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 --> 00:01:12,581
A NEW ROAD MOVIE
THROUGH THE CINEMA.

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00:01:12,682 --> 00:01:17,582
15 - POV - POINT OF VIEW

14
00:01:21,615 --> 00:01:24,348
A blind man in a park.

15
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He puts a leaf on the grass.

16
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The camera is at the top, showing
what he would see if he saw.

17
00:01:34,115 --> 00:01:36,814
Then he looks
through the viewfinder of a camera

18
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and photograph the sheet.

19
00:01:39,379 --> 00:01:43,312
It creates an image of the sheet
in a unique place in the world,

20
00:01:43,413 --> 00:01:47,147
the position of your eyes
at that exact moment.

21
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For an instant, there was precision.

22
00:01:52,215 --> 00:01:53,564
Where are you?

23
00:01:53,665 --> 00:01:57,632
He doesn't know exactly where he is,
again, and spins around the world.

24
00:02:00,181 --> 00:02:01,382
Bill?

25
00:02:04,744 --> 00:02:05,780
Bill?

26
00:02:05,881 --> 00:02:08,115
We see what's in front of you.

27
00:02:08,815 --> 00:02:10,048
Bill?

28
00:02:11,381 --> 00:02:15,444
And then this shot, as if we
we were hiding.

29
00:02:21,615 --> 00:02:22,981
It's a photo of a leaf.

30
00:02:23,381 --> 00:02:24,880
The light, how is the light?

31
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-Good.
-Good?

32
00:02:27,463 --> 00:02:29,014
But then a restaurant.

33
00:02:29,115 --> 00:02:32,714
And Russell Crowe is
describing the photo of the sheet.

34
00:02:32,815 --> 00:02:34,214
The precision.

35
00:02:34,315 --> 00:02:37,548
The moment you captured
your friend's point of view.

36
00:02:37,938 --> 00:02:39,405
-A woman.
-A woman?

37
00:02:39,506 --> 00:02:43,080
Jocelyn Moorehouse's film
shows the desire to see,

38
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to present your POV,

39
00:02:45,281 --> 00:02:48,547
to confirm the world
through your perspective.

40
00:02:48,648 --> 00:02:50,115
Describe it to me.

41
00:02:50,548 --> 00:02:53,914
The point of view is the
cinema pocket show,

42
00:02:54,015 --> 00:02:56,647
your daily rapture.

43
00:02:56,748 --> 00:02:59,481
Brown hair, blue eyes, I think.

44
00:03:02,115 --> 00:03:03,547
She's cute.

45
00:03:03,648 --> 00:03:05,881
So she's not a bitch, Andy?

46
00:03:06,615 --> 00:03:08,281
No, no, no.

47
00:03:09,748 --> 00:03:14,080
Here it is in its simplest form.
 �The World Hates Me� by Ida Lupino,

48
00:03:14,181 --> 00:03:17,347
that we saw previously
in the chapter on framing.

49
00:03:17,448 --> 00:03:22,048
A guy holding a can.
Soon they will throw it in the can.

50
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The camera is close to the action,
but not inside it.

51
00:03:26,981 --> 00:03:28,915
Then this happens.

52
00:03:30,710 --> 00:03:33,914
She is suddenly where
the shooter's eyes are.

53
00:03:34,015 --> 00:03:35,748
His point of view.

54
00:03:45,560 --> 00:03:50,156
The great Norwegian director
Edith Carlmar takes this further

55
00:03:50,257 --> 00:03:55,690
in this, which is the last of his ten
films, all commercial successes.

56
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A common indoor socket.

57
00:03:58,581 --> 00:04:00,747
The general point of view of the public.

58
00:04:00,848 --> 00:04:04,247
Broad, objective, impersonal.

59
00:04:04,348 --> 00:04:06,314
What I did, I did for pleasure.

60
00:04:06,415 --> 00:04:08,947
-And you?
-Careful.

61
00:04:09,048 --> 00:04:13,147
Next we focus on Liv Ullman.
She argues with her mother.

62
00:04:13,248 --> 00:04:17,280
Again we are close to the action,
but not exactly inside it.

63
00:04:17,381 --> 00:04:20,247
But, at times,
Liv's point of view.

64
00:04:20,348 --> 00:04:22,648
The camera is slapped
when she is slapped.

65
00:04:24,648 --> 00:04:28,580
Carlmar handles POV taking
as if it were a personification.

66
00:04:28,681 --> 00:04:30,815
Something material.

67
00:04:30,916 --> 00:04:33,983
The camera becomes the person.

68
00:04:35,648 --> 00:04:38,830
Here's a person. A telephoto shot.

69
00:04:39,130 --> 00:04:42,513
Step up to Colin Farrell.
Then Nicole Kidman.

70
00:04:42,614 --> 00:04:44,413
She looks at his body.

71
00:04:44,514 --> 00:04:46,880
Whoever looks is awake.

72
00:04:46,981 --> 00:04:50,714
Whoever is looked at is sleeping, unconscious.

73
00:04:53,751 --> 00:04:57,741
A woman's breath,
his attempt to control himself.

74
00:04:57,842 --> 00:04:59,542
Washing again.

75
00:04:59,643 --> 00:05:01,943
There is no male gaze here.

76
00:05:05,548 --> 00:05:08,147
She is holding his hands
as if it were a secret.

77
00:05:08,248 --> 00:05:12,208
We are in her world,
from her point of view.

78
00:05:12,309 --> 00:05:16,409
She is well aware of the moment.
He's unconscious.

79
00:05:16,714 --> 00:05:20,481
Maybe this is one
definition of point of view.

80
00:05:34,344 --> 00:05:37,280
Then she lowers it a little
his underwear.

81
00:05:37,381 --> 00:05:42,014
These are women's underwear,
because there are no men at school.

82
00:05:48,981 --> 00:05:50,814
She is the school director.

83
00:05:51,514 --> 00:05:52,848
Breathing again.

84
00:05:53,214 --> 00:05:54,748
We're inside her head.

85
00:05:57,248 --> 00:06:01,848
Your sense of righteousness
goes to war with desire.

86
00:06:02,348 --> 00:06:06,114
Psychological intimacy
from the point of view.

87
00:06:10,148 --> 00:06:12,281
-Let's see.
-Am I doing it right?

88
00:06:14,814 --> 00:06:19,714
The POV in �The Cannibals�,
by Liliana Cavani, is more violent.

89
00:06:20,214 --> 00:06:23,514
We are in Italy under a fascist regime.

90
00:06:24,114 --> 00:06:26,647
Britt Ekland was captured by the police.

91
00:06:26,748 --> 00:06:30,714
Cut to a filmed shot
from the center of a circle.

92
00:06:31,481 --> 00:06:33,080
It then cuts to Ekland.

93
00:06:33,181 --> 00:06:34,847
She is in a swivel chair.

94
00:06:34,948 --> 00:06:36,848
The camera accompanies her.

95
00:06:38,481 --> 00:06:41,913
Spins increase as
that intimidation grows.

96
00:06:42,014 --> 00:06:46,113
The rotations give us a feeling
of nausea, of the nausea she feels.

97
00:06:46,214 --> 00:06:48,881
Again, the point of view
as personification,

98
00:06:49,614 --> 00:06:51,847
then the socket opens
to show the schematic.

99
00:06:51,948 --> 00:06:53,847
Excellent staging.

100
00:06:53,948 --> 00:06:55,880
Then the camera turns into her.

101
00:06:55,981 --> 00:06:58,848
The interrogators are all around you.

102
00:07:00,147 --> 00:07:01,147
The fish...

103
00:07:01,248 --> 00:07:02,748
What does this mean?

104
00:07:03,081 --> 00:07:05,881
Who do you pay? Who was there with you?

105
00:07:10,114 --> 00:07:12,893
And personification doesn't have to be visual.

106
00:07:13,048 --> 00:07:15,547
In �The Shortcut�, by Kelly Reichardt,

107
00:07:15,648 --> 00:07:17,680
the men are far away,

108
00:07:17,781 --> 00:07:21,613
deciding on your next
destination on the journey through Oregon.

109
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Telephoto.

110
00:07:23,348 --> 00:07:27,281
The women look,
but they can barely hear them.

111
00:07:34,048 --> 00:07:37,280
This cut for women
It's not from men's POV,

112
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because they have your back.

113
00:07:43,114 --> 00:07:45,178
Then a close-up of the sound of horses,

114
00:07:45,279 --> 00:07:49,795
and we realize
which is a sound POV.

115
00:07:49,896 --> 00:07:53,028
Sound tells us more about where we are,

116
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with animals, away from men,

117
00:07:55,913 --> 00:08:00,613
and what is our
POV here, the women's.

118
00:08:13,842 --> 00:08:15,741
So cinema uses image and sound

119
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to make us feel like
we impersonate characters.

120
00:08:20,442 --> 00:08:22,074
What happens when we do this?

121
00:08:22,175 --> 00:08:25,575
What new things do we see and feel?

122
00:08:26,375 --> 00:08:28,441
Mai Zetterling shows us.

123
00:08:28,542 --> 00:08:31,074
A girl enters a salon.

124
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Open, observant shot.

125
00:08:44,642 --> 00:08:46,607
Then she goes under the table.

126
00:08:46,708 --> 00:08:50,007
It's like you're diving.

127
00:08:50,108 --> 00:08:51,775
I bet...

128
00:08:52,642 --> 00:08:56,041
Men arrive, but we
we remained there with her.

129
00:08:56,142 --> 00:09:01,141
The sound comes from somewhere else,
just like in �The Shortcut�.

130
00:09:01,242 --> 00:09:04,507
She has the dog.
In terms of shoes.

131
00:09:04,608 --> 00:09:08,075
You see different things in this underworld.

132
00:09:11,775 --> 00:09:14,174
A cigar knocked out of sight.

133
00:09:14,275 --> 00:09:15,941
A secret bad habit.

134
00:09:16,042 --> 00:09:19,175
A child in my house would be like
the priest finding the bishop in bed.

135
00:09:20,234 --> 00:09:21,741
An itchy ankle.

136
00:09:21,842 --> 00:09:24,459
Miss. Petra lives alone in this mansion.

137
00:09:24,560 --> 00:09:26,506
Very interesting, Father.

138
00:09:26,607 --> 00:09:28,890
Involuntary things.

139
00:09:29,053 --> 00:09:31,319
His shoes are too tight.

140
00:09:31,420 --> 00:09:34,529
A discomfort he
would not display above the table.

141
00:09:34,630 --> 00:09:37,497
Down here it's like
if it were the unconscious.

142
00:09:38,186 --> 00:09:43,753
The point of view is more id, more
desire and fear, than superego.

143
00:09:44,720 --> 00:09:46,152
Excuse me.

144
00:09:46,253 --> 00:09:50,153
If they are talking about
Angela, I'll take her.

145
00:09:53,786 --> 00:09:55,618
Why didn't you say it before?

146
00:09:55,719 --> 00:09:57,919
I didn't want to seem selfish.

147
00:10:03,079 --> 00:10:05,218
One of the best directors in the world,

148
00:10:05,319 --> 00:10:08,586
the Ukrainian Larisa Shepitko knew this.

149
00:10:09,119 --> 00:10:14,085
His latest film, "The Rise",
takes place in WWII Belarus.

150
00:10:14,186 --> 00:10:16,885
Two guerrillas on a sled.

151
00:10:16,986 --> 00:10:20,285
One of them, Sotnikov, was shot in the leg.

152
00:10:20,386 --> 00:10:22,518
low angle while
we look at it.

153
00:10:22,619 --> 00:10:25,085
A point of view
of an observer, you could say.

154
00:10:25,186 --> 00:10:28,418
But then the camera moves up.

155
00:10:28,519 --> 00:10:33,652
The shot deviates from the viewer
for an intermediate POV,

156
00:10:33,753 --> 00:10:36,352
as if it transformed
in Sotnikov's POV,

157
00:10:36,453 --> 00:10:38,385
or the POV of the unconscious.

158
00:10:38,486 --> 00:10:40,618
Shadows. The eyelids tremble.

159
00:10:40,719 --> 00:10:44,352
The camera blurs as if
he lost consciousness,

160
00:10:44,453 --> 00:10:47,019
as if the pain was extreme.

161
00:10:55,786 --> 00:10:59,219
Children who were playing
stop to see.

162
00:11:08,253 --> 00:11:10,918
A woman's eyes follow the sled,

163
00:11:11,019 --> 00:11:13,819
as if a procession was passing by.

164
00:11:14,553 --> 00:11:18,753
The soldier imagines his own death.

165
00:11:19,586 --> 00:11:23,586
We start in our POV,
we move to his,

166
00:11:23,986 --> 00:11:26,253
and then we universalize.

167
00:11:50,219 --> 00:11:54,853
Shepitko's previous film,
 �Wings�, takes it further.

168
00:11:55,453 --> 00:11:59,185
Nadeshka is a
former Soviet fighter pilot,

169
00:11:59,286 --> 00:12:02,586
who now leads a life
boring as a teacher.

170
00:12:03,519 --> 00:12:08,853
She wants to wash some grapes,
but no water comes out of the tap.

171
00:12:16,053 --> 00:12:20,718
She walks, and as she does so,
remember a rain,

172
00:12:20,819 --> 00:12:26,719
which, in turn, washes away the present,
taking her to the past.

173
00:12:48,186 --> 00:12:50,719
The long road to the past.

174
00:12:58,119 --> 00:13:00,019
The camera goes up on a crane.

175
00:13:03,253 --> 00:13:05,819
This is not your material POV.

176
00:13:08,286 --> 00:13:11,152
We don't see what she sees.

177
00:13:11,253 --> 00:13:16,152
It's your immaterial POV.
The images of your memory.

178
00:13:16,253 --> 00:13:18,986
Another type of submersion.

179
00:13:21,519 --> 00:13:25,253
Mitya! Mitya!

180
00:13:25,653 --> 00:13:28,853
Then we see a soldier.

181
00:13:34,686 --> 00:13:37,819
-Let's go back.
-Wait.

182
00:13:40,619 --> 00:13:44,252
Here, Kathryn Bigelow takes us
to a science fiction world.

183
00:13:44,353 --> 00:13:49,218
In her Los Angeles, it's possible
put on a headset and see lives,

184
00:13:49,319 --> 00:13:53,518
experiences, dreams
and other people's POVs.

185
00:13:53,619 --> 00:13:58,352
In previous films, transitions
occurred through snow or water.

186
00:13:58,453 --> 00:14:01,286
Here, it's through video noise.

187
00:14:03,886 --> 00:14:05,253
Baby, yeah!

188
00:14:05,953 --> 00:14:08,252
Another type of visual rain,

189
00:14:08,353 --> 00:14:13,119
then whoever uses the phone,
Angela Bassett, is in a car.

190
00:14:13,653 --> 00:14:15,852
The camera moves
in unison with the head.

191
00:14:15,953 --> 00:14:18,852
She sees what the observer sees.

192
00:14:18,953 --> 00:14:20,953
Pure point of view.

193
00:14:21,619 --> 00:14:26,086
Stolen, perhaps,
or monetized, or voyeuristic.

194
00:14:28,701 --> 00:14:33,068
Politics from the point of view,
of borrowed excitement.

195
00:14:33,169 --> 00:14:34,618
Oh, fuck!

196
00:14:34,719 --> 00:14:36,818
Dude, be cool, Jeriko, be cool.

197
00:14:36,919 --> 00:14:40,552
The point of view is observation
by proxy, by substitution.

198
00:14:40,653 --> 00:14:43,252
A metaphor for cinema in general.

199
00:14:43,353 --> 00:14:47,753
When we watch a movie,
We are putting on the phone.

200
00:14:48,186 --> 00:14:49,553
No problem!

201
00:14:51,719 --> 00:14:53,952
You know how it is, if we stay
OK, they're fine.

202
00:14:54,053 --> 00:14:56,818
Are you connected? I don't want trouble,
I can't get in trouble.

203
00:14:56,919 --> 00:14:58,120
100%.

204
00:15:04,303 --> 00:15:10,576
The material POV, the visual POV,
the sonorous POV, the unconscious POV,

205
00:15:10,677 --> 00:15:16,110
the POV of our inner eye
and the politics of the point of view.

206
00:15:16,550 --> 00:15:19,669
Our last two scenes are the reverse.

207
00:15:19,770 --> 00:15:23,003
They're about not wanting to see.

208
00:15:23,349 --> 00:15:25,769
Firstly, �The Babadook�.

209
00:15:25,870 --> 00:15:27,925
In chapter 10, about journeys,

210
00:15:28,026 --> 00:15:31,459
we saw this woman in a car accident.

211
00:15:31,703 --> 00:15:37,603
Her husband died,
but here it is before their eyes.

212
00:15:38,236 --> 00:15:39,670
Or is it?

213
00:15:40,236 --> 00:15:42,136
She moves away from him.

214
00:15:43,403 --> 00:15:48,636
Then it cuts to her POV, and he is
lit like �The Godfather�.

215
00:15:49,436 --> 00:15:51,869
-I think it's going to rain.
-No.

216
00:15:51,970 --> 00:15:54,802
His voice is monstrous.

217
00:15:54,903 --> 00:15:56,369
She runs.

218
00:15:56,470 --> 00:15:59,170
The house is having an epileptic fit.

219
00:16:17,792 --> 00:16:20,425
Then this terrifying POV.

220
00:16:34,341 --> 00:16:38,502
Her husband is dead.
And she fears facing that.

221
00:16:38,603 --> 00:16:39,969
Look at this.

222
00:16:40,070 --> 00:16:43,272
She is afraid of her
own point of view.

223
00:16:43,373 --> 00:16:46,139
She blocks him at the door with a chair.

224
00:16:48,247 --> 00:16:49,880
But it is invasive.

225
00:16:50,365 --> 00:16:54,951
The truth, the sadness, the fact

226
00:16:55,052 --> 00:16:58,049
obscene to have seen him die.

227
00:16:58,498 --> 00:16:59,964
It's her agony.

228
00:17:00,065 --> 00:17:02,532
Cut it like scissors hands.

229
00:17:02,898 --> 00:17:05,665
The beast tortures her.

230
00:17:06,398 --> 00:17:08,965
The beast of what she must face.

231
00:17:21,565 --> 00:17:26,398
And, after all, what did this young woman
Don't you want to face it?

232
00:17:26,998 --> 00:17:30,628
Your older sister is
having sex in the same room.

233
00:17:30,729 --> 00:17:32,829
You're losing your virginity.

234
00:17:33,365 --> 00:17:36,432
She just said �I'm scared�.

235
00:17:36,932 --> 00:17:40,297
The younger girl turned around,
closed his eyes,

236
00:17:40,398 --> 00:17:43,103
He buried his right ear in the pillow.

237
00:17:43,204 --> 00:17:46,304
She desperately
refuses to see and hear.

238
00:17:48,132 --> 00:17:50,112
Director Catherine Breillat

239
00:17:50,213 --> 00:17:53,946
captures your absolute refusal
from a point of view.

240
00:17:57,432 --> 00:18:02,332
It's strength, it's irreversibility, it's pain.

241
00:18:09,326 --> 00:18:12,825
The point of view brings us close
psychologically to a character,

242
00:18:12,926 --> 00:18:15,858
But of course there's another kind
proximity at the cinema.

243
00:18:15,959 --> 00:18:19,091
Its greatest and boldest closeness.

244
00:18:19,192 --> 00:18:23,026
16 - THE CLOSE

245
00:18:23,959 --> 00:18:27,642
Close-ups are usually
linked to a point of view,

246
00:18:27,810 --> 00:18:29,600
as we see here.

247
00:18:29,701 --> 00:18:32,301
Another film by Catherine Breillat.

248
00:18:35,626 --> 00:18:39,159
Teenage Alice is
at his father's sawmill.

249
00:18:39,721 --> 00:18:44,037
Holes in the wood create
cracks, places to look.

250
00:18:44,325 --> 00:18:47,122
She sees Jim, who works there.

251
00:18:47,223 --> 00:18:50,623
Look at your waist, your groin.

252
00:18:55,326 --> 00:19:01,371
Breillat uses the close-up to show
the pieces of the world, and of him,

253
00:19:01,472 --> 00:19:03,906
that catch Alice's eyes.

254
00:19:10,906 --> 00:19:13,791
The close-up like a psychological zoom,

255
00:19:13,892 --> 00:19:17,259
the amplification of things that attract her.

256
00:19:24,559 --> 00:19:26,615
Beyond the sockets
point of view, however,

257
00:19:26,716 --> 00:19:31,058
close-ups in cinema, in the most
simple, they show us details.

258
00:19:31,159 --> 00:19:33,226
The way things are done.

259
00:19:34,392 --> 00:19:39,059
This is the movie "Adoption",
by Hungarian M�rta M�sz�ros.

260
00:19:39,992 --> 00:19:42,759
The main character
works at this factory.

261
00:19:43,292 --> 00:19:46,092
We see how women sand wood.

262
00:19:50,192 --> 00:19:53,058
We see the cracked skin on his elbows.

263
00:19:53,159 --> 00:19:54,858
Your gnarled hands.

264
00:19:54,959 --> 00:19:57,292
The physical aspect of their work.

265
00:19:57,926 --> 00:20:00,327
The camera, like a microscope,

266
00:20:00,428 --> 00:20:03,694
showing us things that,
otherwise we wouldn't see it.

267
00:20:13,892 --> 00:20:16,708
Later in the same film,
there is a wedding.

268
00:20:16,833 --> 00:20:19,958
Part of it is filmed in wide shot,
as would be expected,

269
00:20:20,059 --> 00:20:22,659
but then the camera starts to get closer,

270
00:20:24,892 --> 00:20:28,959
to show what is
beneath the party, the meeting.

271
00:20:35,459 --> 00:20:38,426
Tears. Another microscope.

272
00:20:38,926 --> 00:20:43,026
No other art form
would show such big tears.

273
00:20:43,626 --> 00:20:47,926
On the big screen, a tear
can fall one meter.

274
00:20:48,459 --> 00:20:52,259
A unique expansion in visual culture.

275
00:21:12,859 --> 00:21:15,058
And speaking of expansion...

276
00:21:15,159 --> 00:21:18,458
Australia at the end of the silent era.

277
00:21:18,559 --> 00:21:23,324
Actress Isabel McDonagh tries
take money from a rich family.

278
00:21:23,425 --> 00:21:25,958
She wears a veil, medium shot.

279
00:21:26,059 --> 00:21:27,824
No close-ups yet.

280
00:21:27,925 --> 00:21:31,524
The victim of your plan,
played by Joseph Bambach.

281
00:21:31,625 --> 00:21:32,858
He looks.

282
00:21:32,959 --> 00:21:34,591
Get closer to her.

283
00:21:34,692 --> 00:21:36,124
Victorian decor.

284
00:21:36,225 --> 00:21:39,191
Maybe more European than Australian.

285
00:21:39,292 --> 00:21:43,924
Takes written, produced
and directed by sister Paulette.

286
00:21:44,025 --> 00:21:45,824
And then... Wow!

287
00:21:45,925 --> 00:21:47,525
That close-up.

288
00:21:49,625 --> 00:21:52,824
A moment, an ellipse of eyes.

289
00:21:52,925 --> 00:21:54,958
Is she crying?

290
00:21:55,059 --> 00:21:58,192
Is there a German element to this scene?

291
00:21:59,492 --> 00:22:01,209
After the McDonagh sisters,

292
00:22:01,310 --> 00:22:05,609
whose films were hits
larger than those of Carlitos,

293
00:22:05,710 --> 00:22:09,709
it would take an Australian woman 40 years

294
00:22:09,810 --> 00:22:12,643
direct a studio film.

295
00:22:22,139 --> 00:22:25,042
We return to the beautiful documentary
by Pirjo Honkasalo,

296
00:22:25,143 --> 00:22:28,009
 �The 3 Rooms of Melancholia�.

297
00:22:28,110 --> 00:22:30,375
A Chechen boy in bed.

298
00:22:30,476 --> 00:22:32,876
Is he laughing or crying?

299
00:22:36,816 --> 00:22:38,809
And the sound of war fighters.

300
00:22:38,910 --> 00:22:44,809
Then it cuts away,
so far and so close.

301
00:22:44,910 --> 00:22:46,943
And back to the boys.

302
00:22:53,824 --> 00:22:56,807
This sequence appears to be
over the distance,

303
00:22:56,910 --> 00:23:00,776
but director Honkasalo
remains very close.

304
00:23:39,747 --> 00:23:41,647
A gallery of faces.

305
00:23:42,069 --> 00:23:43,475
Orphaned children.

306
00:23:43,576 --> 00:23:46,175
Filmed at a slightly low angle.

307
00:23:46,276 --> 00:23:49,676
Close-up cuts of the human face.

308
00:23:50,006 --> 00:23:52,506
Something extremely cinematic.

309
00:24:06,617 --> 00:24:08,972
China in the 1970s.

310
00:24:09,073 --> 00:24:13,273
A young student was sent
to live with a pastor.

311
00:24:14,206 --> 00:24:15,606
Close-up of him.

312
00:24:16,653 --> 00:24:18,900
The orchestral music rises.

313
00:24:22,148 --> 00:24:23,981
The climax of the film.

314
00:24:24,448 --> 00:24:26,113
Now, close up on her.

315
00:24:26,214 --> 00:24:28,781
So that we don't lose the emotion.

316
00:24:29,314 --> 00:24:33,714
It's two people in one
small dramatic world.

317
00:24:34,148 --> 00:24:37,014
But his gun is
pointing at her feet.

318
00:24:44,281 --> 00:24:46,247
She wants him to shoot
on your toes,

319
00:24:46,348 --> 00:24:49,413
because you heard that
would take her back home.

320
00:24:49,514 --> 00:24:51,548
Then close-ups again.

321
00:24:52,148 --> 00:24:54,713
Director Joan Chen was an actress,

322
00:24:54,814 --> 00:24:58,115
but she got tired of doing it
paper of exotic beauty,

323
00:24:58,216 --> 00:25:01,880
That's why it makes a melancholic scene
of haunted close-ups.

324
00:25:01,981 --> 00:25:05,348
A serene duel like Sergio Leone.

325
00:25:23,714 --> 00:25:26,714
And then, what does the young woman do?

326
00:25:27,581 --> 00:25:28,930
Drums.

327
00:25:29,047 --> 00:25:30,681
Something approaches.

328
00:25:31,214 --> 00:25:34,448
She braids her hair in the Maoist style.

329
00:25:34,781 --> 00:25:36,113
An even closer close-up,

330
00:25:36,214 --> 00:25:39,314
and the image and the sound
they become more melancholic.

331
00:25:52,665 --> 00:25:54,113
A red scarf.

332
00:25:54,214 --> 00:25:56,181
Even more melancholy.

333
00:25:56,548 --> 00:26:00,214
The close-up shows us everything that matters.

334
00:26:00,681 --> 00:26:02,048
We see.

335
00:26:08,714 --> 00:26:10,114
He sees.

336
00:26:14,187 --> 00:26:16,187
There, open plan for a moment.

337
00:26:16,848 --> 00:26:20,148
But the gun is now aiming higher.

338
00:26:40,374 --> 00:26:43,541
POV and revealing details.

339
00:26:44,147 --> 00:26:49,214
The close-ups we've seen so far
fit into the movies.

340
00:26:49,781 --> 00:26:51,746
But, at the origins of cinema,

341
00:26:51,847 --> 00:26:56,080
directors feared that close-ups
could �break� the films.

342
00:26:56,181 --> 00:26:57,947
Were they right?

343
00:27:02,047 --> 00:27:05,347
In this pioneer film
director Alice Guy-Blach�,

344
00:27:05,681 --> 00:27:09,081
a pregnant woman steals
a girl's lollipop.

345
00:27:14,614 --> 00:27:17,646
A CHILD'S LOLLIPOP

346
00:27:17,747 --> 00:27:20,547
And then we see this medium close-up.

347
00:27:21,147 --> 00:27:23,380
The woman is no longer in the park.

348
00:27:23,481 --> 00:27:25,980
She is standing against
an empty backdrop.

349
00:27:26,081 --> 00:27:27,880
The lighting has changed.

350
00:27:27,981 --> 00:27:30,897
The close-up is elsewhere.

351
00:27:31,082 --> 00:27:32,413
In another field.

352
00:27:32,514 --> 00:27:34,914
Then, we returned to the park.

353
00:27:35,015 --> 00:27:38,515
The real world, the place of theft.

354
00:27:40,691 --> 00:27:45,707
Now a man drinks absinthe
while reading the newspaper.

355
00:27:45,902 --> 00:27:47,936
The pregnant woman again.

356
00:27:48,214 --> 00:27:50,081
She wants a drink.

357
00:27:50,481 --> 00:27:51,747
And then?

358
00:27:51,900 --> 00:27:53,181
You guessed it.

359
00:27:53,282 --> 00:27:57,480
We are in a medium close-up,
in another place, another field.

360
00:27:57,581 --> 00:27:59,780
It is the domain of desire.

361
00:27:59,881 --> 00:28:01,213
Freudian, in a way.

362
00:28:01,314 --> 00:28:04,413
Like close-ups in movies
of Hitchcock are Freudians.

363
00:28:04,514 --> 00:28:05,846
Right away. Bang.

364
00:28:05,947 --> 00:28:08,780
Back to the real world,
to the wider world.

365
00:28:08,881 --> 00:28:13,681
The close-ups were �breaks�,
incursions from elsewhere.

366
00:28:21,870 --> 00:28:23,498
We found something similar

367
00:28:23,599 --> 00:28:26,413
on the strange island of Lucile
Boys Hadzihalilovic

368
00:28:26,514 --> 00:28:29,081
and aquatic women.

369
00:28:29,714 --> 00:28:31,381
A huge close-up.

370
00:28:31,947 --> 00:28:35,730
Eye movements tell us
that a boy is dreaming.

371
00:28:35,997 --> 00:28:39,457
Then a close-up
even bigger than a caterpillar,

372
00:28:39,558 --> 00:28:42,391
in microscopic size,
to look like a monster.

373
00:28:44,388 --> 00:28:46,055
A sea monster.

374
00:28:55,852 --> 00:28:58,752
Ah, an eye like a planet.

375
00:29:03,747 --> 00:29:06,014
Then the boy's belly button.

376
00:29:06,381 --> 00:29:09,814
Close-ups as gates
to other places.

377
00:29:20,194 --> 00:29:22,694
Then he wakes up.

378
00:29:24,429 --> 00:29:29,763
In �Le Lit�, Marion H�nsel uses
this close-up for other reasons.

379
00:29:29,864 --> 00:29:31,080
A woman's hands.

380
00:29:31,181 --> 00:29:35,014
But in the background, the sounds
of your sick partner.

381
00:29:35,781 --> 00:29:39,080
He's dying,
but the close-ups exclude it.

382
00:29:39,181 --> 00:29:41,046
They take him out of the film.

383
00:29:41,147 --> 00:29:47,347
The camera goes up a little,
but we continue in it and only in it.

384
00:29:48,281 --> 00:29:51,913
The close-up forces us to enter
in her intimate space,

385
00:29:52,014 --> 00:29:56,814
keeping us out of the picture
broader, of the agonizing image.

386
00:30:05,847 --> 00:30:09,314
Close-ups create many
spaces outside the screen.

387
00:30:23,657 --> 00:30:28,346
Here, Germaine Du Lac
gives us a woman's face,

388
00:30:28,447 --> 00:30:30,983
then a close up
on the soles of your shoes,

389
00:30:31,084 --> 00:30:36,051
there on the leg of the chair,
and back to her head.

390
00:30:43,206 --> 00:30:45,106
Then a slug,

391
00:30:49,181 --> 00:30:52,514
a spider web and patterns.

392
00:30:53,214 --> 00:30:59,113
Add close-ups like this and you create
a mosaic, or something cubist.

393
00:30:59,214 --> 00:31:01,148
Fragments of the whole.

394
00:31:01,249 --> 00:31:03,516
Elements of abstraction.

395
00:31:07,019 --> 00:31:10,386
Often there is something
abstract in relation to close-ups.

396
00:31:27,058 --> 00:31:30,513
We end with a scene
longest of close-ups,

397
00:31:30,614 --> 00:31:33,981
one of the most touching
in the history of cinema.

398
00:31:38,081 --> 00:31:41,781
Close-up of a man hugging a log.

399
00:31:47,621 --> 00:31:49,055
Open.

400
00:31:49,458 --> 00:31:50,723
Oh, no.

401
00:31:50,824 --> 00:31:54,723
A hanging. Belarus
during World War II.

402
00:31:54,824 --> 00:31:59,123
And one of the people who will be
hanged is your friend Sotnikov,

403
00:31:59,224 --> 00:32:04,791
that we saw lying on the sleigh,
in the snow, in the POV chapter.

404
00:32:08,891 --> 00:32:11,924
The stormy music of Alfred Schnittke.

405
00:32:14,391 --> 00:32:19,491
The open socket
almost a theater, or an altarpiece,

406
00:32:21,557 --> 00:32:27,124
and then the close-up isolates one of the
condemned by the Nazis.

407
00:32:35,124 --> 00:32:38,257
Then this woman. Tears again.

408
00:32:38,891 --> 00:32:42,324
We are already thinking about
 �The Martyrdom of Joan of Arc�?

409
00:32:43,591 --> 00:32:48,791
Director Larisa Shepitko
the music increases in intensity.

410
00:32:58,491 --> 00:33:01,057
The child doesn't seem to believe it.

411
00:33:07,557 --> 00:33:09,990
Then Sotnikov. Even closer.

412
00:33:10,091 --> 00:33:12,991
Telephoto. Isolated from the world.

413
00:33:13,557 --> 00:33:18,807
Here comes this zoom, like
that brings us closer to something.

414
00:33:18,926 --> 00:33:21,708
Sotnikov looking at the horizon.

415
00:33:21,809 --> 00:33:25,575
Trying to focus on anything
that is not what is nearby.

416
00:33:36,642 --> 00:33:38,742
His eyes find a boy.

417
00:33:41,809 --> 00:33:44,109
Another zoom that ends in a close-up.

418
00:33:51,762 --> 00:33:54,574
Then this shot of feet swinging.

419
00:33:54,675 --> 00:33:59,142
The close-up challenges us to imagine
what we don't see.

420
00:33:59,875 --> 00:34:01,309
Amazing.

421
00:34:01,775 --> 00:34:04,509
Now even Sotnikov is crying.

422
00:34:14,807 --> 00:34:16,773
And then, the Nazis.

423
00:34:54,732 --> 00:34:56,099
Whiteness.

424
00:34:56,709 --> 00:34:58,009
Bells.

425
00:34:58,709 --> 00:34:59,910
The boy.

426
00:35:29,075 --> 00:35:33,641
In the last chapter, the close-ups
Sometimes they took us out of the film,

427
00:35:33,742 --> 00:35:37,109
of its fluency, its naturalism,

428
00:35:37,609 --> 00:35:41,209
leading to something
more intense, more intimate.

429
00:35:43,075 --> 00:35:45,708
This chapter studies this type of escape.

430
00:35:45,809 --> 00:35:48,008
It's about parallel realities.

431
00:35:48,109 --> 00:35:49,875
Other domains.

432
00:35:52,223 --> 00:35:56,657
17 - SURREALISM AND DREAMS

433
00:35:58,075 --> 00:36:00,674
Sometimes this kind of otherness

434
00:36:00,775 --> 00:36:03,608
invades for a few moments
the everyday world.

435
00:36:03,709 --> 00:36:05,708
...that you think you're going to throw.

436
00:36:05,809 --> 00:36:06,941
I'm all for throwing.

437
00:36:07,042 --> 00:36:08,474
In �The Stupider the Better�,

438
00:36:08,575 --> 00:36:11,008
Garth has just seen a beautiful woman.

439
00:36:11,109 --> 00:36:13,474
He's about to enter
in a dreamlike state.

440
00:36:13,575 --> 00:36:15,474
Director Penelope Spheeris

441
00:36:15,575 --> 00:36:20,108
satirizes the cliché of how movies
signaled a dream scene.

442
00:36:20,209 --> 00:36:21,541
Why don't you talk to her?

443
00:36:21,642 --> 00:36:23,342
The screen shakes.

444
00:36:30,237 --> 00:36:32,074
And there she is.

445
00:36:32,175 --> 00:36:35,609
And it's as if Garth had
received an electric shock.

446
00:36:37,275 --> 00:36:38,476
hot

447
00:36:41,909 --> 00:36:43,209
hot

448
00:36:44,842 --> 00:36:49,142
And you well know that it is
You heartbreaker

449
00:36:50,409 --> 00:36:52,875
Hot, yeah

450
00:36:54,032 --> 00:36:56,799
That's how he thinks
a seductive look it seems.

451
00:36:57,475 --> 00:37:00,209
This is your idealized self.

452
00:37:03,609 --> 00:37:05,909
I want to take you home

453
00:37:07,942 --> 00:37:11,142
I don't want to do you any harm

454
00:37:13,475 --> 00:37:16,709
You will be mine, all mine

455
00:37:17,142 --> 00:37:19,642
Wow! hot

456
00:37:20,875 --> 00:37:24,675
Here I come, baby, to get you!

457
00:37:25,142 --> 00:37:27,509
And then that flickering screen again.

458
00:37:28,909 --> 00:37:31,653
Shaky screens are a thing
of the past now, of course,

459
00:37:31,754 --> 00:37:34,174
but filmmakers have always been interested

460
00:37:34,275 --> 00:37:39,141
at the door to a dream, the act
to shift into a dreamlike state.

461
00:37:39,242 --> 00:37:41,208
Get closer to the board.

462
00:37:42,508 --> 00:37:45,675
Have you ever seen him up close?

463
00:37:46,842 --> 00:37:49,241
I'm not talking about seeing him
to the point of seeing

464
00:37:49,342 --> 00:37:52,774
the twirls and the small
hills and valleys of ink.

465
00:37:52,875 --> 00:37:56,307
I say close enough to
reach the heart of the pigment.

466
00:37:56,408 --> 00:37:58,641
Wendy Toye's segment,

467
00:37:58,742 --> 00:38:02,175
in the film in episodes
 �Three Cases of Murder.

468
00:38:02,575 --> 00:38:03,874
We are in a museum.

469
00:38:03,975 --> 00:38:07,307
The voice-over narration suggests
a flight of imagination,

470
00:38:07,408 --> 00:38:10,307
an immersion, an escape.

471
00:38:10,408 --> 00:38:15,142
Advance on these mysterious
slopes of swirling mist.

472
00:38:15,544 --> 00:38:19,277
 �Advance these mysterious
slopes of swirling mist."

473
00:38:19,378 --> 00:38:22,178
An invitation to another place.

474
00:38:23,530 --> 00:38:25,707
Then we approached a stop.

475
00:38:25,808 --> 00:38:29,374
That's what I want you to see.
Could you come closer, please?

476
00:38:29,475 --> 00:38:30,941
Closer.

477
00:38:32,104 --> 00:38:34,707
That's right, now look
to that door.

478
00:38:34,808 --> 00:38:38,207
You would imagine that it only takes
lift the stick, hit,

479
00:38:38,308 --> 00:38:39,575
and it would make a sound of...

480
00:38:44,505 --> 00:38:45,838
A creak.

481
00:38:47,071 --> 00:38:48,538
The door opens.

482
00:38:49,241 --> 00:38:52,375
And the glimpse of the other place.

483
00:38:53,941 --> 00:38:56,774
Shall we go in? Don't be shy.

484
00:38:56,875 --> 00:39:00,308
They're like Dorothy entering Oz.

485
00:39:07,073 --> 00:39:08,606
This is my home.

486
00:39:15,239 --> 00:39:19,105
In his first film,
former Bengali actress Aparna Sen

487
00:39:19,206 --> 00:39:20,873
There's a similar scene.

488
00:39:21,539 --> 00:39:26,306
Professor Violet Stoneham
He dreams of his childhood.

489
00:39:26,806 --> 00:39:31,873
She lost her boyfriend, who,
in fact, he died in the war.

490
00:39:32,473 --> 00:39:34,172
She sees this house.

491
00:39:34,273 --> 00:39:35,772
Relief.

492
00:39:35,873 --> 00:39:37,372
The lights are on.

493
00:39:37,473 --> 00:39:39,139
He has to be there.

494
00:39:40,006 --> 00:39:41,739
Now she's on the porch,

495
00:39:48,139 --> 00:39:52,838
but behind the door there is no
boyfriend, there is no home.

496
00:39:52,939 --> 00:39:54,172
The doors shake.

497
00:39:54,273 --> 00:39:55,605
A gale.

498
00:39:55,706 --> 00:39:59,273
And we see a cemetery, the beach, the sea.

499
00:40:06,339 --> 00:40:08,405
Dorothy in Oz again?

500
00:40:08,506 --> 00:40:10,606
The gate to a dream.

501
00:40:30,006 --> 00:40:32,072
And how about that for a gate?

502
00:40:32,173 --> 00:40:37,105
The filmmaker-choreographer-thinker
Ukrainian-American Maya Deren

503
00:40:37,206 --> 00:40:40,973
appears for the first time
in our history.

504
00:40:41,473 --> 00:40:44,638
She films herself climbing a tree stump.

505
00:40:44,739 --> 00:40:46,306
Then cut it.

506
00:40:46,839 --> 00:40:48,072
A tablecloth.

507
00:40:48,173 --> 00:40:49,572
Her hands.

508
00:40:49,673 --> 00:40:51,106
A glass.

509
00:40:51,573 --> 00:40:54,339
And she sees... a chandelier...

510
00:40:54,973 --> 00:40:57,573
and a dining table full of smokers.

511
00:40:58,139 --> 00:41:00,906
What gate did she cross?

512
00:41:01,439 --> 00:41:04,306
What world did she climb?

513
00:41:10,806 --> 00:41:12,639
She leads with her chin.

514
00:41:15,106 --> 00:41:17,639
But the feet are still on the stump.

515
00:41:18,406 --> 00:41:20,139
Hands, knees,

516
00:41:24,373 --> 00:41:27,305
but then she is in the foliage.

517
00:41:27,406 --> 00:41:28,806
Crawling.

518
00:41:29,706 --> 00:41:32,406
This dream occurs
in two simultaneous places.

519
00:41:33,273 --> 00:41:36,739
The gate continually
moves towards itself.

520
00:41:51,939 --> 00:41:54,339
Here's another film by Maya Deren.

521
00:41:56,506 --> 00:41:59,305
There is a conventional way
of filming a staircase scene,

522
00:41:59,406 --> 00:42:02,606
but there is also the way
dreamlike by Maya Deren.

523
00:42:03,939 --> 00:42:07,439
The world is rocking
like a boat at sea.

524
00:42:08,039 --> 00:42:10,373
She follows someone in black.

525
00:42:31,739 --> 00:42:34,506
The person leaves a flower.

526
00:42:37,306 --> 00:42:39,173
Deren can barely breathe.

527
00:42:44,573 --> 00:42:48,039
Fear or desire or the illogical.

528
00:42:55,973 --> 00:42:59,639
Then the person
with a mirror face disappears.

529
00:43:00,773 --> 00:43:02,738
Then, percussive assembly.

530
00:43:02,839 --> 00:43:05,839
Deren is below,
then on top again.

531
00:43:17,972 --> 00:43:22,038
Wendy Toye's arc,
by Aparna Sen, by Maya Deren.

532
00:43:22,839 --> 00:43:25,639
But what happens when
Did we go through the arch?

533
00:43:26,072 --> 00:43:29,272
What kind of surrealism do we find?

534
00:43:31,072 --> 00:43:32,838
The surrealism of desire,

535
00:43:32,939 --> 00:43:36,971
in this sequence of �Retratos
of a Lady, by Jane Campion.

536
00:43:37,072 --> 00:43:40,506
The water dissolving over
Nicole Kidman's face.

537
00:43:45,472 --> 00:43:48,605
Then a hand around
of her corseted hips.

538
00:43:48,706 --> 00:43:50,639
The liquidity of the dream.

539
00:43:51,672 --> 00:43:56,606
And, in this reverie, we cut to
what appears to be a silent film.

540
00:43:57,206 --> 00:43:59,439
Accelerated, jumping.

541
00:44:00,472 --> 00:44:03,505
7, 8, 9, 10...

542
00:44:03,606 --> 00:44:05,439
Excuse me. No, no, no.

543
00:44:11,035 --> 00:44:12,301
Her eyes.

544
00:44:14,206 --> 00:44:15,538
What I wanted to say is that...

545
00:44:15,639 --> 00:44:17,006
His lips.

546
00:44:17,144 --> 00:44:19,944
Then the lips
become talking beans.

547
00:44:20,872 --> 00:44:24,639
I am absolutely in love with you.

548
00:44:26,339 --> 00:44:30,605
She's an American abroad,
on ancestral lands.

549
00:44:30,706 --> 00:44:33,238
Hearing whispered wishes.

550
00:44:33,339 --> 00:44:35,739
I am absolutely in love with you.

551
00:44:38,572 --> 00:44:40,706
I am absolutely in love with you.

552
00:44:43,006 --> 00:44:44,972
Absolutely in love with you.

553
00:44:45,672 --> 00:44:47,771
I am absolutely in love with you.

554
00:44:47,872 --> 00:44:49,805
John Malkovich is an artist

555
00:44:49,906 --> 00:44:53,906
that seems to be able to probe
her dream life.

556
00:44:59,306 --> 00:45:03,805
Sally Potter also sees
something dreamlike in silent cinema.

557
00:45:03,906 --> 00:45:07,039
Julie Christie is pushed onto a stage.

558
00:45:07,606 --> 00:45:09,805
She's been trying to explore her past,

559
00:45:09,906 --> 00:45:12,272
and find out something about your mother.

560
00:45:13,039 --> 00:45:15,172
The makeup is stylized.

561
00:45:15,772 --> 00:45:17,571
We then cut to her mother.

562
00:45:17,672 --> 00:45:20,972
It's like she's in a silent movie.

563
00:45:23,412 --> 00:45:26,930
Then this socket
high and open shows a stage,

564
00:45:27,031 --> 00:45:29,057
but also a film set,

565
00:45:29,657 --> 00:45:31,427
as in the origins of cinema.

566
00:45:31,528 --> 00:45:33,416
Two types of interpretation.

567
00:45:33,912 --> 00:45:36,428
Music like in silent films,

568
00:45:36,538 --> 00:45:40,502
and a dream like those in
that we are exposed to in a theater.

569
00:45:58,724 --> 00:46:02,757
And then, adult Julie seems
a child on his mother's lap.

570
00:46:03,390 --> 00:46:04,591
A regression.

571
00:46:08,557 --> 00:46:11,124
Then these bored bourgeoisie.

572
00:46:11,924 --> 00:46:14,490
And music adds something to the anxiety.

573
00:46:15,490 --> 00:46:18,957
Mother and daughter like dolls
in a dollhouse.

574
00:46:19,524 --> 00:46:22,024
And then the father appears.

575
00:46:22,957 --> 00:46:24,757
He found gold.

576
00:46:36,357 --> 00:46:41,157
In the film �The Arc�, by Cecile Tang,
Surrealism is religious.

577
00:46:41,557 --> 00:46:43,190
Another gate.

578
00:46:43,790 --> 00:46:47,856
The school principal, Mrs. Tang,
walks towards a temple.

579
00:46:47,957 --> 00:46:49,889
Or is she pulled towards you?

580
00:46:49,990 --> 00:46:53,213
A gate to another place, again.

581
00:46:53,524 --> 00:46:56,257
There's a fusion, and it's inside.

582
00:46:57,124 --> 00:47:01,390
A series of mergers,
of lapses of conscience,

583
00:47:07,557 --> 00:47:09,724
and then it seems to divide.

584
00:47:14,157 --> 00:47:16,724
Religion as a type of surrealism.

585
00:47:30,857 --> 00:47:33,856
When I met him I didn't ask any questions.

586
00:47:33,957 --> 00:47:36,156
I went towards him.

587
00:47:36,257 --> 00:47:39,924
One day I saw it in other people's eyes
what we call �our love�.

588
00:47:40,690 --> 00:47:43,971
I saw them fighting,
while others fawned on him.

589
00:47:44,390 --> 00:47:47,523
In �La Pointe-Courte�, by Agn�s Varda,

590
00:47:47,624 --> 00:47:51,573
another aspect of life serves
as a source for surrealism.

591
00:47:51,943 --> 00:47:55,156
The woman was framed in
Right angles to his face.

592
00:47:55,257 --> 00:47:57,089
Then came the sea.

593
00:47:57,190 --> 00:48:01,257
She now walks as if
was in a dream.

594
00:48:04,724 --> 00:48:08,124
Ah, this strange shot
of a perched bird.

595
00:48:08,824 --> 00:48:10,756
Then the man against a wall,

596
00:48:10,857 --> 00:48:13,089
framed at the bottom of the screen.

597
00:48:13,190 --> 00:48:15,923
You look, under the glass.

598
00:48:16,024 --> 00:48:17,789
Do you love me, or our love?

599
00:48:17,890 --> 00:48:20,056
Look at me! Not for him!

600
00:48:20,157 --> 00:48:23,419
Then she's behind
of a box, as if buried.

601
00:48:23,520 --> 00:48:25,908
But not with the same eyes as before.

602
00:48:28,657 --> 00:48:32,657
A backward tracking
and the box looks like a coffin.

603
00:48:34,190 --> 00:48:37,589
Dream angles and centers of gravity.

604
00:48:37,690 --> 00:48:40,190
The surrealism of love.

605
00:48:41,890 --> 00:48:45,289
A religious dream state,
the surrealism of love.

606
00:48:45,390 --> 00:48:49,423
Next... surrealism
political nightmare.

607
00:48:51,823 --> 00:48:54,223
Mosquitoes on a red and white cloth.

608
00:48:54,857 --> 00:48:56,323
Zoom out.

609
00:48:59,557 --> 00:49:03,623
The most feared symbol
of terror in European history.

610
00:49:04,157 --> 00:49:06,823
An X marks the place.

611
00:49:09,272 --> 00:49:11,205
And then Freudism.

612
00:49:14,123 --> 00:49:16,773
So, as often
happens in dreams,

613
00:49:16,899 --> 00:49:20,687
the dance is out of time, out of rhythm.

614
00:49:20,788 --> 00:49:22,588
A dissonant piano.

615
00:49:25,157 --> 00:49:28,223
What music do they listen to,
that we can't hear?

616
00:49:31,890 --> 00:49:35,057
What can we see that they can't?

617
00:49:37,290 --> 00:49:39,356
-Are you also a member of the party?
-No.

618
00:49:39,457 --> 00:49:40,956
-But your sister...
-�.

619
00:49:41,057 --> 00:49:42,590
Can I see her again?

620
00:49:44,948 --> 00:49:46,497
Happy...

621
00:49:46,623 --> 00:49:48,157
totally normal...

622
00:49:48,857 --> 00:49:51,056
This only happens at this time,

623
00:49:51,157 --> 00:49:52,690
in this country.

624
00:50:00,823 --> 00:50:04,956
Unusual combinations
of things, people and places

625
00:50:05,057 --> 00:50:07,390
created these worlds.

626
00:50:10,157 --> 00:50:14,670
In Bulgaria in the 1960s,
Binka Zhelyazkhova

627
00:50:14,771 --> 00:50:17,836
began his surrealist comedy,
 �The Attached Balloon�,

628
00:50:17,937 --> 00:50:20,137
with this type of combination.

629
00:50:21,371 --> 00:50:23,103
An external shot from above.

630
00:50:23,204 --> 00:50:26,371
The inner clock making
ticking on the soundtrack.

631
00:50:30,730 --> 00:50:32,230
Then chickens.

632
00:50:51,748 --> 00:50:54,147
5 AM IN THE EUROPEAN TIME

633
00:50:54,248 --> 00:50:55,748
Roosters crow.

634
00:51:03,315 --> 00:51:06,148
A shirtless man,
scared, looking up.

635
00:51:20,915 --> 00:51:22,448
Then a trumpet player.

636
00:51:30,728 --> 00:51:32,261
And a flag.

637
00:51:32,648 --> 00:51:34,148
Knocking on a door,

638
00:51:38,415 --> 00:51:39,815
a gas mask,

639
00:51:46,848 --> 00:51:50,382
and a poster that appears to say �shhhhhh�.

640
00:51:53,582 --> 00:51:56,981
Most things
comes from the waking world,

641
00:51:57,082 --> 00:52:00,764
but its inexplicable
combination, its collage,

642
00:52:00,920 --> 00:52:03,854
suggest the illogical aspect of the dream.

643
00:52:09,048 --> 00:52:12,114
It is also based
in strange juxtapositions,

644
00:52:12,215 --> 00:52:16,014
the Czech Vera Chytilov� 
in his most famous film,

645
00:52:16,115 --> 00:52:17,548
 �The Little Daisies�.

646
00:52:17,882 --> 00:52:20,747
The two young women in the film march.

647
00:52:20,848 --> 00:52:24,015
Padlocks broken to the rhythm
of a music band.

648
00:52:38,148 --> 00:52:40,048
Then decomposition images.

649
00:52:45,548 --> 00:52:50,148
There's a shot from above, like
the one from �The Attached Balloon�.

650
00:52:51,382 --> 00:52:55,082
A sheet followed by quick collages.

651
00:52:55,482 --> 00:52:58,782
More textures, fabrics, colors and collages.

652
00:52:59,982 --> 00:53:02,848
Colorful fields of green, pink and blue.

653
00:53:03,915 --> 00:53:05,864
It's like a silkscreen.

654
00:53:06,005 --> 00:53:07,905
Pop surrealism.

655
00:53:08,482 --> 00:53:12,582
Don't be so mean to me
since you know how much I love you.

656
00:53:13,182 --> 00:53:17,648
What will become of us? What will become of us?

657
00:53:18,415 --> 00:53:20,547
What will become of us?

658
00:53:20,648 --> 00:53:23,864
The illogicality of cinematic surrealism

659
00:53:24,099 --> 00:53:28,233
Sometimes it works better
when things are solid.

660
00:53:30,204 --> 00:53:32,271
Here literally.

661
00:53:32,915 --> 00:53:37,447
We go through the praised 14th film
from Hungarian M�rta M�zs�ros,

662
00:53:37,548 --> 00:53:39,047
 �Diary for My Children�,

663
00:53:39,148 --> 00:53:42,648
in the chapters about
framing and discovery.

664
00:53:45,540 --> 00:53:48,528
Here she cuts from the young woman
protagonist, Juli,

665
00:53:48,629 --> 00:53:50,729
to what she is imagining.

666
00:53:51,473 --> 00:53:53,706
Her father walking through a tunnel.

667
00:53:56,673 --> 00:53:58,573
Then this cavernous thing.

668
00:53:58,906 --> 00:54:01,139
And the dreamlike voice of a child.

669
00:54:01,240 --> 00:54:03,006
Daddy!

670
00:54:04,840 --> 00:54:06,139
Daddy!

671
00:54:06,240 --> 00:54:09,972
The contrast between the voice and what
we noticed it was a quarry.

672
00:54:10,073 --> 00:54:11,840
Daddy!

673
00:54:12,273 --> 00:54:13,573
And a man.

674
00:54:14,473 --> 00:54:16,973
Her father, who was a sculptor.

675
00:54:17,606 --> 00:54:24,039
M�sz�ros' father was a sculptor,
killed in Stalin's Great Purge.

676
00:54:24,606 --> 00:54:28,638
This is a flashback in a way,
but the place is supernatural,

677
00:54:28,739 --> 00:54:32,506
like science fiction,
like �Star Wars�.

678
00:54:33,706 --> 00:54:35,906
The solidity of a dream.

679
00:54:37,861 --> 00:54:39,938
But in this surreal scene

680
00:54:40,039 --> 00:54:43,138
from �Evolution�, by Lucile Hadzihalilovic,

681
00:54:43,239 --> 00:54:48,339
It is the soft things, not the hard things,
that create the dreamlike surface.

682
00:54:49,806 --> 00:54:53,368
A woman comes out of the darkness,
carrying a body.

683
00:54:53,469 --> 00:54:55,902
Yellow light coming from below.

684
00:54:56,406 --> 00:55:00,339
Sweat on your face and in your dark eyes.

685
00:55:00,839 --> 00:55:02,040
Wind.

686
00:55:19,773 --> 00:55:21,306
A boy's hair.

687
00:55:22,573 --> 00:55:24,172
A nightmare Pina Bauschiano

688
00:55:24,273 --> 00:55:27,206
of texture, color and light.

689
00:55:37,606 --> 00:55:39,905
In France, in silent cinema,

690
00:55:40,006 --> 00:55:44,306
Germaine Du Lac refined
the softness of this dreamlike landscape.

691
00:55:45,273 --> 00:55:49,105
This, his 21st film, was made
before surrealist cinema

692
00:55:49,206 --> 00:55:54,039
by Salvador Dali, Luis Bu�uel,
Man Ray and Jean Cocteau.

693
00:55:54,906 --> 00:55:56,505
A bored married woman

694
00:55:56,606 --> 00:55:59,872
arrives at a themed nightclub
with transatlantic decor.

695
00:55:59,973 --> 00:56:01,906
Close-up of the violin.

696
00:56:02,439 --> 00:56:04,206
Fusion for women.

697
00:56:09,873 --> 00:56:11,806
A sleepy turn of the head.

698
00:56:14,971 --> 00:56:18,071
A slow Lynchian merger into the sea.

699
00:56:20,406 --> 00:56:23,873
New fusion to your imagined self.

700
00:56:28,173 --> 00:56:30,339
Clothes and hair fluttering.

701
00:56:32,673 --> 00:56:35,306
Then a man in the mist.

702
00:56:35,773 --> 00:56:37,939
Nothing concrete in the daydream.

703
00:56:38,373 --> 00:56:42,939
No quarry, or rather,
a quarry in your unconscious.

704
00:56:48,139 --> 00:56:52,106
A well-groomed man, and the sea, again.

705
00:56:53,006 --> 00:56:55,306
Images coming in waves.

706
00:56:55,706 --> 00:56:57,873
The desire coming in waves.

707
00:56:58,506 --> 00:56:59,739
Scorching.

708
00:57:05,773 --> 00:57:07,273
A flickering candle.

709
00:57:23,590 --> 00:57:25,124
Then clouds.

710
00:57:31,345 --> 00:57:33,512
It appears in the clouds.

711
00:57:34,106 --> 00:57:36,239
Celestial surrealism.

712
00:57:58,184 --> 00:58:00,634
And speaking of weirdness,

713
00:58:00,904 --> 00:58:03,572
in the first chapter
about opening scenes,

714
00:58:03,673 --> 00:58:06,138
we met a woman
and his black dog,

715
00:58:06,239 --> 00:58:08,839
in the animated film by Alison De Vere.

716
00:58:09,673 --> 00:58:12,573
At this point, chaos ensued.

717
00:58:13,373 --> 00:58:15,539
They are outside a blue pyramid.

718
00:58:16,057 --> 00:58:18,090
The dog now looks Egyptian.

719
00:58:18,826 --> 00:58:21,926
He has a key that,
Of course, open the pyramid.

720
00:58:29,073 --> 00:58:32,973
The place is noisy,
like a Buddhist temple.

721
00:58:43,951 --> 00:58:46,518
Then a shoal of Dali eyes,

722
00:58:46,934 --> 00:58:48,800
Icons of surrealism.

723
00:58:50,719 --> 00:58:54,702
Then a Buddhist cobra, and a robbery,

724
00:58:54,806 --> 00:58:58,772
but she is stung and transforms
in a ball full of craters,

725
00:58:58,873 --> 00:59:02,739
that falls to the ground in the room
waiting at a hospital.

726
00:59:03,404 --> 00:59:06,004
Cinema on the edge of surrealism.

727
00:59:06,404 --> 00:59:09,103
The only logic here is dream logic,

728
00:59:09,204 --> 00:59:13,108
the impossible fusion of things
with other things,

729
00:59:13,209 --> 00:59:15,076
a synesthesia

730
00:59:15,304 --> 00:59:18,804
in which images seem to come from sound.

731
00:59:20,271 --> 00:59:22,871
Repetitions. Illness.

732
00:59:24,504 --> 00:59:26,271
Her dog on the wall.

733
00:59:26,604 --> 00:59:29,571
The ancient iconography of Egyptology.

734
00:59:31,737 --> 00:59:34,471
And then the end of all dreams...

735
00:59:38,171 --> 00:59:39,671
a sarcophagus.

736
00:59:44,571 --> 00:59:47,737
Then she goes out into the real world again...

737
00:59:48,237 --> 00:59:49,937
more or less.

738
00:59:59,504 --> 01:00:01,704
Translation: RICARDO MOURA FERREIRA