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 00:01:16,800 --> 00:01:19,567 How did cinema film bodies? 14 00:01:22,033 --> 00:01:27,499 CHAPTER 18 - BODIES 15 00:01:31,025 --> 00:01:33,691 The image of a body It's not that cinematic 16 00:01:33,792 --> 00:01:37,492 as a close-up or a cut. 17 00:01:38,126 --> 00:01:42,261 Sculpture and painting generally They focus on bodies too. 18 00:01:42,362 --> 00:01:44,596 But since the days of silent cinema, 19 00:01:44,697 --> 00:01:47,563 Bodies fascinate filmmakers. 20 00:01:49,767 --> 00:01:52,385 Charlie Chaplin's body movement, 21 00:01:52,486 --> 00:01:54,627 Garbo's stillness, 22 00:01:54,728 --> 00:01:57,561 the curvature of Marilyn Monroe, 23 00:01:58,086 --> 00:02:00,220 John Wayne's walk. 24 00:02:07,299 --> 00:02:10,852 One sings, the other doesn't, film by Agnes Varda, 25 00:02:10,953 --> 00:02:16,053 It's perfect for us to start analyzing bodies in films. 26 00:02:16,615 --> 00:02:20,585 One of the two main characters, Pomme, you're in Iran. 27 00:02:20,686 --> 00:02:23,152 She observes the covered women. 28 00:02:23,253 --> 00:02:28,352 Varda films them from behind. Almost no skin is visible. 29 00:02:28,453 --> 00:02:31,185 The veiled bodies make Pomme think... 30 00:02:31,286 --> 00:02:34,689 I feel strange about my body since I arrived. 31 00:02:34,790 --> 00:02:36,452 Because of Darius, of course, 32 00:02:36,553 --> 00:02:39,953 and being far from everything, you feel different. 33 00:02:40,334 --> 00:02:43,767 Among veiled women, I feel more naked than nakedness itself. 34 00:02:43,868 --> 00:02:45,852 I feel close to my body. 35 00:02:45,953 --> 00:02:50,820 The more the skin is hidden, the more she thinks about her skin. 36 00:02:53,286 --> 00:02:55,720 Absence draws attention. 37 00:02:58,918 --> 00:03:01,651 You received a scholarship and still you don't want to go... 38 00:03:01,752 --> 00:03:07,286 Yasmin Ahmad's Malaysian short seems to play with Varda's idea. 39 00:03:07,886 --> 00:03:10,462 A young man argues with his mother. 40 00:03:10,563 --> 00:03:13,130 A visually compressed frame. 41 00:03:13,343 --> 00:03:15,619 Suddenly, a call comes out of the picture. 42 00:03:15,720 --> 00:03:17,486 Hello! 43 00:03:18,900 --> 00:03:20,700 I'm not done talking yet. 44 00:03:21,633 --> 00:03:22,866 And a store. 45 00:03:22,967 --> 00:03:24,500 What do you want? 46 00:03:27,467 --> 00:03:29,566 She laughs at the ridiculous hat 47 00:03:29,667 --> 00:03:32,100 or because he is half naked? 48 00:03:34,467 --> 00:03:36,167 How can I help you? 49 00:03:37,000 --> 00:03:38,666 Do you have size A batteries? 50 00:03:38,767 --> 00:03:40,067 Yes... 51 00:03:44,667 --> 00:03:46,466 Why does he give her this? 52 00:03:46,567 --> 00:03:48,133 To mock her? 53 00:03:49,233 --> 00:03:51,066 She's so covered. 54 00:03:51,167 --> 00:03:53,632 He's so uncovered. 55 00:03:53,733 --> 00:03:56,699 He's relaxed, and even challenging, 56 00:03:56,800 --> 00:03:58,749 in relation to her nudity. 57 00:03:58,884 --> 00:04:02,800 Malaysian culture shock, gender clash, 58 00:04:02,911 --> 00:04:04,878 clash of clothing. 59 00:04:08,671 --> 00:04:12,083 I only have 15 without... It's not enough. 60 00:04:12,184 --> 00:04:15,383 Why this little talk? with the malaysian girl? 61 00:04:15,484 --> 00:04:17,184 I'm coming! 62 00:04:20,185 --> 00:04:23,583 The boy had the luxury to be able to take off the t-shirt, 63 00:04:23,684 --> 00:04:26,718 the confidence to take it off. 64 00:04:30,916 --> 00:04:35,350 Laure, the girl from Tomboy who pretends to be a boy, 65 00:04:35,451 --> 00:04:37,683 want to take yours. 66 00:04:37,784 --> 00:04:41,450 She wants freedom that boys have it and girls don't. 67 00:04:41,551 --> 00:04:45,551 She doesn't want to be forced to cover up, to be feminine. 68 00:04:51,204 --> 00:04:53,037 And then she takes it off. 69 00:04:53,604 --> 00:04:58,450 We are close to Laure and everything else is blurry. 70 00:04:58,551 --> 00:05:00,784 Suddenly a spit. 71 00:05:01,132 --> 00:05:03,732 More boy stuff than that is impossible. 72 00:05:25,947 --> 00:05:29,276 Religion is the main thing paradigm in Malay film. 73 00:05:29,377 --> 00:05:32,544 Gender is the issue in Tomboy. 74 00:05:35,080 --> 00:05:38,113 Andrea Arnold shows us a similar situation, 75 00:05:38,214 --> 00:05:41,780 but this time the class is in the foreground. 76 00:05:52,647 --> 00:05:54,779 A working-class kitchen. 77 00:05:54,880 --> 00:05:58,247 Mia, 15 years old, wants to be a dancer. 78 00:05:58,680 --> 00:06:03,713 She sees sexualized bodies in some glamorous, American, 79 00:06:03,814 --> 00:06:06,247 dark and sunny place. 80 00:06:11,214 --> 00:06:14,947 Andrea Arnold films her from below. 81 00:06:16,880 --> 00:06:20,113 On TV, there is a yacht, an inaccessible lifestyle, 82 00:06:20,214 --> 00:06:21,413 but suddenly... 83 00:06:21,514 --> 00:06:25,414 Don't worry about me, carry on, I was enjoying it. 84 00:06:25,780 --> 00:06:29,680 Under the sunlight, there is a body same as the video. 85 00:06:33,580 --> 00:06:35,979 -Are you making eggs? -No. 86 00:06:36,080 --> 00:06:38,613 She now looks at the bodies on TV 87 00:06:38,714 --> 00:06:40,914 or to that of the boy who just entered? 88 00:06:41,280 --> 00:06:43,047 I'm making tea. 89 00:06:43,947 --> 00:06:45,414 All good. 90 00:06:46,080 --> 00:06:48,580 It's as if we were in the Malaysian store. 91 00:06:49,547 --> 00:06:52,513 Her physical life will be like on TV 92 00:06:52,614 --> 00:06:54,747 or just making some tea? 93 00:06:57,080 --> 00:07:00,010 -It was a compliment. -What do you understand about this? 94 00:07:00,111 --> 00:07:02,344 Young and working class, 95 00:07:02,445 --> 00:07:06,178 her body is the best thing Mia has. 96 00:07:12,011 --> 00:07:14,977 Varda, Ahmad, Sciamma and Arnold 97 00:07:15,078 --> 00:07:18,885 are questioning whether the bodies are disruptive or not. 98 00:07:18,986 --> 00:07:24,119 Nakedness comes before religion, gender and class? 99 00:07:35,545 --> 00:07:40,377 The notable Iranian film by Marva Nabili, from 1977, 100 00:07:40,478 --> 00:07:43,444 The Sealed Soil, again. 101 00:07:43,545 --> 00:07:46,177 We are in pre-Revolution Iran. 102 00:07:46,278 --> 00:07:49,944 In cities, women they still wore miniskirts 103 00:07:50,045 --> 00:07:53,310 and cinemas showed sexualized films. 104 00:07:53,411 --> 00:07:56,978 But here in the country, things are traditional. 105 00:07:58,878 --> 00:08:03,145 Our main character mow and feel the rain. 106 00:08:10,731 --> 00:08:12,795 And then, she takes off the veil. 107 00:08:13,278 --> 00:08:17,445 We stood strictly behind her, immobile. 108 00:08:17,778 --> 00:08:19,878 It's like a Manet painting. 109 00:08:39,411 --> 00:08:41,244 Now your hair is down. 110 00:08:41,345 --> 00:08:45,411 She feels the rain, the wind... 111 00:08:53,378 --> 00:08:56,711 Your clothes stop being a prison. 112 00:09:04,104 --> 00:09:07,444 And then it happens. She is half naked. 113 00:09:07,545 --> 00:09:11,478 And hug yourself, due to the cold or something else? 114 00:09:21,511 --> 00:09:24,478 She got half naked out of the house ever? 115 00:09:26,209 --> 00:09:29,844 We read the movements on your back, on your head. 116 00:09:29,945 --> 00:09:35,045 This was, with this simplicity, the best moment of your life? 117 00:09:42,678 --> 00:09:45,444 Your village later call an exorcist 118 00:09:45,545 --> 00:09:50,278 to free her from whatever, whatever Whatever it was, it made her act like this. 119 00:09:55,855 --> 00:09:58,510 Marva Nabili's beautiful film 120 00:09:58,611 --> 00:10:01,845 never aired in Iran. 121 00:10:06,511 --> 00:10:08,277 Imprisoned bodies, 122 00:10:08,378 --> 00:10:10,552 forbidden bodies 123 00:10:10,653 --> 00:10:12,286 and then we have this... 124 00:10:12,537 --> 00:10:16,810 Decisive Night, by Pirjo Honkasalo, again. 125 00:10:17,178 --> 00:10:19,977 Two guys broke in an oil refinery 126 00:10:20,078 --> 00:10:22,110 and swam there. 127 00:10:22,211 --> 00:10:25,577 They are drying out now, watching the sunset. 128 00:10:25,678 --> 00:10:29,878 The contrasting, organic, agile bodies. 129 00:10:31,307 --> 00:10:35,274 One of them hangs, which emphasizes agility. 130 00:10:37,445 --> 00:10:38,944 What do we see? 131 00:10:39,045 --> 00:10:43,678 Iron structures like in a painting by Fernand Leger. 132 00:10:45,889 --> 00:10:49,851 In Finland, what stops them to take off your clothes? 133 00:10:49,952 --> 00:10:51,485 Almost nothing. 134 00:10:57,296 --> 00:10:59,962 What does this scene symbolize? 135 00:11:02,324 --> 00:11:04,058 Almost nothing. 136 00:11:15,450 --> 00:11:18,343 Therefore, when the oppressors religious people are eliminated, 137 00:11:18,444 --> 00:11:21,243 gender conventions are suppressed 138 00:11:21,344 --> 00:11:24,005 and inhibitions cast aside, 139 00:11:24,119 --> 00:11:27,886 and before we go for sex in the next chapter, 140 00:11:27,987 --> 00:11:30,054 Where does this take us? 141 00:11:39,415 --> 00:11:43,314 In Good Work, Claire Denis sometimes suggests 142 00:11:43,415 --> 00:11:46,181 that bodies are pure materiality. 143 00:11:46,282 --> 00:11:49,681 A body is something with which you might collide, 144 00:11:49,782 --> 00:11:53,948 like a wall you hit and that interrupts your inertia. 145 00:11:54,648 --> 00:11:59,381 There is something more to this scene, beyond the hugs thrown, 146 00:11:59,482 --> 00:12:02,214 the clash of skin on skin 147 00:12:02,315 --> 00:12:05,564 makes it seem like they are trapped in a noose, 148 00:12:05,729 --> 00:12:10,929 discovering and forgetting that bodies are just things. 149 00:12:11,515 --> 00:12:15,515 Is that really it? A wave against a rock? 150 00:12:31,282 --> 00:12:34,414 Leni Riefenstahl saw something Aryan 151 00:12:34,515 --> 00:12:38,447 and even Nazi these athletes in a sauna, 152 00:12:38,548 --> 00:12:41,847 but your camera can barely lie. 153 00:12:41,948 --> 00:12:45,814 The pleasure of touching each other's arms is palpable 154 00:12:45,915 --> 00:12:48,181 and sore muscles. 155 00:12:48,282 --> 00:12:49,515 The heat... 156 00:12:51,048 --> 00:12:52,582 The stretching... 157 00:12:58,148 --> 00:13:00,782 The feeling of water running... 158 00:13:11,748 --> 00:13:16,882 It is comparable to this scene very different from Mustang. 159 00:13:17,415 --> 00:13:19,481 The girls are suffering. 160 00:13:19,582 --> 00:13:22,148 Their bodies fill the screen. 161 00:13:22,482 --> 00:13:25,037 The comfort of touch. 162 00:13:25,273 --> 00:13:28,173 The soft brush of the arm. 163 00:13:28,919 --> 00:13:31,486 The comfort of another human being. 164 00:13:32,715 --> 00:13:35,015 The picture is complete. 165 00:13:38,048 --> 00:13:40,282 They took care of him. 166 00:13:46,948 --> 00:13:48,647 Covering, revealing, 167 00:13:48,748 --> 00:13:53,614 religious and gender taboos and the consolations of touch. 168 00:13:53,715 --> 00:13:57,747 Above all that, great directors filmed bodies 169 00:13:57,848 --> 00:14:01,315 in remarkable cinematic ways. 170 00:14:03,248 --> 00:14:05,748 Let's focus on hands. 171 00:14:06,815 --> 00:14:12,247 Check out this scene from Maya Deren in Ritual in Transfigured Time, 172 00:14:12,348 --> 00:14:16,014 A group of people and then the image freezes. 173 00:14:16,115 --> 00:14:19,315 What do we notice? Their hands. 174 00:14:19,648 --> 00:14:21,614 Six hands. 175 00:14:21,715 --> 00:14:23,648 Unveiling... 176 00:14:29,432 --> 00:14:31,332 And return to your hands. 177 00:14:39,482 --> 00:14:43,314 Then another scene that seems emphasize hand movement 178 00:14:43,415 --> 00:14:45,482 and then another freeze. 179 00:14:53,682 --> 00:14:55,548 Then his hand, 180 00:14:58,582 --> 00:14:59,914 hers... 181 00:15:00,015 --> 00:15:01,848 Extended. 182 00:15:05,182 --> 00:15:07,815 Then, this hand waving. 183 00:15:10,315 --> 00:15:12,548 A hand that alerts. 184 00:15:13,282 --> 00:15:14,981 There are no closed plans, 185 00:15:15,082 --> 00:15:18,214 just hands like a flock of seagulls, 186 00:15:18,315 --> 00:15:19,681 like a traffic light, 187 00:15:19,782 --> 00:15:23,982 a page in one of the notebooks of Leonardo's drawing. 188 00:15:29,648 --> 00:15:32,447 We're in slow motion, of course, 189 00:15:32,548 --> 00:15:36,515 and silent, which sharpens our eyes. 190 00:15:44,982 --> 00:15:48,114 From dancing hands to healing hands 191 00:15:48,215 --> 00:15:52,114 and one of the best films made on bodies, 192 00:15:52,215 --> 00:15:57,081 that of the Iranian poet and director Forough Farrokzhad... 193 00:15:57,182 --> 00:15:59,515 The House is Dark. 194 00:16:00,515 --> 00:16:05,382 We are in what in 1963 was called of a leper colony." 195 00:16:05,926 --> 00:16:08,712 Below this woman's hands. 196 00:16:08,813 --> 00:16:12,347 Then this lovely hand massage. 197 00:16:14,148 --> 00:16:15,247 Ps. 198 00:16:15,348 --> 00:16:17,182 More manipulation. 199 00:16:17,515 --> 00:16:19,648 Each shot, a sketch. 200 00:16:29,982 --> 00:16:32,415 Forough now watches feet. 201 00:16:40,615 --> 00:16:45,215 Its cut is so rhythmic, so elaborate. 202 00:16:49,505 --> 00:16:50,580 That's it. 203 00:16:50,681 --> 00:16:53,480 -Painful. -Very painful. 204 00:16:53,581 --> 00:16:58,615 Dancing hands, hands that heal and then hands that work. 205 00:17:00,139 --> 00:17:03,593 The award-winning Chinese film 206 00:17:03,694 --> 00:17:07,556 23 year old Liu Jiayin: Oxhide. 207 00:17:08,215 --> 00:17:09,714 His father's voice. 208 00:17:09,815 --> 00:17:11,680 It doesn't matter, the cow is always slaughtered. 209 00:17:11,781 --> 00:17:13,497 He works with leather. 210 00:17:13,598 --> 00:17:15,932 Make bags. 211 00:17:16,781 --> 00:17:20,147 Hands doing what hands do: Touch. 212 00:17:20,248 --> 00:17:22,314 Caressing the ox's hide. 213 00:17:22,415 --> 00:17:27,115 A family of workers and, literally, manual labor. 214 00:17:29,948 --> 00:17:32,547 But it's as if we were looking at a stage. 215 00:17:32,648 --> 00:17:33,981 There is no cutting. 216 00:17:36,181 --> 00:17:41,048 Hands enter, wander and then they leave the scene. 217 00:17:43,548 --> 00:17:46,080 The painting enlarges them. 218 00:17:46,181 --> 00:17:48,664 And celebrate them. 219 00:17:49,235 --> 00:17:51,265 Selling them cheap makes me feel sorry for the cow. 220 00:17:55,448 --> 00:17:56,715 He forgets. 221 00:18:01,181 --> 00:18:03,247 In Visages, Villages, 222 00:18:03,348 --> 00:18:08,615 street artist JR celebrates the feet of Agnes Varda. 223 00:18:09,681 --> 00:18:13,780 He traps them through the paper to visually isolate them. 224 00:18:13,881 --> 00:18:15,347 He's in charge. 225 00:18:15,448 --> 00:18:17,547 And then she tells us... 226 00:18:17,648 --> 00:18:20,248 It looks like a wrinkled heart, 227 00:18:20,815 --> 00:18:24,447 just like the photo of the potatoes I made, young and old. 228 00:18:24,548 --> 00:18:26,914 Have seen at your feet a heart 229 00:18:27,015 --> 00:18:29,347 and an old photograph he had taken. 230 00:18:29,448 --> 00:18:32,180 They use technology simplest possible 231 00:18:32,281 --> 00:18:35,314 and make your feet become larger than life... 232 00:18:35,415 --> 00:18:36,580 Very pretty. 233 00:18:36,681 --> 00:18:38,547 Who had the idea? 234 00:18:38,648 --> 00:18:41,381 How cinema is larger than life. 235 00:18:42,148 --> 00:18:46,635 They look pretty small, it's true. 236 00:18:46,736 --> 00:18:49,403 But everything is fine. 237 00:18:56,948 --> 00:19:00,181 Leaving the focus on hands and feet, 238 00:19:00,282 --> 00:19:03,815 and individual bodies, 239 00:19:03,916 --> 00:19:09,249 we have collective bodies moving in unison. 240 00:19:09,582 --> 00:19:12,882 Two radical examples opposites of that... 241 00:19:13,949 --> 00:19:18,816 Leni Riefenstahl starts this sequence with some women. 242 00:19:21,516 --> 00:19:24,282 And then there is a merger with several others. 243 00:19:24,649 --> 00:19:27,781 She likes the pattern, the formation. 244 00:19:27,882 --> 00:19:31,648 Of conformity. And she doesn't stop there. 245 00:19:31,749 --> 00:19:37,581 Another fusion, more open image and standardized. And then one more. 246 00:19:37,682 --> 00:19:42,749 Individuality and psychology they no longer exist. 247 00:19:43,082 --> 00:19:45,581 We see only mass submission, 248 00:19:45,682 --> 00:19:49,015 a radical lack of interiority. 249 00:19:49,116 --> 00:19:53,282 The body as the solid part of the construction of the State. 250 00:19:58,082 --> 00:20:01,481 Wanda Jakubowska does it in The Last Step 251 00:20:01,582 --> 00:20:06,882 something visually similar, but a world away. 252 00:20:07,616 --> 00:20:10,681 We start at the feet and then we go up to the heads. 253 00:20:10,782 --> 00:20:13,615 Suffering and numbered uniforms 254 00:20:13,716 --> 00:20:17,216 We are told we are in Auschwitz. 255 00:20:17,649 --> 00:20:19,682 Women rock. 256 00:20:20,249 --> 00:20:27,116 As we heard before, Jakubowska was imprisoned in Auschwitz 257 00:20:28,316 --> 00:20:32,515 and now, a year later liberation from the field of death, 258 00:20:32,616 --> 00:20:35,749 makes this surprising film. 259 00:20:39,154 --> 00:20:41,981 Your camera rotates up and to the right, 260 00:20:42,082 --> 00:20:46,548 and women become a sea of ​​heads, of waves. 261 00:20:46,649 --> 00:20:49,615 They move in solidarity, 262 00:20:49,716 --> 00:20:53,716 in joint pain, in lament. 263 00:20:54,349 --> 00:20:59,649 The opposite of official dance by Riefenstahl. 264 00:21:05,216 --> 00:21:08,381 The women of Auschwitz formed a powerful image, 265 00:21:08,482 --> 00:21:10,915 but they were not symbols. 266 00:21:11,016 --> 00:21:15,816 Bodies in films tend to be explicitly so. 267 00:21:16,782 --> 00:21:20,048 The great director of the silent era, Lois Weber, 268 00:21:20,149 --> 00:21:22,181 appears for the second time in our history. 269 00:21:22,282 --> 00:21:24,348 Bourgeois lovers. 270 00:21:24,449 --> 00:21:28,615 The woman dressed in virginal white, he knelt beside. 271 00:21:28,716 --> 00:21:33,181 Then a religious man arrives bringing a ghostly naked woman. 272 00:21:33,282 --> 00:21:34,848 She holds up a mirror. 273 00:21:34,949 --> 00:21:38,416 Their image is blurred, but not hers. 274 00:21:38,749 --> 00:21:40,748 And she sees in her mirror 275 00:21:40,849 --> 00:21:44,549 the truth behind the bourgeois surface. 276 00:21:45,049 --> 00:21:48,049 He is intimate with other women. 277 00:21:49,716 --> 00:21:51,149 Smoke, 278 00:21:57,282 --> 00:22:00,116 drinks, gambles and fights. 279 00:22:02,149 --> 00:22:06,082 The mirror shows these glimpses of truth. 280 00:22:09,103 --> 00:22:13,015 Her naked body symbolizes the truth, naked. 281 00:22:13,116 --> 00:22:14,815 Nothing to hide. 282 00:22:14,916 --> 00:22:18,650 Shameless. Even pure. 283 00:22:20,641 --> 00:22:25,115 A bold reversal of ideas more prudish about nudity. 284 00:22:27,935 --> 00:22:33,048 Eight decades later, the body started to mean something else. 285 00:22:33,149 --> 00:22:37,081 The Mary Harron film based in the book by Brett Easton Ellis, 286 00:22:37,182 --> 00:22:38,714 American Psycho, 287 00:22:38,815 --> 00:22:42,914 shows a body in the era of hyper-capitalism. 288 00:22:43,015 --> 00:22:47,048 After taking off the ice mask, a lotion to clean the pores. 289 00:22:47,149 --> 00:22:51,115 In the shower, I use water-activated shampoo... 290 00:22:52,982 --> 00:22:55,648 Then, body exfoliation with almonds and honey. 291 00:22:55,749 --> 00:22:58,948 And on the face, exfoliating gel. 292 00:22:59,049 --> 00:23:01,048 It's commodification. 293 00:23:01,149 --> 00:23:03,048 He wants to look young, 294 00:23:03,149 --> 00:23:07,282 powerful, sexual, like the bodies in the advertisements. 295 00:23:08,673 --> 00:23:12,339 Then I apply a mint mask Urdu and leave it for 10 minutes 296 00:23:12,440 --> 00:23:14,839 while I prepare the rest of my routine. 297 00:23:14,940 --> 00:23:19,272 If in Weber's silent film, a naked body shows the truth, 298 00:23:19,373 --> 00:23:22,072 here, he hides the truth... 299 00:23:22,173 --> 00:23:27,452 Of your alienation, anger, emptiness and despair. 300 00:23:27,553 --> 00:23:33,253 Then, anti-wrinkle balm for the eyes and a final moisturizer. 301 00:23:34,440 --> 00:23:37,472 It's a mask, an armor. 302 00:23:37,573 --> 00:23:41,372 So planned, so devoid of individuality 303 00:23:41,473 --> 00:23:44,473 and as arrogant as your apartment. 304 00:23:45,340 --> 00:23:47,605 And although I can hide my cold gaze 305 00:23:47,706 --> 00:23:50,772 and you can shake my hand, feel the flesh gripping yours 306 00:23:50,873 --> 00:23:55,173 and until you find that our styles they are similar. 307 00:23:55,873 --> 00:23:59,373 I'm just not there. 308 00:24:03,906 --> 00:24:07,362 The woman's body in Germany, Pale Mother 309 00:24:07,463 --> 00:24:09,572 It's more symbolic. 310 00:24:09,673 --> 00:24:12,806 We are still in the shadow of the Second World War. 311 00:24:13,206 --> 00:24:15,840 She's been through a lot. 312 00:24:16,461 --> 00:24:18,528 Close-up on her face. 313 00:24:18,940 --> 00:24:21,424 Half of him is paralyzed. 314 00:24:21,525 --> 00:24:24,624 Half the nerves died, 315 00:24:24,725 --> 00:24:27,191 how Germany died, 316 00:24:27,292 --> 00:24:30,324 how his marriage also died. 317 00:24:30,425 --> 00:24:33,824 Half of her refuses to face the future, 318 00:24:33,925 --> 00:24:37,358 what the world calls peace. 319 00:24:58,055 --> 00:25:00,455 What there was? 320 00:25:05,384 --> 00:25:06,798 I... 321 00:25:06,899 --> 00:25:09,565 I don't know... 322 00:25:10,584 --> 00:25:13,917 Suddenly it was like this... 323 00:25:21,634 --> 00:25:23,999 Still in the Second World War. 324 00:25:24,100 --> 00:25:28,000 The Inheritance, by M�rta M�sz�ros. 325 00:25:29,534 --> 00:25:32,258 Isabelle Huppert is a young Jewish surrogate mother 326 00:25:32,359 --> 00:25:35,592 expecting a baby for another couple. 327 00:25:36,301 --> 00:25:37,300 Close-up. 328 00:25:37,401 --> 00:25:41,013 Your pain. Your body is suffering. 329 00:25:42,367 --> 00:25:45,970 Cut to the woman who she's having the baby for. 330 00:25:46,071 --> 00:25:50,003 In your elegant room of the Austro-Hungarian Empire, 331 00:25:50,104 --> 00:25:52,604 she imagines herself giving birth. 332 00:25:54,204 --> 00:25:57,071 Cut back to the actual birth. 333 00:26:00,660 --> 00:26:04,293 And for the imagination. The most open plan... 334 00:26:10,348 --> 00:26:12,015 The suffering of the body... 335 00:26:16,001 --> 00:26:17,435 And then... 336 00:26:20,032 --> 00:26:21,599 The pain of the mind. 337 00:26:30,999 --> 00:26:34,432 The sound of the baby shivers the adoptive mother. 338 00:26:39,571 --> 00:26:43,331 She holds her head. The pain is up here. 339 00:26:43,432 --> 00:26:48,332 M�sz�ros is filming the body-mind division. 340 00:27:01,499 --> 00:27:04,898 Covered bodies, the materiality of bodies, 341 00:27:04,999 --> 00:27:10,523 hands in cinema, collective bodies, symbolic bodies. 342 00:27:10,624 --> 00:27:14,591 Finally, an impossible body. 343 00:27:14,999 --> 00:27:19,499 A shocking revelation in a great film about bodies. 344 00:27:20,232 --> 00:27:22,760 A woman without eyebrows. 345 00:27:22,861 --> 00:27:25,727 Pale as a Balthus painting. 346 00:27:26,830 --> 00:27:29,464 And then something like with an ultrasound. 347 00:27:34,799 --> 00:27:39,298 One of the boys we've seen before in this supernatural film. 348 00:27:39,399 --> 00:27:43,066 It's his belly that's being scanned. 349 00:27:43,499 --> 00:27:45,099 He's pregnant. 350 00:27:45,832 --> 00:27:50,498 One of the impossibilities in the controlled and austere world 351 00:27:50,599 --> 00:27:57,165 by director Hadzihalilovic It's that birth has been reinvented. 352 00:28:00,632 --> 00:28:05,132 The bodies of science fiction are usually redirected. 353 00:28:07,165 --> 00:28:10,299 Biology has been overcome. 354 00:28:26,533 --> 00:28:30,231 It's no wonder that a movie, a visual work seen in the dark, 355 00:28:30,332 --> 00:28:33,365 was and is bewitched by sex. 356 00:28:34,399 --> 00:28:36,964 As one of the things most attractive adults 357 00:28:37,065 --> 00:28:38,899 wouldn't it attract the lenses? 358 00:28:39,632 --> 00:28:41,664 Mostly, men controlled the lenses, 359 00:28:41,765 --> 00:28:44,115 which is noticeable by the results, 360 00:28:44,266 --> 00:28:47,198 but how did the directors film the sex? 361 00:28:47,299 --> 00:28:50,599 What can we learn from your How to turn it into a cinema? 362 00:28:53,574 --> 00:28:57,731 CHAPTER 19 - SEX 363 00:28:57,832 --> 00:29:01,464 The first thing to say How many films are pre-sex, 364 00:29:01,565 --> 00:29:04,532 On the verge of sex, anticipating sex. 365 00:29:06,329 --> 00:29:09,398 The actress' debut film and French director Diane Kurys, 366 00:29:09,499 --> 00:29:11,165 Diabolo Menthe. 367 00:29:12,199 --> 00:29:16,165 Teenagers, Paris, 1963. 368 00:29:16,499 --> 00:29:20,499 Anticipating sex, imagining sex. 369 00:29:21,065 --> 00:29:25,198 Kurys filmed them well framed, strong light, 370 00:29:25,299 --> 00:29:27,499 the glow of comic lighting. 371 00:29:29,032 --> 00:29:31,998 Crystal clear images that capture your delicious confusion 372 00:29:32,099 --> 00:29:34,065 about what sex will be about. 373 00:29:36,265 --> 00:29:38,224 I slept with a boy. 374 00:29:39,835 --> 00:29:41,668 It's true. 375 00:29:42,461 --> 00:29:44,818 -And what happened? -Nothing. 376 00:29:45,065 --> 00:29:47,931 I went to his house, I mean, his parents... 377 00:29:48,032 --> 00:29:51,165 We went to the bedroom and he kissed me on the mouth. 378 00:29:51,567 --> 00:29:53,564 -Did he stick his tongue out? -Of course. 379 00:29:53,665 --> 00:29:57,099 -How disgusting! -That's how it's done. 380 00:29:58,524 --> 00:30:00,635 He asked me to take off my clothes. 381 00:30:00,736 --> 00:30:03,005 And did you take it? In front of him? 382 00:30:03,165 --> 00:30:07,498 Yes. And then he asked me to lie naked in bed. 383 00:30:07,599 --> 00:30:10,021 -I don't believe it. -I swear it's true! 384 00:30:10,227 --> 00:30:11,289 And then? 385 00:30:11,390 --> 00:30:13,878 -What do you mean later? -What happened? 386 00:30:13,979 --> 00:30:18,113 Nothing. He lay down next to me and read a comic book. 387 00:30:18,214 --> 00:30:20,647 -Is that it? -Yes. 388 00:30:31,699 --> 00:30:35,599 The end of innocence takes it one step further. 389 00:30:36,085 --> 00:30:39,868 The girls ran away from school and they went to this source. 390 00:30:40,008 --> 00:30:42,964 Boys kicked your ball football in the fountain 391 00:30:43,065 --> 00:30:44,965 and one of them went to get her. 392 00:30:52,832 --> 00:30:55,229 One of the girls partially sees him, 393 00:30:55,330 --> 00:31:00,330 but Hadzihalilovic uses the source to cover your vision. 394 00:31:00,732 --> 00:31:02,932 The scene is like a premonition... 395 00:31:05,902 --> 00:31:09,702 Sexuality is partially hidden by the fountain of youth. 396 00:31:45,144 --> 00:31:48,877 And then, the last take by director Hadzhalilovic... 397 00:31:51,891 --> 00:31:55,191 Beautiful, unprecedented. 398 00:31:55,699 --> 00:31:57,898 Alfred Hitchcock Said a shot from above 399 00:31:57,999 --> 00:32:00,665 It's like the top string of a violin. 400 00:32:07,513 --> 00:32:09,913 All right, who's next? 401 00:32:10,014 --> 00:32:14,764 I've Never Been a Saint, by Jamie Babbit. A gay healing camp. 402 00:32:14,865 --> 00:32:18,298 Comic book colors, compositions, attitudes. 403 00:32:18,399 --> 00:32:21,098 A view of sex so foolish and uninformed 404 00:32:21,199 --> 00:32:23,231 as for the girls of Diabolo Menthe. 405 00:32:23,332 --> 00:32:27,731 It's fun, we're making love. There's nothing dirty about that. 406 00:32:27,832 --> 00:32:30,831 Sex is beautiful when practiced between man and woman. 407 00:32:30,932 --> 00:32:32,208 Mommy! 408 00:32:32,499 --> 00:32:34,198 Very well, not in this position, 409 00:32:34,299 --> 00:32:37,564 the woman opens her legs, like a flower. 410 00:32:37,665 --> 00:32:39,398 Well done, Graham! 411 00:32:39,499 --> 00:32:44,065 At that moment, the man inserts himself into the woman. 412 00:32:49,799 --> 00:32:53,232 Yes, that's it... Yes, that's it! 413 00:32:53,699 --> 00:32:56,064 -Mrs. Brown? -What happened, Joe? 414 00:32:56,165 --> 00:32:59,464 -What about foreplay? -Foreplay is for sissies! 415 00:32:59,565 --> 00:33:02,731 Real men, shove, unload and leave. 416 00:33:02,832 --> 00:33:04,055 Mom! 417 00:33:06,432 --> 00:33:08,764 In Senegal, in contrast, 418 00:33:08,865 --> 00:33:13,432 Safi Faye shows maturity of sexual teaching. 419 00:33:13,997 --> 00:33:16,479 This woman is having sex with your husband. 420 00:33:16,582 --> 00:33:19,249 A golden and polished scene. 421 00:33:19,965 --> 00:33:23,731 Suddenly a scream outside from the painting of teenager Mossane. 422 00:33:23,832 --> 00:33:24,931 Dibor! 423 00:33:25,032 --> 00:33:27,598 I'm going to cum! Stay! 424 00:33:28,498 --> 00:33:31,231 Go away, my friend is coming. 425 00:33:31,332 --> 00:33:33,232 She is still a child. 426 00:33:39,665 --> 00:33:41,232 Are you there? 427 00:33:42,465 --> 00:33:43,797 Is it you, Mossane? 428 00:33:43,898 --> 00:33:45,497 -Yes. -Between. 429 00:33:45,598 --> 00:33:47,513 The woman does not hide her pleasure. 430 00:33:47,712 --> 00:33:50,177 She describes her context and her fun. 431 00:33:50,278 --> 00:33:54,633 My body is tingling of soft and deep caresses. 432 00:33:54,734 --> 00:33:57,904 -Tell me about it. -My husband Daouda... 433 00:33:58,107 --> 00:34:01,641 I came to talk about Fara. Just his... 434 00:34:02,165 --> 00:34:04,464 When Daouda returns from the field, 435 00:34:04,565 --> 00:34:09,203 suffering from working so much and I feel like loving, 436 00:34:09,304 --> 00:34:11,270 his energy is reborn. 437 00:34:11,860 --> 00:34:14,159 And when it's over, my heart races 438 00:34:14,260 --> 00:34:18,439 and beats like a drum. 439 00:34:18,540 --> 00:34:21,140 Again the warmth and brightness of the images. 440 00:34:21,241 --> 00:34:22,774 I am going to take a bath. 441 00:34:27,860 --> 00:34:29,360 Put on that dress. 442 00:34:32,427 --> 00:34:33,894 And then this... 443 00:34:43,227 --> 00:34:44,526 Stop! 444 00:34:44,627 --> 00:34:47,194 Unconscious, fun. 445 00:34:57,994 --> 00:35:02,927 And here is a fifth scene imagining sex, anticipating sex... 446 00:35:04,427 --> 00:35:07,225 Like almost everything in the film Attenberg, 447 00:35:07,326 --> 00:35:10,259 your notion of sex is surreal. 448 00:35:10,994 --> 00:35:12,626 Bella, on the left, 449 00:35:12,727 --> 00:35:15,959 is counting is sexually inexperienced Marina, on the right, 450 00:35:16,060 --> 00:35:19,159 about bizarre and unreal sexual cacti 451 00:35:19,260 --> 00:35:21,460 where penises hang. 452 00:35:24,060 --> 00:35:27,494 Some curved to the left, others to the right... 453 00:35:28,094 --> 00:35:31,927 Some with foreskin, others without. 454 00:35:33,127 --> 00:35:36,294 Trees with thorns. Prickly. 455 00:35:36,660 --> 00:35:38,516 For the sobriety of the walk, 456 00:35:38,617 --> 00:35:40,927 they appear to be at a funeral. 457 00:35:41,150 --> 00:35:43,483 An unblinking socket. 458 00:35:43,584 --> 00:35:48,599 Some were small and withered, but they swayed a little... 459 00:35:49,540 --> 00:35:51,747 As if they were breathing. 460 00:35:54,838 --> 00:35:57,683 Depicted images of sex and men 461 00:35:57,784 --> 00:36:00,284 like in a Salvador Dali painting. 462 00:36:09,030 --> 00:36:11,849 Fun, glimpsed, stereotyped, 463 00:36:11,950 --> 00:36:14,417 taught, surreal. 464 00:36:14,907 --> 00:36:17,940 Some of the ways in which sex can be brought forward. 465 00:36:18,524 --> 00:36:21,224 And then we started doing it. 466 00:36:22,818 --> 00:36:26,351 With a certain innocence in Betting on Love, by Nancy Savoca. 467 00:36:37,126 --> 00:36:39,726 Hiding the condom in a teddy bear. 468 00:36:40,993 --> 00:36:43,292 River Phoenix is a marine 18 year old naval officer, 469 00:36:43,393 --> 00:36:45,659 heading to Okinawa the next morning. 470 00:36:46,126 --> 00:36:49,659 He rushes because he doesn't want to let her see him undressing. 471 00:36:53,759 --> 00:36:55,425 Lily Taylor is his girlfriend. 472 00:36:55,526 --> 00:36:58,493 She's getting dressed before sex! 473 00:36:58,959 --> 00:37:00,592 A Doris Day evening dress. 474 00:37:00,693 --> 00:37:03,767 It's 1963. She looks so young. 475 00:37:03,868 --> 00:37:06,002 Cut to the scene between them. 476 00:37:06,759 --> 00:37:10,759 A poster of Odetta Holmes, civil rights activist. 477 00:37:11,393 --> 00:37:14,559 The difficult world, The world of war is out there. 478 00:37:23,159 --> 00:37:25,342 Taylor wants to be a folk singer. 479 00:37:25,594 --> 00:37:27,726 He hurt her a lot at the beginning of the film... 480 00:37:27,827 --> 00:37:32,127 In addition to tenderness, there is a reparation here. 481 00:37:32,359 --> 00:37:33,793 You look beautiful. 482 00:37:42,926 --> 00:37:45,293 -You are very beautiful. -Thanks. 483 00:37:47,626 --> 00:37:49,859 Affection and restorative sex. 484 00:37:53,826 --> 00:37:55,726 Sorry, the bed is small. 485 00:37:57,326 --> 00:37:58,959 And Bob Dylan... 486 00:38:14,459 --> 00:38:18,693 Well, there's no point If you ask why, baby 487 00:38:19,859 --> 00:38:22,293 If you don't know by now 488 00:38:23,559 --> 00:38:27,393 Well, there's no point If you ask why, baby 489 00:38:28,804 --> 00:38:31,437 It will never help 490 00:38:32,247 --> 00:38:33,947 When your rooster crows 491 00:38:34,048 --> 00:38:36,725 One of the happiest cinema sex scenes 492 00:38:36,826 --> 00:38:38,659 It is one of the shortest. 493 00:38:39,371 --> 00:38:42,237 Mr. Pascal again, by Alison De Vere. 494 00:38:44,793 --> 00:38:47,293 Mr. Pascal remembers an old love 495 00:38:49,326 --> 00:38:52,326 and suddenly she is naked, all blue. Curtains. 496 00:38:52,926 --> 00:38:56,991 A vagina, a penis, flowers, ecstasy, the end. 497 00:38:57,092 --> 00:38:59,926 And the two are one. How about that? 498 00:39:02,859 --> 00:39:05,559 Longer and more realistic, 499 00:39:05,892 --> 00:39:08,932 this scene from Sweetie from America, by Andrea Arnold, 500 00:39:09,033 --> 00:39:12,333 It's maybe so celebratory as for Mr. Pascal 501 00:39:12,434 --> 00:39:15,318 and as sweet as Mossane. 502 00:39:17,792 --> 00:39:20,258 The camera is below the top of the grass. 503 00:39:20,359 --> 00:39:21,959 Nothing more terrified. 504 00:39:24,159 --> 00:39:27,325 A moment like this becomes more honest... 505 00:39:27,426 --> 00:39:28,726 Wait... 506 00:39:33,959 --> 00:39:35,726 -Do you mind? -No. 507 00:39:37,065 --> 00:39:39,681 The proximity of Robbie Ryan's camera. 508 00:39:39,792 --> 00:39:41,926 The superficiality of the focus... 509 00:39:49,793 --> 00:39:52,959 The loss of focus and then a sloppy fit, 510 00:39:54,378 --> 00:39:56,826 but the disorder adds to the scene. 511 00:39:57,026 --> 00:40:00,259 It's as if they had placed the phone on the grass. 512 00:40:03,959 --> 00:40:07,526 Can you get closer? We're almost at his hair. 513 00:40:15,613 --> 00:40:19,113 The points of light on her face and on his back... 514 00:40:21,354 --> 00:40:23,125 Impressionism. It's very good. 515 00:40:23,226 --> 00:40:26,326 -Do you want to cum? -Yes, please... 516 00:40:30,992 --> 00:40:32,958 This sex scene in Under the Skin 517 00:40:33,059 --> 00:40:35,229 is so in love As for Andrea Arnold, 518 00:40:35,330 --> 00:40:38,797 but director Carine Adler adds other elements. 519 00:40:40,160 --> 00:40:43,727 She plays actress Samantha Morton describe the meeting... 520 00:40:43,828 --> 00:40:45,591 I wanted to talk to him, 521 00:40:45,692 --> 00:40:47,391 I wanted to kiss him, 522 00:40:47,492 --> 00:40:49,259 and then I kissed. 523 00:41:00,126 --> 00:41:02,258 So we have a kind of double narration. 524 00:41:02,359 --> 00:41:04,892 I slide my thigh between his legs, 525 00:41:05,492 --> 00:41:07,125 he lifts my skirt... 526 00:41:07,226 --> 00:41:09,225 All interspersed with the funeral 527 00:41:09,326 --> 00:41:12,185 and the mother's cremation of Morton's character. 528 00:41:12,859 --> 00:41:14,626 The young woman is in mourning. 529 00:41:15,326 --> 00:41:16,792 ...my stomach, 530 00:41:17,426 --> 00:41:19,791 he takes my nipple in his mouth and sucks, 531 00:41:19,892 --> 00:41:21,826 bite hard. 532 00:41:23,059 --> 00:41:25,692 He's after me, hugging my hips. 533 00:41:26,426 --> 00:41:30,358 Editing connects the passion of mourning is sex. 534 00:41:30,459 --> 00:41:33,192 ...your hand between my legs, separating me... 535 00:41:33,626 --> 00:41:35,358 Another type of Impressionism. 536 00:41:35,459 --> 00:41:39,392 Pushing all the way, deep inside me... 537 00:41:40,259 --> 00:41:42,526 From Impressionism to Cubism. 538 00:41:42,959 --> 00:41:45,125 Another scene of sexual fulfillment... 539 00:41:45,226 --> 00:41:48,058 1, 2, 3, 4, 5, 540 00:41:48,159 --> 00:41:50,891 6, 7, 8, 9, 541 00:41:50,992 --> 00:41:53,826 10, 11, 12... 542 00:41:54,768 --> 00:41:57,801 Longer... 13,14, 543 00:41:58,959 --> 00:42:01,759 15, 16, 544 00:42:02,259 --> 00:42:03,792 17, 545 00:42:04,292 --> 00:42:05,692 18, 546 00:42:06,492 --> 00:42:07,859 19, 547 00:42:09,759 --> 00:42:11,092 20... 548 00:42:14,426 --> 00:42:15,720 So planned 549 00:42:15,821 --> 00:42:18,954 as for the Arnold scene It didn't seem to be planned at all. 550 00:42:24,657 --> 00:42:29,759 Stillness and then small movements of fingers or eyelashes. 551 00:42:34,326 --> 00:42:37,125 Varda and her sexual scenes of shapes, of contrasts 552 00:42:37,226 --> 00:42:40,059 between hairy and hairless parts of the body. 553 00:42:48,159 --> 00:42:52,213 A similar scene in the film by Austrian Valie Export, 554 00:42:52,314 --> 00:42:54,481 Invisible Adversaries. 555 00:42:55,159 --> 00:42:57,559 The main character is a photographer. 556 00:42:58,359 --> 00:43:01,926 After this live action, we see her photos. 557 00:43:06,459 --> 00:43:07,892 Everything is static. 558 00:43:08,226 --> 00:43:10,777 The lovers' bodies form a pattern. 559 00:43:10,878 --> 00:43:12,945 A storm as a soundtrack. 560 00:43:25,026 --> 00:43:26,158 Rhythmic. 561 00:43:26,259 --> 00:43:28,626 Sex like a rhythmic storm. 562 00:43:48,226 --> 00:43:52,359 The first fiction film by Donna Deitch, Deserted Hearts. 563 00:43:53,541 --> 00:43:54,625 No music, 564 00:43:54,726 --> 00:43:57,758 almost as composed close-ups as those of Varda. 565 00:43:57,859 --> 00:44:01,292 Real time, natural light, softness. 566 00:44:09,626 --> 00:44:11,026 She's shaking. 567 00:44:26,992 --> 00:44:29,175 She is divorcing her husband 568 00:44:29,301 --> 00:44:31,867 and this is his first time with a woman. 569 00:44:32,625 --> 00:44:34,925 The microphone captures their breathing. 570 00:44:46,692 --> 00:44:48,858 Greta Garbo called for actress Helen Shaver 571 00:44:48,959 --> 00:44:51,558 to say how much admired his performance. 572 00:44:51,659 --> 00:44:54,259 Shaver herself became director. 573 00:44:56,692 --> 00:44:58,758 After 4 scenes of good sex, 574 00:44:58,859 --> 00:45:01,958 let's look at the complex, but good sex. 575 00:45:02,059 --> 00:45:06,925 Movie scenes with indecision, control and masochism. 576 00:45:10,492 --> 00:45:13,792 The Future, by the writer and director Miranda July. 577 00:45:15,925 --> 00:45:18,191 She went to the house of a middle-aged man. 578 00:45:18,292 --> 00:45:19,959 She runs away from him. 579 00:45:27,192 --> 00:45:30,096 So we have this great shot of your feet stretching. 580 00:45:31,259 --> 00:45:33,391 The upward movement tells us more. 581 00:45:33,492 --> 00:45:34,775 She's excited, 582 00:45:34,876 --> 00:45:37,876 but not exactly by his old-fashioned advancement. 583 00:45:50,688 --> 00:45:52,891 The confidence of your posture... 584 00:45:52,992 --> 00:45:55,959 And she allows him to do it. 585 00:46:02,987 --> 00:46:04,254 Wait... 586 00:46:11,581 --> 00:46:13,481 Cut to an object. 587 00:46:14,192 --> 00:46:16,391 Does she want to feel like an object? 588 00:46:16,492 --> 00:46:18,524 A dissociation. 589 00:46:18,625 --> 00:46:21,959 An out-of-body experience Or was that in the body? 590 00:46:25,459 --> 00:46:29,159 She wants it to be impersonal, detached. 591 00:46:51,059 --> 00:46:54,125 A second scene about the complexity of sex. 592 00:46:54,725 --> 00:46:58,076 The Argentine film XXY, by Lucia Puenzo, 593 00:46:58,177 --> 00:47:00,191 that we saw for the first time in chapter 12. 594 00:47:00,292 --> 00:47:01,992 Teenagers. 595 00:47:02,721 --> 00:47:05,991 He tries to put his hand inside of her pants, but she stops him. 596 00:47:06,092 --> 00:47:08,908 Hand safe, shot closed like in Sweetie from America, 597 00:47:09,111 --> 00:47:11,385 but with a bluer light. 598 00:47:24,126 --> 00:47:26,326 Then she turns him onto his stomach. 599 00:47:27,092 --> 00:47:31,692 Cut to his face, without knowing what happens. 600 00:47:32,080 --> 00:47:33,813 Then she penetrates him. 601 00:47:33,914 --> 00:47:36,147 She is a hermaphrodite. 602 00:47:38,390 --> 00:47:40,390 We barely see their faces. 603 00:47:43,045 --> 00:47:45,345 Then her father sees them. 604 00:47:55,533 --> 00:47:58,566 Then we are in a forest and that blue light again. 605 00:48:06,637 --> 00:48:08,837 The boy is running away from what happened. 606 00:48:08,938 --> 00:48:11,005 Shocked. Uncertain. 607 00:48:22,605 --> 00:48:23,972 And then this... 608 00:48:30,659 --> 00:48:33,525 Excited and crying at the same time. 609 00:48:33,862 --> 00:48:35,796 An exhausted body. 610 00:48:44,812 --> 00:48:48,591 Maren Ade is also interested in control attractions. 611 00:48:48,692 --> 00:48:52,025 No, my snack is more important. I'll just watch you. 612 00:48:52,959 --> 00:48:55,596 Ins is tired of pretending, 613 00:48:55,697 --> 00:48:58,697 to be a business consultant, of facades. 614 00:48:59,125 --> 00:49:00,391 An ordinary hotel room, 615 00:49:00,492 --> 00:49:03,508 the kind of room you spend a lot of time in. 616 00:49:03,609 --> 00:49:06,309 Relaxed, have a glass of wine. 617 00:49:06,525 --> 00:49:08,225 She puts him to work. 618 00:49:13,988 --> 00:49:17,121 I want you to hit one of the petits fours. 619 00:49:25,364 --> 00:49:27,130 I'll eat later. 620 00:49:32,059 --> 00:49:34,025 Are you serious? 621 00:49:34,659 --> 00:49:38,125 She likes him, but wants to break the routine. 622 00:49:38,825 --> 00:49:41,759 He's on his knees. She likes this power. 623 00:49:44,325 --> 00:49:45,825 Him too. 624 00:49:48,525 --> 00:49:52,825 She creates a script. She is the director, he is the actor. 625 00:49:54,861 --> 00:49:56,328 Which one? 626 00:49:57,925 --> 00:49:59,759 You choose. 627 00:50:02,492 --> 00:50:03,792 Green... 628 00:50:30,370 --> 00:50:32,736 You are very stupid... 629 00:51:03,382 --> 00:51:04,582 In The Prisoner, 630 00:51:04,683 --> 00:51:07,283 Chantal Akerman takes this further. 631 00:51:08,725 --> 00:51:11,791 She talks about control. The camera does not move. 632 00:51:11,892 --> 00:51:14,446 The man, Simon, barely moves. 633 00:51:14,547 --> 00:51:16,580 We came to realize that your girlfriend, 634 00:51:16,681 --> 00:51:19,705 who he is obsessed with, Is it behind the glass? 635 00:51:21,456 --> 00:51:22,890 Maybe not. 636 00:51:25,848 --> 00:51:28,002 I'm scared sometimes that I'm stinky. 637 00:51:29,758 --> 00:51:31,258 On the contrary, 638 00:51:34,487 --> 00:51:36,687 when you sweat lightly, 639 00:51:37,892 --> 00:51:40,292 -that humidity... -Do you like it? 640 00:51:42,258 --> 00:51:44,758 Sometimes I feel like I have a bad smell 641 00:51:44,859 --> 00:51:49,426 that even I get irritated and I want to close my legs. 642 00:51:53,258 --> 00:51:55,292 These are the best moments. 643 00:51:57,925 --> 00:52:00,354 Your vagina is so beautiful when you're shy... 644 00:52:02,158 --> 00:52:06,125 The opposite of the splendor of the hand on the grass in Docinho da América. 645 00:52:06,458 --> 00:52:11,091 It's a no-touch sex scene, filtered through language, 646 00:52:11,192 --> 00:52:12,458 by confession. 647 00:52:12,825 --> 00:52:14,658 And I looked at you... 648 00:52:17,088 --> 00:52:18,591 And I... 649 00:52:18,692 --> 00:52:21,291 I slowly separated her legs... 650 00:52:21,392 --> 00:52:23,791 Would he say these things face to face? 651 00:52:23,892 --> 00:52:26,158 And I observed her beautiful vagina. 652 00:52:28,592 --> 00:52:30,392 Do you mind? 653 00:52:31,292 --> 00:52:32,491 No... 654 00:52:32,592 --> 00:52:34,357 Do as you please. 655 00:52:34,458 --> 00:52:36,458 It's like a telephone call. 656 00:52:37,992 --> 00:52:41,058 And I breathed into her, warm and soft. 657 00:52:41,758 --> 00:52:42,891 Really? 658 00:52:42,992 --> 00:52:45,192 Yes, my Ariene. 659 00:52:47,392 --> 00:52:51,091 If it weren't for my allergy and all the pollen you have, 660 00:52:51,192 --> 00:52:53,492 I would ask him never to wash again. 661 00:52:54,992 --> 00:52:57,557 -Never? -Less frequently. 662 00:52:57,658 --> 00:52:59,092 And then this... 663 00:53:03,062 --> 00:53:05,091 A deus ex machina. 664 00:53:05,192 --> 00:53:07,363 It's as if she were on a movie screen 665 00:53:07,464 --> 00:53:09,797 or on the screen of his desire. 666 00:53:20,725 --> 00:53:25,992 Expectation, pleasure, control, direction, submission. 667 00:53:26,825 --> 00:53:30,774 All the characters we saw enjoyed their sex scenes. 668 00:53:30,966 --> 00:53:33,474 There was reciprocity, 669 00:53:33,616 --> 00:53:36,516 cooperation, creativity. 670 00:53:37,258 --> 00:53:39,325 Bateman ruins it. 671 00:53:40,525 --> 00:53:44,157 Panning to the mirror for him to admire. 672 00:53:44,258 --> 00:53:47,458 He is with two women, but they are ignored. 673 00:53:50,460 --> 00:53:52,041 He fixes his hair. 674 00:53:52,142 --> 00:53:53,991 You're having sex with yourself. 675 00:53:54,092 --> 00:53:57,458 You are fascinated by your self sexual, its beauty. 676 00:53:58,025 --> 00:54:01,425 This is not sex, it is the image of sex. 677 00:54:08,892 --> 00:54:11,557 Catherine Breillat, which has some of the films 678 00:54:11,658 --> 00:54:14,311 more sexually frank to be distributed, 679 00:54:14,412 --> 00:54:16,391 did this scene in To My Sister, 680 00:54:16,492 --> 00:54:19,391 in which the younger sister It is pragmatic in terms of choice 681 00:54:19,492 --> 00:54:21,725 that the oldest is about to do. 682 00:54:22,258 --> 00:54:25,725 The oldest girl had anal sex with a boy 683 00:54:25,826 --> 00:54:28,057 and he just gave you an engagement ring, 684 00:54:28,158 --> 00:54:31,658 so she thinks they You can now have vaginal sex. 685 00:54:38,160 --> 00:54:40,252 His grandmother left it for him. 686 00:54:42,258 --> 00:54:45,869 I think I'll give myself to him tonight. 687 00:54:46,358 --> 00:54:49,237 You use some very bizarre expressions. 688 00:54:49,358 --> 00:54:53,483 If he uses a condom, I let it go until the end. 689 00:54:53,584 --> 00:54:56,051 Spare me the details, please. 690 00:54:58,625 --> 00:55:00,627 You have no idea how scared I am. 691 00:55:00,992 --> 00:55:03,502 But I have to go through this one day, 692 00:55:04,058 --> 00:55:07,192 so it better be with someone I love. 693 00:55:07,685 --> 00:55:10,285 Simple reverse angle shots. 694 00:55:10,825 --> 00:55:14,074 What do you think? What do you advise me? 695 00:55:14,285 --> 00:55:16,352 The wisdom of the youngest. 696 00:55:16,692 --> 00:55:20,091 In any case, between what they have already done and this 697 00:55:20,192 --> 00:55:23,291 There is no moral difference, in my opinion. 698 00:55:23,392 --> 00:55:25,692 There is a huge difference. 699 00:55:26,625 --> 00:55:31,846 I prefer my first Sometimes it's with someone I don't love. 700 00:55:31,992 --> 00:55:34,174 Because after 701 00:55:34,568 --> 00:55:37,057 you discover that he doesn't loves you or that you don't love him 702 00:55:37,158 --> 00:55:39,065 and feel like an idiot. 703 00:55:39,925 --> 00:55:42,658 You'll know when you're loving it. 704 00:55:43,225 --> 00:55:44,525 I highly doubt it. 705 00:55:45,425 --> 00:55:47,857 Either way, I don't care. 706 00:55:47,958 --> 00:55:52,425 As long as I don't wake myself up, You can do it all night. 707 00:55:54,912 --> 00:55:56,657 No moral difference 708 00:55:56,758 --> 00:56:00,325 and she doesn't want to be in love for her first man. 709 00:56:07,358 --> 00:56:09,157 In Marielle Heller's debut film, 710 00:56:09,258 --> 00:56:11,024 The Diary of a Teenager, 711 00:56:11,125 --> 00:56:15,625 the girl is more experienced that Breillat's younger sister... 712 00:56:16,258 --> 00:56:18,324 She slept with her mother's boyfriend. 713 00:56:18,425 --> 00:56:21,714 But she's also making decisions 714 00:56:21,815 --> 00:56:24,981 and is so cautious as the girl from Breillat. 715 00:56:25,191 --> 00:56:26,690 Heller's narration technique 716 00:56:26,791 --> 00:56:29,758 gives us quick access to Minnie's thoughts. 717 00:56:30,125 --> 00:56:32,890 In every detail she looked the whore he would become, 718 00:56:32,991 --> 00:56:34,757 the bra straps showing, 719 00:56:34,858 --> 00:56:37,157 tight pants and comfortable in the groin, 720 00:56:37,258 --> 00:56:39,825 almost like a horse seen from behind. 721 00:56:40,291 --> 00:56:42,480 But animation takes us further, 722 00:56:42,581 --> 00:56:46,814 even the way she sees herself and imagine sex and power. 723 00:56:47,558 --> 00:56:51,288 She calls herself a whore, but in your mind, 724 00:56:51,389 --> 00:56:55,155 she is much bigger than the new boy he kissed. 725 00:56:55,859 --> 00:56:57,158 What it was? 726 00:56:58,291 --> 00:56:59,490 It's that... 727 00:56:59,591 --> 00:57:02,558 It was... Intense. 728 00:57:04,525 --> 00:57:08,358 It's like having sex with you, Minnie... 729 00:57:09,525 --> 00:57:10,924 It scares me a little. 730 00:57:11,025 --> 00:57:12,924 Beyond initiation. 731 00:57:13,025 --> 00:57:15,124 Above sex, in a way. 732 00:57:15,225 --> 00:57:16,290 What I mean to say... 733 00:57:16,391 --> 00:57:19,791 I've never been with someone who has sex like that. 734 00:57:21,566 --> 00:57:22,866 Oh no! 735 00:57:23,491 --> 00:57:26,716 The girl from Breillat and Minnie are prudent about sex, 736 00:57:26,817 --> 00:57:28,917 but in Katrin Gebbe's debut film, 737 00:57:29,018 --> 00:57:30,515 Nothing Bad Can Happen, 738 00:57:30,616 --> 00:57:33,596 The main character sees sex as demonic. 739 00:57:37,998 --> 00:57:42,065 Curly blonde hair of an ancient religious painting. 740 00:57:42,563 --> 00:57:44,675 On the t-shirt, "Jesus is a freak." 741 00:57:44,776 --> 00:57:46,209 And suddenly, this... 742 00:57:52,799 --> 00:57:54,999 The soundtrack distorts. 743 00:57:55,341 --> 00:57:56,874 He doesn't know where to look. 744 00:57:57,685 --> 00:57:58,818 Paralyzed. 745 00:57:58,919 --> 00:58:00,185 Drug! 746 00:58:00,585 --> 00:58:03,219 Tore, what are you doing here? 747 00:58:04,152 --> 00:58:06,751 In panic, recurring images. 748 00:58:06,852 --> 00:58:08,952 Abnormals get married first. 749 00:58:10,019 --> 00:58:12,819 It should be true love. 750 00:58:14,552 --> 00:58:18,384 You don't even know what this is, never had a girlfriend. 751 00:58:18,485 --> 00:58:20,884 The love of Jesus is more important. 752 00:58:20,985 --> 00:58:22,918 Great. 753 00:58:23,019 --> 00:58:25,785 Does he hug you too? 754 00:58:26,552 --> 00:58:30,552 Girls don't like you, So it's never tried, right? 755 00:58:31,952 --> 00:58:33,185 Hypocrite. 756 00:58:41,102 --> 00:58:43,284 Finally, something that is the opposite of that. 757 00:58:43,385 --> 00:58:45,618 Heddy Honigmann's creative documentary 758 00:58:45,719 --> 00:58:49,051 about Brazilians and their relationship with erotic poetry 759 00:58:49,152 --> 00:58:51,552 by Carlos Drummond de Andrade. 760 00:58:52,719 --> 00:58:55,184 A microwave advertisement on TV 761 00:58:55,285 --> 00:58:57,585 that ends with a fun observation... 762 00:59:06,474 --> 00:59:09,284 We cut to the actress, filmed in close-up, 763 00:59:09,385 --> 00:59:13,752 natural light and she reads a poem by Drummond. 764 00:59:18,018 --> 00:59:20,585 Hesitant, but resourceful.