1 00:00:21,226 --> 00:00:24,089 Most films were run by men. 2 00:00:24,190 --> 00:00:28,690 Most classic sayings were run by men. 3 00:00:29,675 --> 00:00:34,165 But 13 decades ago, in all six continents where films are made, 4 00:00:34,266 --> 00:00:37,304 thousands of women too have directed films. 5 00:00:39,560 --> 00:00:41,550 Some of the best. 6 00:00:43,404 --> 00:00:45,150 What films did they make? 7 00:00:45,390 --> 00:00:47,729 What techniques did they use? 8 00:00:49,121 --> 00:00:52,110 What can we learn about cinema with them? 9 00:00:52,506 --> 00:00:57,415 Let's revisit the films through from the eyes of the directors. 10 00:00:58,960 --> 00:01:02,529 Let's make a new one road movie through the cinema. 11 00:01:06,060 --> 00:01:08,489 WOMEN MAKE CINEMA 12 00:01:08,590 --> 00:01:12,960 A NEW ROAD MOVIE THROUGH THE CINEMA. 13 00:01:19,054 --> 00:01:20,587 What we will discover next, 14 00:01:20,688 --> 00:01:22,720 in this road movie through cinema? 15 00:01:22,821 --> 00:01:26,088 What's our next stop, our next chapter? 16 00:01:26,518 --> 00:01:29,567 The heart of human discovery, That's what's coming. 17 00:01:29,697 --> 00:01:32,190 We saw how people meet at the cinema, 18 00:01:32,291 --> 00:01:34,087 but now let's go deeper, 19 00:01:34,188 --> 00:01:38,353 to discover one of the relationships more fundamental. 20 00:01:38,454 --> 00:01:42,421 12-ADULT-CHILD 21 00:01:47,354 --> 00:01:50,453 There are not many children in major cinematographic genres. 22 00:01:50,554 --> 00:01:53,953 Westerns, war films, gangster, horror films 23 00:01:54,054 --> 00:01:56,220 and romance are more about adults. 24 00:01:56,321 --> 00:01:59,520 But the connection between children and adults 25 00:01:59,621 --> 00:02:03,821 permeates other types of films like a thread. 26 00:02:04,954 --> 00:02:07,621 What is the history of this bond? 27 00:02:18,432 --> 00:02:24,202 Byambasuren Davaa and Luigi Falorni give us a good start to the story. 28 00:02:24,699 --> 00:02:27,195 A camel went through a difficult birth. 29 00:02:27,296 --> 00:02:29,396 Your puppy is big. 30 00:02:30,546 --> 00:02:32,946 He remains lying down, needy. 31 00:02:35,954 --> 00:02:37,920 Your mother has been feeling ill. 32 00:02:38,021 --> 00:02:40,538 Will she create a bond with him? 33 00:02:40,754 --> 00:02:42,520 Its owners fear that it will not do so, 34 00:02:42,621 --> 00:02:45,186 That's why they turned her head for the newborn, 35 00:02:45,287 --> 00:02:48,453 in the hope that the look awaken love, 36 00:02:48,554 --> 00:02:51,554 the welcome, the bond. 37 00:02:59,054 --> 00:03:01,020 An update later. 38 00:03:01,121 --> 00:03:04,787 The cub is lying alone, in this beautiful rest. 39 00:03:06,554 --> 00:03:10,186 But the mother left. The link didn't work. 40 00:03:10,287 --> 00:03:12,121 The glue didn't work. 41 00:03:12,721 --> 00:03:16,321 But here comes this classic take of a tent, and of people singing. 42 00:03:27,321 --> 00:03:29,353 A woman and a child. 43 00:03:29,454 --> 00:03:32,386 They got what the camels didn't make it. 44 00:03:32,487 --> 00:03:35,721 Intimacy, a melody. 45 00:03:47,221 --> 00:03:48,921 Are you sleeping? 46 00:03:52,721 --> 00:03:54,286 Are you sleeping? 47 00:03:54,387 --> 00:03:57,086 We saw the film �Home�, by Ursula Meier, 48 00:03:57,187 --> 00:03:59,853 for the last time in the chapter about tracking. 49 00:03:59,954 --> 00:04:03,987 Now we have the character of Isabelle Huppert and her son. 50 00:04:04,387 --> 00:04:06,121 At dawn. 51 00:04:10,121 --> 00:04:12,086 How close they live of a busy road, 52 00:04:12,187 --> 00:04:15,299 during the day it is very dangerous to play on the road. 53 00:04:15,400 --> 00:04:17,800 But at night it's quiet. 54 00:04:18,887 --> 00:04:22,386 So she woke him up to go roller skating. 55 00:04:22,487 --> 00:04:25,720 Maybe it's something bizarre and out of square, 56 00:04:25,821 --> 00:04:30,054 but her need to establish a bond, to love, it is strong. 57 00:04:30,687 --> 00:04:34,087 She does the wrong thing for the right reasons. 58 00:04:39,234 --> 00:04:41,567 Mom, I don't want it anymore. 59 00:04:48,146 --> 00:04:49,546 What? 60 00:04:50,254 --> 00:04:51,820 I don't want it anymore. 61 00:04:51,921 --> 00:04:54,254 I am tired. I want to sleep. 62 00:04:54,954 --> 00:04:58,621 Let's go. Have fun. It's the best time. 63 00:04:59,054 --> 00:05:00,521 It will do you good. 64 00:05:01,654 --> 00:05:03,187 Mom... 65 00:05:04,054 --> 00:05:07,721 -Come on, quickly. -Mom, please. 66 00:05:10,821 --> 00:05:12,586 Cancel the debt. Cancel the debt. 67 00:05:12,687 --> 00:05:16,742 There are many examples in cinema of adults bonding with children, 68 00:05:16,843 --> 00:05:20,410 but the best are those who go beyond the obvious. 69 00:05:21,021 --> 00:05:23,486 We return to the �War on Terror� by Kathryn Bigelow. 70 00:05:23,587 --> 00:05:25,440 A dead child. 71 00:05:25,541 --> 00:05:29,541 The American soldier interpreted by Jeremy Renner knew him. 72 00:05:29,921 --> 00:05:33,187 The boy tried to sell DVDs for American soldiers. 73 00:05:34,787 --> 00:05:36,820 -What the fuck is he doing? -I don't know, man. 74 00:05:36,921 --> 00:05:39,921 Now the boy's corpse hides an explosive trap. 75 00:05:45,621 --> 00:05:49,903 The safest thing to do would be blow up the boy's body. 76 00:05:50,006 --> 00:05:52,740 But Renner established a bond with him. 77 00:05:58,087 --> 00:06:00,520 So he does the riskiest thing. 78 00:06:00,621 --> 00:06:04,721 He tries to defuse the bomb to keep the boy's body intact. 79 00:06:15,387 --> 00:06:22,054 In war, on the edge, in hell, the loop is maintained. 80 00:06:25,787 --> 00:06:29,286 Bigelow's trademarks, camera in hand, quick cuts, 81 00:06:29,387 --> 00:06:31,454 they make us feel the tension... 82 00:06:35,124 --> 00:06:37,658 the moment, the space. 83 00:06:45,554 --> 00:06:49,070 Shine a light on the connection between adults and children 84 00:06:49,180 --> 00:06:51,580 and there is a lot to see. 85 00:06:52,454 --> 00:06:57,026 This scene, from the 1st banned film by the French Catherine Breillat, 86 00:06:57,127 --> 00:07:00,052 shows that the connection has its secrets. 87 00:07:00,153 --> 00:07:05,286 Alice, 14 years old, walks home with her panties around her ankles. 88 00:07:05,721 --> 00:07:09,021 Away from parents, she has been exploring her body. 89 00:07:14,721 --> 00:07:17,824 Your sex, textures, pleasures. 90 00:07:17,925 --> 00:07:20,009 But when you get home, 91 00:07:20,110 --> 00:07:23,943 she stops exploring, stops transgressing. 92 00:07:35,372 --> 00:07:39,388 She lifts them. A secret in the link. 93 00:07:39,492 --> 00:07:41,792 A sexual secret. 94 00:07:50,643 --> 00:07:54,510 What other detail is unexpected in the adult-child bond? 95 00:07:55,143 --> 00:07:56,576 Maybe that. 96 00:07:57,310 --> 00:07:58,775 We are at night again. 97 00:07:58,876 --> 00:08:01,109 A film directed by Ursula Meier. 98 00:08:01,210 --> 00:08:04,809 A boy is awake. He's quite a boy. 99 00:08:04,910 --> 00:08:07,709 We are in Switzerland and he goes up the skier mountains 100 00:08:07,810 --> 00:08:11,409 to steal from the rich in order to support him and his sister. 101 00:08:11,510 --> 00:08:14,227 But she's not your sister. 102 00:08:14,328 --> 00:08:17,594 Can you imagine what it is the real relationship between them. 103 00:08:17,876 --> 00:08:19,810 She is his mother. 104 00:08:21,110 --> 00:08:23,176 Can I sleep with you? 105 00:08:26,910 --> 00:08:29,676 -I can't sleep with you? -No. 106 00:08:30,610 --> 00:08:31,976 Why not? 107 00:08:33,610 --> 00:08:35,343 Because I don't want to. 108 00:08:38,343 --> 00:08:40,309 What if I give you 100 bucks? 109 00:08:40,410 --> 00:08:41,542 He has money. 110 00:08:41,643 --> 00:08:45,859 He needs the link and he needs to pay for him, if necessary. 111 00:08:46,385 --> 00:08:49,142 Are you crazy? Get out. 112 00:08:49,243 --> 00:08:51,309 Cold but true. 113 00:08:51,410 --> 00:08:55,009 Secrets aside, the child-adult bond 114 00:08:55,110 --> 00:08:57,509 it can be brutally transactional. 115 00:08:57,610 --> 00:08:58,975 To! 116 00:08:59,076 --> 00:09:00,876 100... 117 00:09:02,010 --> 00:09:03,710 110... 118 00:09:04,310 --> 00:09:06,043 130... 119 00:09:07,010 --> 00:09:08,910 150... 120 00:09:11,071 --> 00:09:13,205 Wait, I have some more. 121 00:09:19,043 --> 00:09:21,976 And something like the opposite, too. 122 00:09:22,510 --> 00:09:24,581 In �Pale Mother Germany�, 123 00:09:24,682 --> 00:09:27,347 the mother and child are in the bath. 124 00:09:27,448 --> 00:09:30,747 The camera zooms slowly over them. 125 00:09:30,848 --> 00:09:34,615 A true, realistic and tender connection. 126 00:09:35,215 --> 00:09:37,348 But then the mother says the following... 127 00:09:38,415 --> 00:09:41,598 So Lene and I loved each other in the bath, 128 00:09:41,877 --> 00:09:44,735 and we fly like witches over the roofs. 129 00:09:44,836 --> 00:09:46,247 They're flying like witches. 130 00:09:46,348 --> 00:09:49,014 The adult-child bond is like something magical. 131 00:09:49,115 --> 00:09:51,682 An out-of-body experience. 132 00:09:58,859 --> 00:10:03,059 But in this connection, a body Sometimes it's really out. 133 00:10:04,819 --> 00:10:07,847 Like in this beautiful scene, directed by Mai Zetterling, 134 00:10:07,948 --> 00:10:12,082 that we saw in the chapters about conversations and tracking. 135 00:10:12,923 --> 00:10:16,061 Close-ups of a boy putting powder on his face. 136 00:10:22,749 --> 00:10:26,814 Then close-ups of makeup and a fusion. 137 00:10:26,915 --> 00:10:31,348 He's on the dressing table from the mother. She's not there. 138 00:10:34,215 --> 00:10:38,915 He's so desperate for attention from her who wants to be her. 139 00:10:39,173 --> 00:10:42,739 Become more attractive to her. 140 00:10:44,178 --> 00:10:48,114 The connection is invisible. He wants to make it visible. 141 00:10:48,215 --> 00:10:51,348 See your mother in yourself. 142 00:10:58,866 --> 00:11:03,166 And she is invisible, again, in this very different film. 143 00:11:04,849 --> 00:11:09,649 Half-siblings Alyonka and Nikita They are looking for their father. 144 00:11:13,284 --> 00:11:18,447 The genius director Kira Muratova films tracking and cranes. 145 00:11:18,548 --> 00:11:22,582 The entire film is made of tracking and cranes. 146 00:11:25,647 --> 00:11:28,614 Children find the tapestry of adults. 147 00:11:28,715 --> 00:11:30,314 Looking to establish a connection. 148 00:11:30,415 --> 00:11:33,882 Looking for the definitive connection with his father. 149 00:11:35,143 --> 00:11:37,675 There's a cut to this old man drinking. 150 00:11:37,776 --> 00:11:40,420 The alcohol warmed his heart. 151 00:11:40,521 --> 00:11:44,954 He sees his past in them, or the future of the country. 152 00:11:45,210 --> 00:11:49,542 Not their father, but at least there is some human warmth. 153 00:11:49,643 --> 00:11:55,475 Children! My dolls, my little things. 154 00:11:55,576 --> 00:12:01,008 Our youth! Our pride! Our hope! 155 00:12:01,109 --> 00:12:05,088 My chicks! 156 00:12:05,189 --> 00:12:08,208 How I love you... 157 00:12:08,309 --> 00:12:13,088 My chicks... 158 00:12:13,189 --> 00:12:16,435 How I love you... 159 00:12:33,548 --> 00:12:35,175 No. 160 00:12:35,276 --> 00:12:37,142 Your daddy would like you to do that. 161 00:12:37,243 --> 00:12:38,675 So go, get the saw. 162 00:12:38,776 --> 00:12:40,042 In �Winter of the Soul�, 163 00:12:40,143 --> 00:12:43,008 Jennifer Lawrence's father is also absent. 164 00:12:43,109 --> 00:12:45,742 Here the world is Gothic. 165 00:12:45,976 --> 00:12:50,976 Lawrence walked behind his father, but discovered that he is dead. 166 00:12:51,476 --> 00:12:54,809 Two women took her to the place where the body is located. 167 00:12:55,770 --> 00:12:58,153 Under the surface of a lake. 168 00:12:58,443 --> 00:13:02,442 She traumatically has to cut his finger or hand, 169 00:13:02,543 --> 00:13:04,609 to prove that he is dead. 170 00:13:05,233 --> 00:13:09,333 She can't, so women use a chainsaw. 171 00:13:14,109 --> 00:13:17,909 Taken with the camera in hand, telephoto. Hell. 172 00:13:24,258 --> 00:13:27,024 Just the shine of the moon in her hair tells us 173 00:13:27,125 --> 00:13:32,375 that, underneath this, there may be some love, some beauty. 174 00:13:32,476 --> 00:13:35,476 A hint of the invisible link. 175 00:13:36,352 --> 00:13:38,008 Why did you leave? 176 00:13:38,109 --> 00:13:39,641 You'll need both hands, 177 00:13:39,742 --> 00:13:42,741 or they will say that he cut one hands to avoid being arrested. 178 00:13:42,842 --> 00:13:46,009 I know this trick. Now put your hand down, quickly! 179 00:13:52,417 --> 00:13:56,341 Secretive, transactional, magical, invisible. 180 00:13:56,442 --> 00:13:59,576 The adult-child bond is certainly rich. 181 00:14:00,009 --> 00:14:03,741 Cinematic dramas are often about what threatens you, 182 00:14:03,842 --> 00:14:06,042 or what breaks it. 183 00:14:07,409 --> 00:14:09,241 Check out this beautiful animated film. 184 00:14:09,342 --> 00:14:13,441 �The Owl who Married a Goose�, by Caroline Leaf. 185 00:14:13,542 --> 00:14:15,341 The eggs break. 186 00:14:15,442 --> 00:14:20,612 Here we see the parents - the mother goose On the right, daddy owl on the left. 187 00:14:20,713 --> 00:14:23,980 Children's voices on the soundtrack. 188 00:14:27,307 --> 00:14:32,276 Painting in silhouettes, and babies and the mother enter the water. 189 00:14:35,919 --> 00:14:38,919 Then the owl father is alone. 190 00:14:39,409 --> 00:14:40,941 He will try to venture into the water, 191 00:14:41,042 --> 00:14:44,076 but he is an owl. Owls don't go into the water. 192 00:14:52,782 --> 00:14:57,780 Not your fault, the link with the father is broken. 193 00:15:01,995 --> 00:15:03,733 Life broke him. 194 00:15:08,982 --> 00:15:13,848 Even more so here, in the film by Cate Shortland �Lore�. 195 00:15:16,205 --> 00:15:18,408 Germany in the 1940s. 196 00:15:18,509 --> 00:15:21,509 The radio announced that Hitler is dead. 197 00:15:22,003 --> 00:15:24,537 The country will be torn apart, as well as families, 198 00:15:24,638 --> 00:15:27,804 and also the bonds between parents and children. 199 00:15:29,640 --> 00:15:33,208 As we saw before, This is a Nazi family. 200 00:15:33,309 --> 00:15:34,642 Take it. 201 00:15:36,503 --> 00:15:37,704 Take it. 202 00:15:38,403 --> 00:15:39,703 Take it! 203 00:15:42,536 --> 00:15:44,194 Can't you take it? 204 00:15:44,669 --> 00:15:48,502 The woman is giving herself away. Breaking the link. 205 00:15:48,603 --> 00:15:51,835 Your eldest daughter now will have to become the mother. 206 00:15:51,936 --> 00:15:56,308 She must establish a new type of bond with your brothers. 207 00:15:56,409 --> 00:15:58,243 But will she be able to? 208 00:16:01,574 --> 00:16:04,574 Wouldn't she prefer for things to be the same as before? 209 00:16:10,469 --> 00:16:15,687 She wouldn't rather run after from the mother, from the past, from the bond? 210 00:16:16,598 --> 00:16:18,698 You're not going back, are you? 211 00:16:19,969 --> 00:16:22,352 The clarity of iconography. 212 00:16:22,618 --> 00:16:24,851 The mother's bluish tone. 213 00:16:25,418 --> 00:16:28,018 Never forget who you are. 214 00:16:51,236 --> 00:16:53,303 You used the blowtorch! 215 00:16:53,703 --> 00:16:55,602 Another absent father. 216 00:16:55,703 --> 00:17:02,069 �Frozen River�, a film we saw in the 3rd chapter, about credibility. 217 00:17:02,969 --> 00:17:04,168 So let's buy a new one. 218 00:17:04,269 --> 00:17:06,168 A close-up of a trailer. 219 00:17:06,269 --> 00:17:08,202 A blowtorch is thrown to the ground. 220 00:17:08,303 --> 00:17:09,468 -Drug! -What are you doing? 221 00:17:09,569 --> 00:17:12,836 You son of a bitch! Don't touch it. 222 00:17:13,636 --> 00:17:15,602 It's not yours, my father gave it to me. 223 00:17:15,703 --> 00:17:17,035 Then, close-ups of the mother... 224 00:17:17,136 --> 00:17:18,468 Drop it! 225 00:17:18,569 --> 00:17:19,968 and the son... 226 00:17:20,069 --> 00:17:21,919 And that's why he left. 227 00:17:22,021 --> 00:17:25,648 and his mother, camera in hand. She... 228 00:17:27,136 --> 00:17:30,202 T.J, he spent the money of food in scratch cards. 229 00:17:30,303 --> 00:17:31,968 -Well, he's done it before. -He... 230 00:17:32,069 --> 00:17:33,835 -�. -The father is addicted to gambling. 231 00:17:33,936 --> 00:17:37,602 We don't see it, therefore the link between mother and son 232 00:17:37,703 --> 00:17:40,468 It's as intense as a blowtorch. 233 00:17:41,370 --> 00:17:42,966 Give me that. 234 00:17:43,067 --> 00:17:46,167 Scorching like a weapon. 235 00:17:51,565 --> 00:17:54,465 Life frays or breaks the link. 236 00:17:55,065 --> 00:17:57,632 I didn't know any other way to keep us together. 237 00:17:59,032 --> 00:18:02,232 But what happens in this film? 238 00:18:02,665 --> 00:18:05,832 A mother asks her daughter to bathe her. 239 00:18:07,132 --> 00:18:10,432 An unusual scene. Shadows... 240 00:18:13,898 --> 00:18:15,232 water... 241 00:18:18,932 --> 00:18:20,531 and then a cut. 242 00:18:20,632 --> 00:18:23,031 Daughter Mossane is alone. 243 00:18:23,132 --> 00:18:26,997 But your mother is about to leave from home to tell him things. 244 00:18:27,098 --> 00:18:32,912 Things that will guide her, change the link, electrify the link. 245 00:18:33,013 --> 00:18:36,246 The mother as the author of the link. 246 00:18:37,498 --> 00:18:41,132 Come, you are my friend. 247 00:18:41,998 --> 00:18:44,464 Now the mother wants a friend, not a daughter. 248 00:18:44,565 --> 00:18:50,132 We are friends. We understand each other. 249 00:18:55,398 --> 00:19:01,358 But soon after, resting In the shadows, she looks like a child. 250 00:19:05,298 --> 00:19:07,631 You are attached to me like a baby. 251 00:19:09,070 --> 00:19:10,982 Now it's over, you're a young woman. 252 00:19:16,198 --> 00:19:20,297 If the mother in �Mossane� rewrite the link, the contract, 253 00:19:20,398 --> 00:19:23,314 the father here goes much further. 254 00:19:23,565 --> 00:19:26,951 Night, close-ups of him and his son. 255 00:19:27,052 --> 00:19:29,452 A moment of connection, for sure? 256 00:19:30,135 --> 00:19:34,035 But the son fell in love by an intersex friend, 257 00:19:34,136 --> 00:19:37,436 and the father is in a mood to break the link. 258 00:19:38,558 --> 00:19:40,391 Do you like what I do? 259 00:19:40,797 --> 00:19:43,430 You would give anything to have his talent. 260 00:19:54,021 --> 00:19:56,421 And am I talented? 261 00:20:00,482 --> 00:20:01,683 No. 262 00:20:02,816 --> 00:20:04,381 The destroying father. 263 00:20:04,482 --> 00:20:10,781 Have you ever thought...? 264 00:20:10,882 --> 00:20:12,083 No. 265 00:20:13,982 --> 00:20:15,382 No. 266 00:20:19,816 --> 00:20:21,981 In �We Need to Talk About Kevin�, 267 00:20:22,082 --> 00:20:27,082 the link is so broken that the film seems dazed. 268 00:20:27,849 --> 00:20:30,181 Tilda Swinton's character visit your son, 269 00:20:30,282 --> 00:20:33,782 who is in prison for having committed a shocking act. 270 00:20:34,349 --> 00:20:35,581 No words. 271 00:20:35,682 --> 00:20:37,149 Mute colors. 272 00:20:40,318 --> 00:20:41,851 Close-up of him. 273 00:20:41,952 --> 00:20:44,019 Literally biting my nails. 274 00:20:51,522 --> 00:20:54,456 Her hands too show their anxiety. 275 00:20:59,782 --> 00:21:04,381 The link between relative and child became toxic, a nightmare, 276 00:21:04,482 --> 00:21:06,816 something she wants to run away from. 277 00:21:21,435 --> 00:21:22,668 Are you okay? 278 00:21:23,349 --> 00:21:27,616 The director's first film Laurie Collyer, �Sherrybaby�. 279 00:21:28,482 --> 00:21:31,015 Magie Gyllenhall is upset. 280 00:21:31,116 --> 00:21:33,710 She is opening up to her father. 281 00:21:33,811 --> 00:21:36,577 She also wants her little daughter to love her, 282 00:21:36,882 --> 00:21:41,527 but she was arrested. The mother needs her father. 283 00:21:41,628 --> 00:21:43,628 A mutual connection. 284 00:21:44,016 --> 00:21:45,282 I love you. 285 00:21:46,649 --> 00:21:48,916 Dad, she doesn't even answer me. 286 00:21:50,882 --> 00:21:53,549 You should have seen her as soon as I arrived. 287 00:21:54,082 --> 00:21:56,081 He was playing with me, hugging me, 288 00:21:56,182 --> 00:22:00,381 called me mommy, and then they They told me not to call me that. 289 00:22:00,482 --> 00:22:02,449 Do you believe this shit? 290 00:22:02,782 --> 00:22:05,849 Give them a little time to get used to you again. 291 00:22:07,116 --> 00:22:08,416 Let's go. 292 00:22:09,249 --> 00:22:10,716 I know, but... 293 00:22:12,091 --> 00:22:17,732 But then, after 2/3 of this film exciting and convincing, 294 00:22:17,833 --> 00:22:19,633 it happens. 295 00:22:24,185 --> 00:22:26,518 Give it a little more time. 296 00:22:35,985 --> 00:22:37,586 The penny drops. 297 00:22:37,687 --> 00:22:41,154 The father, the abuser, the destroyer. 298 00:22:44,568 --> 00:22:46,467 Sherry, what's wrong? 299 00:22:46,568 --> 00:22:49,433 Taking advantage of her daughter's neediness. 300 00:22:49,534 --> 00:22:51,968 Poisoning the link. 301 00:22:55,101 --> 00:22:59,668 It is impossible for an adult- -child goes deeper into hell. 302 00:23:12,107 --> 00:23:14,256 But she can get them out. 303 00:23:14,357 --> 00:23:17,856 We are in Albania, in the 1940s. 304 00:23:17,957 --> 00:23:21,290 The great filmmaker Xanfise Keko. 305 00:23:21,391 --> 00:23:23,056 A stunned boy. 306 00:23:23,157 --> 00:23:25,990 Cut wider and we see Nazis. 307 00:23:26,091 --> 00:23:31,257 They're taking your father. War breaking the bond. 308 00:23:31,757 --> 00:23:34,124 That's when it happens something even more brutal. 309 00:23:39,357 --> 00:23:43,340 Oh, what is that? A camera? 310 00:23:43,481 --> 00:23:47,448 The boy is an actor. A film is shot. 311 00:23:47,691 --> 00:23:49,223 The director hugs him. 312 00:23:49,324 --> 00:23:51,924 Next up is the actor who plays his father. 313 00:23:52,257 --> 00:23:53,990 The boy's real father. 314 00:23:54,091 --> 00:23:56,108 They never had a very close connection, 315 00:23:56,209 --> 00:24:01,471 but seeing the fictional death of his son made the father discover love, 316 00:24:01,572 --> 00:24:03,805 and want to express it. 317 00:24:04,560 --> 00:24:07,127 The link returning from the abyss. 318 00:24:09,823 --> 00:24:14,106 Anyway, here he is in his most lyrical mode. 319 00:24:14,209 --> 00:24:18,576 A mother's shoulder. Panning your face. 320 00:24:22,974 --> 00:24:24,640 Then shadows. 321 00:24:31,675 --> 00:24:36,275 Then back to her. 8mm. A home movie. 322 00:24:37,952 --> 00:24:40,518 Then the back of her head, and she turns. 323 00:24:41,553 --> 00:24:43,469 Portrait iconography. 324 00:24:43,633 --> 00:24:46,566 Small Rembrandtian sketches of the mother. 325 00:24:47,453 --> 00:24:50,881 Now the mother's hands, another painting. 326 00:24:50,982 --> 00:24:53,663 Lit from behind, near the window. 327 00:24:53,896 --> 00:24:55,902 The look of love. 328 00:24:56,233 --> 00:25:00,800 The camera expressing the link between mother and child. 329 00:25:04,373 --> 00:25:07,040 Then she runs towards the rainbow. 330 00:25:08,809 --> 00:25:11,309 The mother of filmmaker Margaret Tait. 331 00:25:24,842 --> 00:25:28,641 We were impressed with the simplicity of Tait's film. 332 00:25:28,742 --> 00:25:30,441 The economy. 333 00:25:30,542 --> 00:25:35,174 We saw the adult-child bond in complex scenes and films, 334 00:25:35,275 --> 00:25:40,808 but the pure and simple look by Tait is very touching. 335 00:25:42,108 --> 00:25:44,774 What is economics in cinema? 336 00:25:44,875 --> 00:25:46,824 How can this be done well? 337 00:25:47,004 --> 00:25:51,138 13 - ECONOMY 338 00:25:53,342 --> 00:25:56,807 Economy – when it is achieved a lot with little. 339 00:25:56,908 --> 00:25:58,788 In a visual medium like cinema, 340 00:25:58,889 --> 00:26:02,622 the most obvious economy is in the iconography. 341 00:26:04,442 --> 00:26:06,174 In the chapter on discovery, 342 00:26:06,275 --> 00:26:09,842 a boy met women writhing on a beach at night. 343 00:26:10,542 --> 00:26:15,442 In this scene from the same film, iconography is minimal. 344 00:26:21,208 --> 00:26:22,841 No pictures on the wall. 345 00:26:22,942 --> 00:26:26,574 Restricted color palette: Turquoise and browns. 346 00:26:26,675 --> 00:26:29,741 The woman does not wear makeup. No jewelry. 347 00:26:29,842 --> 00:26:32,808 A house that looks like it has been scrubbed. 348 00:26:34,475 --> 00:26:36,342 A minimal room. 349 00:26:38,142 --> 00:26:40,241 But this is not just minimalism. 350 00:26:40,342 --> 00:26:43,275 The reserved iconography evokes many things. 351 00:26:43,842 --> 00:26:47,707 Who knows, Protestantism? radical? Sadness? 352 00:26:47,808 --> 00:26:51,375 Rigor, determination and fanaticism? 353 00:26:51,842 --> 00:26:53,874 -There's a dead boy! -Did you leave? 354 00:26:53,975 --> 00:26:55,474 He's underwater. 355 00:26:55,575 --> 00:26:57,308 Did you go swimming? 356 00:26:58,108 --> 00:26:59,474 His eyes were horrible. 357 00:26:59,575 --> 00:27:01,875 The sea makes you imagine all kinds of things. 358 00:27:09,208 --> 00:27:13,042 The same director, Lucile Hadzihalilovic. 359 00:27:13,508 --> 00:27:17,175 A girl is in bed. She looks at the trees. 360 00:27:21,242 --> 00:27:23,742 There are no leaves. It's winter. 361 00:27:26,908 --> 00:27:28,275 Tears. 362 00:27:31,742 --> 00:27:33,808 Then your legs are washed. 363 00:27:37,175 --> 00:27:40,075 Is she sick? Disabled? 364 00:27:46,108 --> 00:27:48,075 Then a snowy forest. 365 00:27:56,342 --> 00:27:57,875 And a dead frog. 366 00:27:58,542 --> 00:28:01,875 Each image is suggestive, evocative. 367 00:28:02,208 --> 00:28:03,908 A visual haiku. 368 00:28:04,675 --> 00:28:09,107 A series of shots counting a story of pain, sadness, 369 00:28:09,208 --> 00:28:12,908 winter, illness and time. 370 00:28:20,308 --> 00:28:25,075 And look how Maria Luisa Bemberg reduces your visual cues here. 371 00:28:25,742 --> 00:28:28,275 Nuns talk to the archbishop. 372 00:28:30,142 --> 00:28:32,975 They are little more than white triangles. 373 00:28:34,842 --> 00:28:37,075 He's like a Van Dyck painting. 374 00:28:37,775 --> 00:28:39,874 It's a conversation about betrayal. 375 00:28:39,975 --> 00:28:42,575 They're ratting out another nun. 376 00:28:43,075 --> 00:28:47,241 The economy - lack of props, bare scenery - 377 00:28:47,342 --> 00:28:50,974 makes betrayal austere, elementary. 378 00:28:51,075 --> 00:28:54,775 Even more if you could promise advantages to the sisters. 379 00:28:56,808 --> 00:29:01,575 Claire Denis matches visual and financial economy. 380 00:29:02,242 --> 00:29:03,675 A ball of fire, 381 00:29:05,108 --> 00:29:07,375 then cuts to men at sea, 382 00:29:09,775 --> 00:29:11,408 and floating debris. 383 00:29:11,942 --> 00:29:14,707 No expensive outlets of an exploding ship, 384 00:29:14,808 --> 00:29:17,042 just suggestive fragments. 385 00:29:18,175 --> 00:29:19,975 A visual syndoche. 386 00:29:21,108 --> 00:29:25,342 A helicopter was doing emergency maneuvers at sea. 387 00:29:29,842 --> 00:29:31,441 In addition to economic images, 388 00:29:31,542 --> 00:29:34,751 suggestive images and fragments of the whole, 389 00:29:34,852 --> 00:29:38,618 There is, of course, narrative economy here. 390 00:29:39,642 --> 00:29:42,667 How, for example, do you show a character's past 391 00:29:42,768 --> 00:29:44,934 in the most efficient way possible? 392 00:29:46,208 --> 00:29:49,674 A woman glimpses her children playing in the snow. 393 00:29:49,775 --> 00:29:51,241 A haiku scene, 394 00:29:51,342 --> 00:29:54,375 a romantic take, which Shows your love for children. 395 00:29:54,875 --> 00:29:56,763 Here comes a cut for this document. 396 00:29:56,864 --> 00:29:57,907 �NOTIFICATION OF DIVORCE� 397 00:29:58,008 --> 00:30:01,740 Suddenly we know that she is getting divorced. 398 00:30:01,841 --> 00:30:05,207 A leap in history, but her hand hovers. 399 00:30:05,308 --> 00:30:06,640 Does she feel safe? 400 00:30:06,741 --> 00:30:08,175 Then a screen. 401 00:30:08,641 --> 00:30:12,104 The security of the home she leave if you get divorced. 402 00:30:12,641 --> 00:30:14,640 We never see your face, 403 00:30:14,741 --> 00:30:18,708 but we are told a lot about your emotions, your story. 404 00:30:22,308 --> 00:30:24,274 In �One Sings, the Other No�, 405 00:30:24,375 --> 00:30:28,907 Agn�s Varda performs an incredible narrative leap without losing pace. 406 00:30:29,008 --> 00:30:32,407 So far, the narrative it was about two women. 407 00:30:32,508 --> 00:30:34,107 We've been through a lot. 408 00:30:34,208 --> 00:30:36,240 A narration tells the story of his life. 409 00:30:36,341 --> 00:30:40,075 Her parents finally gave her money to rent a room. 410 00:30:40,408 --> 00:30:42,274 She opened a map of Soissons, 411 00:30:42,375 --> 00:30:45,740 hoping to find the village that Suzanne talked about. 412 00:30:45,841 --> 00:30:47,641 And time passed. 413 00:30:49,541 --> 00:30:50,607 Ten years later. 414 00:30:50,708 --> 00:30:52,940 Suddenly we jump ten years, 415 00:30:53,041 --> 00:30:55,074 but we are still looking at the map. 416 00:30:55,175 --> 00:30:58,374 Many women and men who fought against the abortion law 417 00:30:58,475 --> 00:31:01,007 they were in the Bobigny forum. 418 00:31:01,108 --> 00:31:03,006 The narration has not changed, 419 00:31:03,107 --> 00:31:06,673 but we discovered that lives of women differed. 420 00:31:09,054 --> 00:31:11,587 Varda does not portray the breakup. 421 00:31:16,308 --> 00:31:23,241 A few minutes later, this sequence of shots tells us a lot. 422 00:31:29,941 --> 00:31:32,341 One of the women Now he's on a farm. 423 00:31:32,875 --> 00:31:34,174 Dark images. 424 00:31:34,275 --> 00:31:36,308 As suggestive as Vermeer. 425 00:31:36,941 --> 00:31:40,241 Now there is a child. And hard work. 426 00:31:44,809 --> 00:31:47,343 We could be in a previous century here. 427 00:31:50,841 --> 00:31:53,041 Haiku-visual, once again. 428 00:31:57,608 --> 00:32:01,941 In �Be My Star�, Valeska Grisbach also uses moments, 429 00:32:02,042 --> 00:32:06,376 fragments, to compress your story. A doorbell rings. 430 00:32:08,323 --> 00:32:10,174 But we don't see who is there. 431 00:32:10,275 --> 00:32:13,941 Cut to a conversation, two people in profile. 432 00:32:14,408 --> 00:32:16,508 Don't you love me even a little bit anymore? 433 00:32:17,275 --> 00:32:21,308 He rang the doorbell. No reverse angles. 434 00:32:22,008 --> 00:32:24,208 Under-manifested emotions. 435 00:32:24,575 --> 00:32:27,108 So say it to my face who doesn't love me anymore. 436 00:32:30,708 --> 00:32:32,308 Inexpressive performances. 437 00:32:36,675 --> 00:32:38,374 Then a sex scene. 438 00:32:38,475 --> 00:32:39,775 Jump... 439 00:32:44,234 --> 00:32:45,435 jump. 440 00:32:49,541 --> 00:32:52,940 It could take ten minutes to tell this part of the story, 441 00:32:53,041 --> 00:32:56,041 but Grisbach does it all in less than two minutes. 442 00:32:59,949 --> 00:33:01,715 Narrative economy. 443 00:33:05,670 --> 00:33:08,841 There's also this scene from �The Renegades� by Agn�s Varda. 444 00:33:08,942 --> 00:33:12,742 A film about a girl wandering around, a homeless girl. 445 00:33:13,508 --> 00:33:16,041 Your life is full of new encounters. 446 00:33:16,575 --> 00:33:19,492 The camera tracks just like your life, 447 00:33:19,593 --> 00:33:23,493 and suddenly she comes out of a cafe with a guy you met. 448 00:33:23,808 --> 00:33:26,375 Who is he? We haven't seen him before. 449 00:33:27,108 --> 00:33:28,707 Fill the bottle. 450 00:33:28,808 --> 00:33:30,641 And then she's hitchhiking. 451 00:33:32,141 --> 00:33:35,341 -Can we go with you? -If it's just you, that's fine. 452 00:33:39,241 --> 00:33:40,374 See you later! 453 00:33:40,475 --> 00:33:43,340 Then, she says goodbye to the boy that we just met, 454 00:33:43,441 --> 00:33:45,441 and go out with someone else. 455 00:33:46,675 --> 00:33:49,240 What narrative economy in this shot, 456 00:33:49,341 --> 00:33:53,608 which tracks forward, uncut, even an elderly lady. 457 00:33:55,875 --> 00:33:58,540 -Hey, who's your friend? -That's Shareen. 458 00:33:58,641 --> 00:34:02,341 Finally, the economy in a comedy. 459 00:34:02,941 --> 00:34:06,640 The writer, director and star Desiree Akhavan. 460 00:34:06,741 --> 00:34:10,374 She went on a date which didn't work out very well. 461 00:34:10,475 --> 00:34:13,007 Start talking to this couple. 462 00:34:13,108 --> 00:34:15,174 Suddenly, they are at a table. 463 00:34:15,275 --> 00:34:18,075 There's the economy in this dialogue. 464 00:34:19,608 --> 00:34:21,974 -Do you want an olive? -No, I'm fine. 465 00:34:22,075 --> 00:34:24,874 But maybe you should go to a less glamorous place, 466 00:34:24,975 --> 00:34:28,608 like Slovenia, or something, where it could be more popular. 467 00:34:29,575 --> 00:34:32,108 -They are very delicious. -It's fine. 468 00:34:32,708 --> 00:34:34,275 -Do you want wine? -I want. 469 00:34:34,975 --> 00:34:36,341 What's with the laugh? 470 00:34:37,441 --> 00:34:41,940 I'm... plotting how I'm going to do it so that you can eat an olive, 471 00:34:42,041 --> 00:34:46,841 because they are covered in garlic and we've already eaten some. 472 00:34:48,008 --> 00:34:49,209 Oh. 473 00:34:50,541 --> 00:34:53,975 I think it's that thing like �all or nothing�. 474 00:34:59,241 --> 00:35:00,641 Problem solved. 475 00:35:01,075 --> 00:35:03,441 Everyone is thinking the same thing. 476 00:35:05,941 --> 00:35:07,741 We skip ahead. 477 00:35:10,275 --> 00:35:15,507 A threesome. speed, lightness and no anguish. 478 00:35:15,608 --> 00:35:18,308 Economy in love. 479 00:35:32,075 --> 00:35:34,574 You should show her your latex clothing. 480 00:35:35,541 --> 00:35:37,007 Do you have a latex outfit? 481 00:35:37,108 --> 00:35:39,928 �, but I have to pass oil to dress her. 482 00:35:40,029 --> 00:35:42,696 Wow, yes, please wear it. 483 00:35:48,174 --> 00:35:52,524 The cinematographic economy naturally leads to assembly. 484 00:35:52,680 --> 00:35:57,019 14 - ASSEMBLY 485 00:35:57,308 --> 00:36:01,207 Part of the previous chapter was about visual design and scriptwriting, 486 00:36:01,308 --> 00:36:04,107 but there was a lot about editing. 487 00:36:04,208 --> 00:36:06,473 What to cut. What to assemble. 488 00:36:06,574 --> 00:36:09,474 What are the elements of editing in cinema? 489 00:36:10,508 --> 00:36:13,408 We return to �Middle of Nowhere�, by Ava DuVernay. 490 00:36:14,808 --> 00:36:17,707 Tracking towards her husband in prison. 491 00:36:17,808 --> 00:36:20,474 Cutout for medium socket of the worried wife. 492 00:36:21,214 --> 00:36:25,080 He asked to be released before end of sentence, for good behavior. 493 00:36:27,074 --> 00:36:28,341 His lawyer. 494 00:36:28,674 --> 00:36:32,258 Then the chairman of the panel of reviews asks this question: 495 00:36:32,359 --> 00:36:35,958 What was this disciplinary notice? internal for two years, 496 00:36:36,059 --> 00:36:39,175 involving sexual contact with a guard? 497 00:36:39,309 --> 00:36:42,142 Shocking news for his wife. 498 00:36:42,259 --> 00:36:43,959 Cut from her to him. 499 00:36:47,228 --> 00:36:50,028 Consensual contact before for her to be fired? 500 00:36:50,129 --> 00:36:52,626 Then cut for his first big close-up. 501 00:36:52,727 --> 00:36:54,860 There was no formal accusation. 502 00:36:54,961 --> 00:36:57,261 And now cut back to his head. 503 00:36:59,277 --> 00:37:01,977 Cut to the lawyer, then the president. 504 00:37:06,679 --> 00:37:09,911 But the cut brings us back for the wife's close-up. 505 00:37:10,012 --> 00:37:11,578 Thank you, miss. Frain. 506 00:37:11,679 --> 00:37:14,646 Please get in touch to find out about the decision. 507 00:37:15,112 --> 00:37:16,379 Session closed. 508 00:37:17,246 --> 00:37:18,447 Thanks. 509 00:37:24,012 --> 00:37:26,611 Then we're on plane more open and slow motion, 510 00:37:26,712 --> 00:37:31,278 and editor Spencer Averick in takes it to a new closed outlet, 511 00:37:31,379 --> 00:37:33,846 and the wife's eyes follow. 512 00:37:34,279 --> 00:37:35,778 We stand behind him, 513 00:37:35,879 --> 00:37:39,679 looking through the person's eyes who was more shocked. 514 00:37:45,879 --> 00:37:47,878 Then he turns. 515 00:37:47,979 --> 00:37:50,278 Eyes will definitely meet. 516 00:37:50,379 --> 00:37:54,145 But Averick cuts little before her husband sees her, 517 00:37:54,246 --> 00:37:57,646 and then cut to right after he saw her. 518 00:37:58,079 --> 00:38:01,446 Montage as art of leaving things out. 519 00:38:13,446 --> 00:38:14,911 In addition to leaving things out, 520 00:38:15,012 --> 00:38:18,046 one of the basic functions from assembly to action. 521 00:38:18,660 --> 00:38:21,078 �Sambizanga�, by Sarah Maldorer. 522 00:38:21,179 --> 00:38:24,457 Domingos, the Angolan guerrilla. 523 00:38:24,558 --> 00:38:27,058 You colonialist executioner. 524 00:38:27,577 --> 00:38:30,444 The top left look down, right. 525 00:38:35,646 --> 00:38:40,079 Cut to the punch. Domingos collapses to the right. 526 00:38:40,646 --> 00:38:42,712 Cut to the left, above, again. 527 00:38:43,812 --> 00:38:45,678 Another cut on the kick. 528 00:38:45,779 --> 00:38:47,365 Faster cuts. 529 00:38:47,466 --> 00:38:50,366 We stay fixed on Sundays for the third strike. 530 00:38:52,712 --> 00:38:55,111 The cinematic direction above Left, bottom right 531 00:38:55,212 --> 00:38:56,879 It's like an iron bar. 532 00:39:01,118 --> 00:39:04,662 The white man's head turn down, to the right. 533 00:39:04,763 --> 00:39:07,363 Repeat. Ad nauseum. 534 00:39:29,412 --> 00:39:31,278 There the white man moves to the left, 535 00:39:31,379 --> 00:39:35,349 the place of power and violence, to get a gun. 536 00:39:35,450 --> 00:39:38,683 We know where this is headed, of course. 537 00:39:39,946 --> 00:39:44,411 The editor's strict cuts Georges Klotz, always in the eyes, 538 00:39:44,512 --> 00:39:47,712 makes the action coherent. 539 00:39:51,879 --> 00:39:54,145 But what if there are no eye lines? 540 00:39:54,246 --> 00:39:57,246 What if there is more than one thing going on? 541 00:39:58,346 --> 00:40:01,562 Cut to the director Nazi-era Leni Riefenstahl, 542 00:40:01,672 --> 00:40:03,905 who also edited this film. 543 00:40:05,179 --> 00:40:08,812 Several sailboats, one standard outlet. 544 00:40:10,112 --> 00:40:14,511 There is a variation, a candle goes through the socket. 545 00:40:14,612 --> 00:40:17,878 Then cut to this guy, then two candles, 546 00:40:17,979 --> 00:40:21,378 then cut to this moment of a boat looking at two others. 547 00:40:21,479 --> 00:40:22,678 Cut to one, 548 00:40:22,779 --> 00:40:27,245 pole, strings and pole again. 549 00:40:27,346 --> 00:40:31,946 The montage is taking us closer, lower. 550 00:40:41,546 --> 00:40:44,112 Now we are practically at water level. 551 00:40:45,779 --> 00:40:49,279 The Riefenstahl montage It is the engine of the film. 552 00:40:58,112 --> 00:41:01,746 As brilliant as Riefenstahl is Bigelow. 553 00:41:02,185 --> 00:41:05,352 We return to the �War on Terror�. Cuts between the film's star, 554 00:41:05,453 --> 00:41:08,840 Jeremy Renner, on the floor, disarming a car, 555 00:41:08,941 --> 00:41:11,747 and his partner on the roof, that is covering you, 556 00:41:11,848 --> 00:41:13,613 played by Anthony Mackie. 557 00:41:13,714 --> 00:41:15,181 We have to get out of here quickly. 558 00:41:20,748 --> 00:41:23,848 There are many eyes above We, James, we need to go. 559 00:41:25,114 --> 00:41:26,280 Understood. 560 00:41:26,381 --> 00:41:28,781 Cut back to close-ups of Renner. 561 00:41:29,248 --> 00:41:32,947 But Bigelow and his assemblers, Chris Innis and Bob Murawski, 562 00:41:33,048 --> 00:41:38,514 realize that Renner is not the center of the scene. It's Mackie that is. 563 00:41:38,848 --> 00:41:40,314 We see Renner. 564 00:41:42,077 --> 00:41:45,847 Then a cut to another soldier at street level. 565 00:41:45,948 --> 00:41:47,580 Then Mackie again. 566 00:41:47,681 --> 00:41:49,313 There are people looking at him. 567 00:41:49,414 --> 00:41:51,814 The assemblers are keeping an eye on him. 568 00:41:52,781 --> 00:41:54,747 James, the evacuation is over, we can go, 569 00:41:54,848 --> 00:41:56,280 let the engineers take care of this mess. 570 00:41:56,381 --> 00:41:57,380 Are we leaving? 571 00:41:57,481 --> 00:41:58,748 Affirmative. 572 00:41:59,548 --> 00:42:00,914 Back to Renner 573 00:42:02,959 --> 00:42:05,026 and windshield wiper shock. 574 00:42:09,168 --> 00:42:11,548 They move like Renner's eyes. 575 00:42:13,047 --> 00:42:14,047 Interesting. 576 00:42:14,148 --> 00:42:16,048 What happened to James? He's not answering me. 577 00:42:17,081 --> 00:42:19,181 Yeah, I think he took the phone off. 578 00:42:20,548 --> 00:42:23,280 You can ask him put it back, please? 579 00:42:23,381 --> 00:42:24,813 Hey James! 580 00:42:24,914 --> 00:42:27,847 Mackie asks him to replace the phone. 581 00:42:27,948 --> 00:42:29,848 ...please put the phone back. 582 00:42:30,381 --> 00:42:31,814 Renner rebels. 583 00:42:35,914 --> 00:42:37,580 Ah, negative. 584 00:42:37,681 --> 00:42:39,647 This won't happen. 585 00:42:39,748 --> 00:42:40,949 Shit. 586 00:42:42,348 --> 00:42:44,614 A� Mackie spies the minaret. 587 00:42:45,114 --> 00:42:46,681 More eyes on him. 588 00:42:47,181 --> 00:42:50,848 Edit action is, most of the time, edit looks. 589 00:42:51,514 --> 00:42:55,014 Mackie is at the center of the staring action. 590 00:42:56,214 --> 00:42:59,181 I have my eye on three guys at the minaret, at 6 o'clock. 591 00:43:01,381 --> 00:43:04,847 �Sambizanga�, �Olimp�adas 2� and �War on Terror� 592 00:43:04,948 --> 00:43:07,113 they showed us the action montage, 593 00:43:07,214 --> 00:43:10,718 but good assembly often does much more than that. 594 00:43:10,819 --> 00:43:16,319 Great when connecting or disconnecting images, emotions, events, 595 00:43:16,420 --> 00:43:18,953 characters or stories. 596 00:43:20,148 --> 00:43:24,680 In chapter 8, we saw a brilliant tracking of Marion H�nsel, 597 00:43:24,781 --> 00:43:26,114 in �Le Lit�. 598 00:43:27,048 --> 00:43:28,613 This scene is from the same film. 599 00:43:28,714 --> 00:43:32,181 We're in a flashback, a dinner scene. 600 00:43:32,737 --> 00:43:36,637 At present, we know that the main character is dying. 601 00:43:36,981 --> 00:43:41,414 Here, in the past, your partner imagine the two of them having dinner. 602 00:43:43,548 --> 00:43:45,348 Smooth tracking 603 00:43:46,881 --> 00:43:49,914 and your healthy hand goes into the socket. 604 00:43:53,648 --> 00:43:58,081 Then, the assembler Susana Rossberg cuts to the present. 605 00:44:00,726 --> 00:44:04,513 The new outlet too has food, and her hand, 606 00:44:04,614 --> 00:44:08,047 two visual elements that connect the scenes. 607 00:44:08,148 --> 00:44:10,548 But his hands are not there now. 608 00:44:10,948 --> 00:44:15,426 The missing element tells us the meaning, the loss. 609 00:44:15,527 --> 00:44:21,593 The assembly here is how to give hands on the past and present. 610 00:44:31,114 --> 00:44:35,080 And the assembly does something similar in this classic Czech film 611 00:44:35,181 --> 00:44:39,714 directed by Drahom�ra Vihanov� and ridden by Miroslav H�jek. 612 00:44:40,648 --> 00:44:44,448 Sunday morning. A hungover soldier. 613 00:44:44,948 --> 00:44:47,914 We will spend the day with him, while he recovers. 614 00:44:52,181 --> 00:44:53,480 Organ music. 615 00:44:53,581 --> 00:44:56,614 He remembers drinking with a woman. 616 00:44:56,801 --> 00:44:58,002 Laughter. 617 00:45:05,014 --> 00:45:06,348 Zoom in... 618 00:45:11,581 --> 00:45:13,581 cut to the cleavage. 619 00:45:13,981 --> 00:45:18,314 The lyrics of the song are about paradise, but we see a fight. 620 00:45:18,681 --> 00:45:20,813 Assembly as disconnection. 621 00:45:20,914 --> 00:45:25,048 Next, the visual theme from the flashback, hands. 622 00:45:27,761 --> 00:45:30,761 Like hands on the table dinner in the previous film. 623 00:45:33,381 --> 00:45:36,448 Camera movement in sync with the music. 624 00:45:42,154 --> 00:45:45,013 Cut to the fingers as if they were touching an organ. 625 00:45:45,114 --> 00:45:46,814 Down and back, 626 00:45:49,964 --> 00:45:53,231 then cut exactly where we expect it to cut. 627 00:45:58,581 --> 00:46:03,081 Hands go up to her breasts, then hands on his back. 628 00:46:08,381 --> 00:46:11,914 Cut. Hands running down a body again. 629 00:46:12,781 --> 00:46:15,714 So many rhymes and visual connections. 630 00:46:16,148 --> 00:46:20,281 Then it cuts to the current time, and a hand again. 631 00:46:20,881 --> 00:46:24,114 Assembly, the machine for making connections. 632 00:46:27,481 --> 00:46:30,613 Here's the machine for making connections in its most playful module. 633 00:46:30,714 --> 00:46:33,465 A woman, played by Bibi Andersson, 634 00:46:33,566 --> 00:46:34,980 is walking in the park. 635 00:46:35,081 --> 00:46:37,048 We hear a telephone ringing. 636 00:46:37,614 --> 00:46:39,746 and she also seems to hear him. 637 00:46:39,847 --> 00:46:42,746 Cut to her husband, Erland Josephson. 638 00:46:42,847 --> 00:46:44,080 Touch. 639 00:46:44,181 --> 00:46:48,947 Cut to above her, as if it were from where he is. 640 00:46:49,447 --> 00:46:52,414 Cut to his girlfriend, who answers. 641 00:46:52,814 --> 00:46:56,323 But then another cut. Another woman. 642 00:46:56,424 --> 00:46:58,524 Cut between them. 643 00:46:58,935 --> 00:47:00,578 Are you home, dear? 644 00:47:01,147 --> 00:47:04,481 Cut to his wife and his voice. 645 00:47:06,026 --> 00:47:08,825 Look, she's leaving tonight. 646 00:47:08,926 --> 00:47:12,983 The assembly connecting 4 people, 4 places, 647 00:47:13,084 --> 00:47:16,318 but only two people can be on the line. 648 00:47:17,893 --> 00:47:19,259 When are you coming? 649 00:47:19,360 --> 00:47:24,226 Why don't you come to my house for a change? 650 00:47:24,327 --> 00:47:26,542 The assembly is �overconnecting�. 651 00:47:26,643 --> 00:47:28,975 You're confusing us. Crowding the moment. 652 00:47:29,076 --> 00:47:32,048 Connecting women more than man, 653 00:47:32,149 --> 00:47:34,282 the theme of the film. 654 00:47:34,851 --> 00:47:36,642 Then a crane. 655 00:47:36,743 --> 00:47:39,056 Was his wife listening to everything? 656 00:47:39,157 --> 00:47:42,490 Do you want peace? Yes or no? 657 00:47:45,676 --> 00:47:49,643 The mother in �Germany Pale Mother� is giving birth. 658 00:47:50,276 --> 00:47:52,509 Her pain. Then cut. 659 00:47:52,610 --> 00:47:55,476 For warplanes, bombing. 660 00:47:58,157 --> 00:47:59,624 Back to her. 661 00:48:00,143 --> 00:48:04,076 She is giving life, the planes death. 662 00:48:07,876 --> 00:48:12,676 The representation of something by its opposite, said Freud. 663 00:48:13,376 --> 00:48:17,010 Childbirth is a beginning, killing is an end. 664 00:48:22,312 --> 00:48:26,062 One so feminine, the other so masculine. 665 00:48:26,204 --> 00:48:29,170 But both are falling. 666 00:48:29,743 --> 00:48:33,242 The assembly leaves the room of giving birth, but in doing so, 667 00:48:33,343 --> 00:48:37,175 discovers the agony in the room, the metaphor. 668 00:48:37,276 --> 00:48:40,942 Two different things lead us thinking about a third... 669 00:48:41,043 --> 00:48:44,642 Okay, again, now. Take a deep breath 670 00:48:44,743 --> 00:48:47,842 Now the rest comes... let's go... push. 671 00:48:47,943 --> 00:48:53,543 The unexpected affinity between them: 1 1 = 3. 672 00:48:54,448 --> 00:48:57,781 Relax. It ended. Everything went well. 673 00:48:58,748 --> 00:49:00,847 Great. 674 00:49:00,948 --> 00:49:03,181 Just relax. 675 00:49:04,381 --> 00:49:07,515 Raise your legs. Are you crushing your child 676 00:49:07,948 --> 00:49:10,114 Heil Hitler! It's a girl. 677 00:49:10,215 --> 00:49:15,048 A girl, not a strong boy. 678 00:49:16,015 --> 00:49:18,614 �Germany, Pale Mother� It's a fiction film, 679 00:49:18,715 --> 00:49:20,380 with documentary elements. 680 00:49:20,481 --> 00:49:24,706 This film is a documentary with fictional elements. 681 00:49:24,807 --> 00:49:28,273 When we come across Canadian Anne-Claire Poirer, 682 00:49:28,374 --> 00:49:31,939 in chapter 6, she was talking to his dead daughter. 683 00:49:32,040 --> 00:49:35,740 Now she's looking at women in Quebec history. 684 00:49:37,103 --> 00:49:38,836 A bomb. Cut. 685 00:49:39,641 --> 00:49:42,074 Bodies. Cut. 686 00:49:43,002 --> 00:49:45,340 ...killing has become a honorable way of earning a living. 687 00:49:45,441 --> 00:49:47,107 Masculine worlds. 688 00:49:51,292 --> 00:49:52,573 Cut. 689 00:49:52,674 --> 00:49:54,741 Deterioration. Cut. 690 00:49:55,236 --> 00:49:56,870 Then a baby again. 691 00:49:57,173 --> 00:49:59,573 An umbilical cord to be cut. 692 00:50:00,007 --> 00:50:02,107 The first light of life. 693 00:50:09,042 --> 00:50:10,509 And the last one. 694 00:50:11,015 --> 00:50:13,064 Death and life. 695 00:50:13,182 --> 00:50:16,009 You and I can't give the same meaning for both. 696 00:50:16,376 --> 00:50:18,979 Assembling again like a handshake, 697 00:50:19,080 --> 00:50:20,786 running away again. 698 00:50:20,887 --> 00:50:22,521 I've done enough. 699 00:50:24,948 --> 00:50:28,075 They always told me that my children were important, 700 00:50:28,176 --> 00:50:30,609 who were born to save the world. 701 00:50:31,542 --> 00:50:33,442 I don't believe in that anymore. 702 00:50:38,936 --> 00:50:42,896 Reduce this escape, making it almost invisible 703 00:50:43,177 --> 00:50:47,641 and you have this fantastic cut in �Marseille� by Angela Schanelec, 704 00:50:47,742 --> 00:50:50,642 ridden by Bettina B�hler. 705 00:50:51,669 --> 00:50:54,108 We were with the character main, Sophie, - 706 00:50:54,209 --> 00:50:58,940 here out of focus, on the right, - in Marseille, France, 707 00:50:59,041 --> 00:51:01,941 throughout the film's opening 39 minutes. 708 00:51:02,042 --> 00:51:04,676 Here comes this bold cut. 709 00:51:05,676 --> 00:51:10,975 Excuse me, you forgot that the last time you were here? 710 00:51:11,076 --> 00:51:14,841 -Yes! Oh, did I miss it here? -Yes, I remembered you. 711 00:51:14,942 --> 00:51:19,408 Suddenly we are at a thousand miles away, in Berlin. 712 00:51:19,509 --> 00:51:25,042 And, not only that, but we seem to be in the middle of a story in Berlin. 713 00:51:25,576 --> 00:51:28,206 Sophie, left, forgot her hat 714 00:51:28,307 --> 00:51:32,105 the last time you were in a place, somewhere. 715 00:51:32,206 --> 00:51:34,738 It's as if the film teleported, 716 00:51:34,839 --> 00:51:39,733 in an instant, to another place and, randomly, had landed. 717 00:51:39,843 --> 00:51:43,838 Simpler and deeper, the action of this montage. 718 00:51:43,939 --> 00:51:46,105 Connection and association 719 00:51:46,206 --> 00:51:50,373 are your �escapology�, its �teleportation� 720 00:51:53,906 --> 00:51:57,972 Along with the action, with the transition, to association and space, 721 00:51:58,073 --> 00:52:01,338 �The Loveless� by Kathryn Bigelow and Monty Montgomery 722 00:52:01,439 --> 00:52:04,872 reminds us of a fifth aspect of the assembly. 723 00:52:04,973 --> 00:52:07,924 We saw the film for the first time in the journeys section. 724 00:52:08,025 --> 00:52:11,225 Willem Dafoe surrounding a woman's car. 725 00:52:11,326 --> 00:52:13,685 Now we are in a bar. 726 00:52:14,026 --> 00:52:15,525 The men's bathroom. 727 00:52:15,626 --> 00:52:17,791 One guy looks at another. 728 00:52:17,892 --> 00:52:19,158 Cut. 729 00:52:19,259 --> 00:52:20,942 Something happened. 730 00:52:21,088 --> 00:52:25,220 The rapid assembly of the publisher Nancy Kanter showing chaos. 731 00:52:25,321 --> 00:52:27,320 Nothing unusual so far. 732 00:52:27,421 --> 00:52:28,787 Hey, cutie! 733 00:52:28,888 --> 00:52:30,288 Outside! 734 00:52:32,557 --> 00:52:35,389 Bang. Cut, Dafoe moves forward. 735 00:52:35,490 --> 00:52:36,556 Run. Bang. 736 00:52:36,657 --> 00:52:38,089 Forward again. Bang. 737 00:52:38,190 --> 00:52:41,100 Then this woman. Could she be the one shooting? 738 00:52:42,190 --> 00:52:43,423 I scream. Cut. 739 00:52:43,524 --> 00:52:46,224 He screams. Cut, cut, cut. 740 00:52:48,889 --> 00:52:50,256 He laughs, claps his hands. 741 00:52:50,357 --> 00:52:52,057 Things seem to be repeating themselves. 742 00:52:53,502 --> 00:52:55,512 Cut again to the girl at the door. 743 00:52:55,613 --> 00:52:56,813 She doesn't hear the sound. 744 00:52:56,914 --> 00:52:59,948 Is she in the same place, at the same time? 745 00:53:01,457 --> 00:53:03,924 Perhaps two events are being intercut here, 746 00:53:04,025 --> 00:53:06,904 or have they entered a loop? A kind of cubism? 747 00:53:07,005 --> 00:53:10,505 The cuts as fragmentation. Confusing us. 748 00:53:11,024 --> 00:53:13,790 The sniper kid again. Laughing, clapping again. 749 00:53:25,153 --> 00:53:29,186 Then we float to the door girl's car. 750 00:53:36,124 --> 00:53:38,024 We are all 751 00:53:38,647 --> 00:53:40,380 playing our chips 752 00:53:41,065 --> 00:53:43,865 in a big floating game of dice. 753 00:53:45,590 --> 00:53:49,006 The assembly is not creating a single action, 754 00:53:49,119 --> 00:53:52,540 not a metaphor, nor space, exactly. 755 00:53:52,729 --> 00:53:57,065 Instead, it is creating sensations in our head. 756 00:53:57,166 --> 00:54:00,556 Confusion, excitement, flood, 757 00:54:00,657 --> 00:54:03,605 changes of direction, like repetitive gifs. 758 00:54:03,706 --> 00:54:07,911 this aspect of the assembly - its mental effect on the audience - 759 00:54:08,012 --> 00:54:12,645 was the great theme of the theorist Soviet Sergei Eisenstein. 760 00:54:15,525 --> 00:54:18,356 We are finishing our look about assembly, 761 00:54:18,457 --> 00:54:22,072 but before we leave, three more items: 762 00:54:22,173 --> 00:54:25,840 First, the issue of time. 763 00:54:26,334 --> 00:54:30,572 You could say that time was the 1st thing we saw in the montage, 764 00:54:30,673 --> 00:54:34,105 but time is like oxygen in cinema. 765 00:54:34,206 --> 00:54:37,772 It's in every corner of him. It keeps you alive. 766 00:54:37,873 --> 00:54:40,540 It's the life of this scene. 767 00:54:41,423 --> 00:54:44,873 A shot of a woman, Anna, with her partner. 768 00:54:45,038 --> 00:54:49,607 The joke is that he doesn't know soak hard bread in water. 769 00:54:49,708 --> 00:54:52,147 The oldest woman is sitting on the other side. 770 00:55:02,768 --> 00:55:05,970 Then editor Bernd Euscher cuts in. 771 00:55:06,071 --> 00:55:08,034 The older woman again. 772 00:55:08,135 --> 00:55:09,935 The camera pulls back to show Anna, 773 00:55:10,036 --> 00:55:12,103 now with a younger man. 774 00:55:12,525 --> 00:55:14,292 Some time later. 775 00:55:14,840 --> 00:55:16,673 Her partner died. 776 00:55:16,888 --> 00:55:19,439 Anna is sitting in the same place. 777 00:55:19,540 --> 00:55:21,872 The space is the same. 778 00:55:21,973 --> 00:55:24,373 But the time is different. 779 00:55:24,804 --> 00:55:27,604 Youth takes the place of middle age. 780 00:55:28,272 --> 00:55:30,827 The oldest woman remains in the same place. 781 00:55:30,970 --> 00:55:32,303 Bread again. 782 00:55:35,524 --> 00:55:36,991 Cut to a close-up. 783 00:55:52,873 --> 00:55:54,273 And cut. 784 00:55:55,740 --> 00:55:58,505 Bread makes time travel 785 00:55:58,606 --> 00:56:01,239 back to Anna's ailing partner. 786 00:56:01,340 --> 00:56:04,306 Montage as a Proustian element. 787 00:56:25,307 --> 00:56:28,007 Yes, it makes sense. 788 00:56:35,507 --> 00:56:39,743 Almost everything we saw about montage has human content, 789 00:56:39,844 --> 00:56:44,511 or action, or theme, or metaphor, or loss, or birth. 790 00:56:45,406 --> 00:56:47,354 But more experimental filmmakers 791 00:56:47,455 --> 00:56:50,889 often use assembly for more abstract purposes. 792 00:56:52,089 --> 00:56:57,088 Here, for example, we have the opening by �Go! Go! Go�, by Marie Menken. 793 00:56:57,189 --> 00:56:59,521 Bridges. Cut. Popular housing. Cut. 794 00:56:59,622 --> 00:57:01,988 New York street. Cut. 795 00:57:02,089 --> 00:57:04,388 Trees... Cut. 796 00:57:04,489 --> 00:57:06,055 Skyscrapers. 797 00:57:08,522 --> 00:57:10,721 Cut. Is this Wall Street? Cut. 798 00:57:10,822 --> 00:57:13,088 Meatpacking District? Cut. 799 00:57:13,189 --> 00:57:16,222 People, catwalks. Too fast to process. 800 00:57:18,255 --> 00:57:23,121 About cinema, Menken said: I just like the machine's Twitters. 801 00:57:23,222 --> 00:57:26,288 She was a painter, but fell in love with Twitter. 802 00:57:26,389 --> 00:57:30,488 She cuts when it feels right, or when the take ends. 803 00:57:30,589 --> 00:57:32,521 It's the standard that matters. 804 00:57:32,622 --> 00:57:37,522 The speed of the image change, close to pure abstraction. 805 00:57:45,251 --> 00:57:48,787 Is there a film that sums it up? what did we say about assembly? 806 00:57:48,888 --> 00:57:52,188 That can show how fantastic and complex? 807 00:57:53,548 --> 00:57:55,264 Who knows this one? 808 00:57:55,422 --> 00:57:58,454 �The Arch�, by Cecile Tang. 809 00:57:58,555 --> 00:58:01,687 We are in 16th century China. 810 00:58:01,788 --> 00:58:06,821 Mrs Tung is a teacher, doctor and a pillar of the community. 811 00:58:06,922 --> 00:58:08,454 Her husband passed away, 812 00:58:08,555 --> 00:58:11,121 but good manners stop her to appear attracted 813 00:58:11,222 --> 00:58:13,854 by a knight who arrived in the city. 814 00:58:13,955 --> 00:58:15,454 We saw them in chapter 6, 815 00:58:15,555 --> 00:58:18,954 using touch to communicate through a cricket. 816 00:58:19,055 --> 00:58:21,322 She is now weaving. 817 00:58:21,655 --> 00:58:25,455 The rhythm, the editing and the music they seem to hypnotize her. 818 00:58:25,855 --> 00:58:29,055 layered assembly, like a mental rhythm. 819 00:58:37,298 --> 00:58:41,021 That touch. The memory, the texture, 820 00:58:41,122 --> 00:58:45,321 almost as abstract as Marie Menken's New York. 821 00:58:45,422 --> 00:58:47,455 Assembly speeds up. 822 00:58:47,692 --> 00:58:50,087 Him. He's on her mind. 823 00:58:50,188 --> 00:58:52,954 Her mind weaves, the montage weaves. 824 00:58:53,055 --> 00:58:54,322 Collages. 825 00:59:06,648 --> 00:59:08,780 Then another rhythm: That of chiseling. 826 00:59:08,881 --> 00:59:11,514 The cricket. Assembly accelerating. 827 00:59:11,615 --> 00:59:13,647 Her thoughts and ours. 828 00:59:13,748 --> 00:59:16,515 Almost cubist, like in �The Loveless�. 829 00:59:32,781 --> 00:59:34,647 Then she runs. 830 00:59:34,748 --> 00:59:38,514 Three times the same race. Jump cuts. 831 00:59:38,615 --> 00:59:40,580 How irregular are her thoughts? 832 00:59:40,681 --> 00:59:41,780 How choppy? 833 00:59:41,881 --> 00:59:46,014 Director Cecile Tang and the editors Les Blank and CC Lee 834 00:59:46,115 --> 00:59:48,979 create flickering, instability. 835 00:59:49,080 --> 00:59:51,380 A Confucian frenzy. 836 00:59:51,681 --> 00:59:56,915 A great modernist film, one of the greatest Chinese films. 837 01:00:02,481 --> 01:00:05,880 The film taking us inside from the mind of Mrs. Tung. 838 01:00:05,981 --> 01:00:07,681 Her point of view. 839 01:00:14,181 --> 01:00:17,781 The point of view It is a key element in cinema.