don't think it's better.

There's nothing much in an actress having a drink with the director of the movie.

Is there a problem?

I'm thinking about what to do with life.

Maybe you can help me.

Being honest with me.

My husband has become a slave to my sister.

Stolen! Stolen!

But now, who understands?

It's me.

Are you married?

I thought we were friends enough for you to open up.

Then maybe I could do the same with you.

You need to trust someone in life again.

All right. You have the right to know.

The brother-in-law is the story of my life.

But not the way you imagined.

Men are cowards!

Men are small, significant,

before the power of women.

But men are free.

Guilty! Guilty!

And I want to be free too.

I want to be free!

Very strong!

So you didn't marry the sister of Nefeta?

My father married.

This is the story of my parents.

The woman from the counter is my mother.

I think you're drawing hasty conclusions.

That guy who did the scene with Vera,

he knew each other.

Helena, I'm a reporter.

I need facts and not suspicions without evidence.

Oh, but I'm not a reporter. I don't want any of this to be in your report.

So why are you telling me this?

You didn't say you were my friend. Help me.

I hope you're not interrupting anything.

I see tears in the eyes of both.

They burned two cans of film. We'll have to work on one.

Everything is great.

Do you remember my brother, Gilberto?

Of course.

I don't know what he's doing here, at the end of the shoot.

I asked Helena to see.

Look, I found the atmosphere in your set very exciting.

Excuse me, I'm going to your bathroom.

What happened to him?

I don't know how I'm going to know.

Excuse me, I'm going to wash my hands.

I knew you had a brother.

It's because I don't have one.

Who is he, then?

A reporter.

So, what do you think of this Dora do Mar?

He's going to make a story about me,

he's going to publish everything I tell him.

Got it?

Got what?

It's on her face that she got married to producer Gorilla to have a chance in cinema.

Then a talent director appears.

Have you seen it?

What is it, Dora?

I saw you talking to that model.

You're going to die if you don't do what I want.

You want to be a bandit, right?

I don't know what you're talking about.

But imagine if the producer finds out, huh?

What the fuck wouldn't it be?

Vicente is mine.

Mine, huh?

She's available.

I've seen her naked several times.

She's too much.

What's this, man?

It's safer for you.

If you stay together,

everyone will know that you're here to hit me.

So, how's the champagne?

Is there champagne in this place?

You can relax.

I'm very tired. I'm going home.

What a shame.

I think I'm the last one here.

You must have a lot to talk about the movie.

Good night.

Did you give me the autograph?

Are you leaving, Dario?

It's the bitch, Helena, with that coat.

You and your partner are two idiots.

What did Walter do in the set?

Remember who you are!

Lower your voice! Let me go!

In your eyes, you're thinking about leaving.

My debt.

Are you crazy?

So, boss, I'm going to the set.

Manolo called me, asked me to leave everything ready for tomorrow.

Are you going to sleep over there?

I will. I want a bed like this.

So, let's go.

See you tomorrow.

So, boss, another outing?

No. That's enough for today.

I need to rest, Carioca.

But good night, good rest.

If you need anything, just shout.

Good night, thank you.

It was from another world.

It was acid.

No, no. I've used acid before.

It was you.

It was a delight for me too.

I don't believe I've only been the second man in your life.

I understood what this place has to give me.

The consciousness of the organist's heart.

Understanding that sex is a powerful weapon.

What are you doing here?

I came to stay with you.

Today or never.

After the movie we can go.

You don't understand.

It will end after this movie.