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 00:01:16,536 --> 00:01:20,618 Some of the most famous films, The Wizard of Oz, 14 00:01:20,719 --> 00:01:25,019 The Apartment, by Billy Wilder, ET... They're about home. 15 00:01:25,952 --> 00:01:29,285 How are homes portrayed in cinema? 16 00:01:30,538 --> 00:01:34,238 What techniques and ideas were used? 17 00:01:38,582 --> 00:01:42,934 CHAPTER 20 - HOME 18 00:01:44,913 --> 00:01:46,951 Let's start outdoors. 19 00:01:47,052 --> 00:01:51,686 In Ung Flukt, Liv Ullman She is a free-spirited young woman. 20 00:01:52,159 --> 00:01:54,084 She ran away with her boyfriend. 21 00:01:54,185 --> 00:01:56,751 In this adorable studio scene 22 00:01:56,852 --> 00:02:00,619 she talks about the dream of having a house together. 23 00:02:01,185 --> 00:02:03,391 I always wanted to have a bed of my own. 24 00:02:03,785 --> 00:02:07,649 White during the day and black at night. 25 00:02:08,019 --> 00:02:10,584 With a black quilt made of lace, 26 00:02:10,685 --> 00:02:12,489 light as a spider's web, 27 00:02:12,590 --> 00:02:15,251 that you could lift with two fingers. 28 00:02:15,631 --> 00:02:19,231 And underneath, everything is pure and white. 29 00:02:19,332 --> 00:02:24,284 The dream of home will be like glue in their relationship, she thinks, 30 00:02:24,385 --> 00:02:29,399 but director Edith Carlmar merges the scene for his parents. 31 00:02:29,500 --> 00:02:32,267 A bourgeois, confusing and formal house. 32 00:02:33,518 --> 00:02:35,885 Do these dreams suffocate? 33 00:02:39,118 --> 00:02:42,351 A few minutes later, we return to the young couple. 34 00:02:42,452 --> 00:02:45,352 They are in an old cabin of his family. 35 00:02:45,785 --> 00:02:49,851 The contrast! Bare wood. No rugs or decorations. 36 00:02:49,952 --> 00:02:51,952 Straw serving as a mattress. 37 00:02:53,655 --> 00:02:55,717 Nordic primitivism. 38 00:02:55,818 --> 00:03:00,385 An archetype that does not animate not the rebellious girl at all. 39 00:03:02,485 --> 00:03:04,517 I'll get some spruce buds. 40 00:03:04,618 --> 00:03:07,618 The softest buds, 41 00:03:08,152 --> 00:03:10,218 It's the best mattress. 42 00:03:12,016 --> 00:03:13,751 Let's get settled, 43 00:03:13,852 --> 00:03:15,852 Let's start with the worst part. 44 00:03:16,685 --> 00:03:19,584 The dream home is the theme of American films 45 00:03:19,685 --> 00:03:22,218 starring actresses such as Doris Day, 46 00:03:23,018 --> 00:03:26,652 but, in addition, it is also an ideal. 47 00:03:27,918 --> 00:03:31,318 The Enchanted Desna, by Yulia Solnsteva. 48 00:03:32,318 --> 00:03:35,284 Ukraine before of the Great Patriotic War. 49 00:03:35,385 --> 00:03:37,851 An idealized thatched hut. 50 00:03:37,952 --> 00:03:39,418 The blond boy. 51 00:03:39,852 --> 00:03:41,418 The rooster crows. 52 00:03:44,652 --> 00:03:46,084 The camera moves. 53 00:03:46,185 --> 00:03:47,752 The entrance. 54 00:03:50,752 --> 00:03:52,085 Another door... 55 00:03:52,418 --> 00:03:54,585 And we let the sunlight, 56 00:03:54,918 --> 00:03:55,917 the idyll. 57 00:03:56,018 --> 00:03:58,284 Music and trembling. 58 00:03:58,385 --> 00:03:59,852 An obo�. 59 00:04:06,285 --> 00:04:07,451 Saints. 60 00:04:07,552 --> 00:04:10,685 I cry. A sacred space. 61 00:04:12,452 --> 00:04:14,284 The enchanted darkness. 62 00:04:14,385 --> 00:04:17,185 The safety and wonder of the dark. 63 00:04:32,091 --> 00:04:34,451 Another boy, James, 64 00:04:34,552 --> 00:04:37,785 in Scotland in 1973. 65 00:04:38,185 --> 00:04:41,551 A grayer light. A darker world. 66 00:04:41,652 --> 00:04:42,884 And more... 67 00:04:42,985 --> 00:04:46,318 A new home for which your family is moving. 68 00:04:46,785 --> 00:04:48,285 He can't get in. 69 00:04:48,840 --> 00:04:50,274 The sound of rain. 70 00:04:50,822 --> 00:04:55,570 It may not seem glamorous, but it's also a dream. 71 00:04:55,907 --> 00:05:00,140 A fresh start after the poor Glasgow apartments. 72 00:05:00,893 --> 00:05:04,643 The texture of the wall in your fingers. 73 00:05:04,776 --> 00:05:06,176 And then... 74 00:05:06,277 --> 00:05:09,610 We are where he wants to be. 75 00:05:10,285 --> 00:05:14,552 A lesser filmmaker would keep us outside, with him. 76 00:05:15,385 --> 00:05:17,084 But director Lynne Ramsay 77 00:05:17,185 --> 00:05:21,485 puts us in place of your desire: Home. 78 00:05:22,252 --> 00:05:25,618 The house is watching, promising. 79 00:05:45,004 --> 00:05:48,704 This little scene appears in Ramsay's window. 80 00:05:49,224 --> 00:05:53,391 Hedi Schneider's partner, in the film by Sonja Heiss. 81 00:05:54,056 --> 00:05:55,705 A single outlet. 82 00:05:55,933 --> 00:05:57,566 No editing. 83 00:05:57,917 --> 00:06:00,233 He opens a window to himself. 84 00:06:00,573 --> 00:06:02,380 A home is a lookout, 85 00:06:02,481 --> 00:06:04,548 an observation platform, 86 00:06:11,785 --> 00:06:15,552 a place to drink a beer and watch life happen... 87 00:06:20,885 --> 00:06:23,384 The man in Night Games, by Mai Zetterling, 88 00:06:23,485 --> 00:06:25,551 You are looking for happiness. 89 00:06:25,652 --> 00:06:30,034 He brought his bride It's the mansion where he was raised. 90 00:06:30,199 --> 00:06:33,501 His childhood was like a movie by Federico Fellini... 91 00:06:33,659 --> 00:06:38,065 Sexual, fascinating, grotesque and without certainty. 92 00:06:38,846 --> 00:06:41,185 What does he take comfort in now? 93 00:06:41,524 --> 00:06:43,618 Things I learned to trust. 94 00:06:48,409 --> 00:06:50,891 Paintings don't burst into tears or run away. 95 00:06:53,307 --> 00:06:55,602 Canopy beds are not unfaithful. 96 00:06:57,946 --> 00:07:00,212 You will feel extremely safe. 97 00:07:01,785 --> 00:07:06,485 And you will be bored to death in their company. 98 00:07:08,373 --> 00:07:10,739 No, I won't. 99 00:07:19,969 --> 00:07:22,602 You don't know what you got yourself into... 100 00:07:24,082 --> 00:07:26,485 Money builds a wall around you... 101 00:07:28,178 --> 00:07:31,312 Objects are what give you confidence... 102 00:07:31,785 --> 00:07:33,018 And the house. 103 00:07:33,474 --> 00:07:35,323 Stable things, 104 00:07:35,535 --> 00:07:37,869 non-mercurial things. 105 00:07:38,685 --> 00:07:40,185 They console. 106 00:07:40,752 --> 00:07:44,701 It's as if the house was looking at him 107 00:07:44,835 --> 00:07:48,454 the same way you look for the boy from The Trash and the Dream. 108 00:07:51,840 --> 00:07:53,340 Oxhide 2, 109 00:07:53,441 --> 00:07:57,177 the film sequence by Liu Jiayin, Oxhide, 110 00:07:57,278 --> 00:08:01,333 which we saw in chapter 18 about bodies. 111 00:08:01,434 --> 00:08:04,734 We're in the house again from the director's family. 112 00:08:08,614 --> 00:08:10,730 For more than 20 minutes, 113 00:08:10,903 --> 00:08:14,536 the static camera "looks" at this table. 114 00:08:14,650 --> 00:08:18,950 A long, still look for domestic life. 115 00:08:25,122 --> 00:08:27,688 A room seen from a simple chair, 116 00:08:27,789 --> 00:08:29,089 maybe. 117 00:08:30,122 --> 00:08:33,789 The title of the film about nothing more than that. 118 00:08:40,761 --> 00:08:44,595 We see the doorknobs again from the door, the lamp. 119 00:08:47,526 --> 00:08:49,554 And then a bowl, 120 00:08:49,655 --> 00:08:52,755 something new on the screen. 121 00:08:54,468 --> 00:08:57,068 Let's see what's in the bag? 122 00:08:57,755 --> 00:08:59,355 It looks like flour. 123 00:08:59,822 --> 00:09:03,022 The shot feels almost meditative now. 124 00:09:34,795 --> 00:09:37,055 And then... A cut! 125 00:09:37,156 --> 00:09:38,566 Finally. 126 00:09:38,667 --> 00:09:40,316 A new angle. 127 00:09:40,465 --> 00:09:43,450 At 45 degrees from the previous angle 128 00:09:43,551 --> 00:09:44,785 and higher. 129 00:09:44,886 --> 00:09:46,653 Looking from above now. 130 00:09:47,755 --> 00:09:51,089 There will only be 8 of these cuts in the entire film. 131 00:09:56,552 --> 00:10:01,052 And each time, the camera moves at 45 degrees. 132 00:10:01,584 --> 00:10:03,184 The geometry of the house. 133 00:10:06,719 --> 00:10:10,752 Detailed, intimate, immobile living. 134 00:10:19,022 --> 00:10:21,388 The short Tailpiece, by Margaret Tait, 135 00:10:21,489 --> 00:10:25,089 It's equally intimate, with a freer format. 136 00:10:27,659 --> 00:10:29,421 A portable camera. 137 00:10:29,522 --> 00:10:31,289 A girl's voice. 138 00:10:36,506 --> 00:10:37,777 A bed. 139 00:10:43,922 --> 00:10:45,155 A window, 140 00:10:45,689 --> 00:10:47,122 a mirror, 141 00:10:49,255 --> 00:10:50,855 a fireplace. 142 00:10:52,286 --> 00:10:54,852 Tait's brief look at herself. 143 00:10:55,889 --> 00:10:57,975 Tait is leaving this house. 144 00:10:58,076 --> 00:11:00,542 Your things are packed. 145 00:11:01,055 --> 00:11:02,866 We feel your eyes scanning, 146 00:11:02,967 --> 00:11:06,267 trying to remember the nooks and crannies. 147 00:11:07,255 --> 00:11:08,722 Doorknobs. 148 00:11:11,589 --> 00:11:12,856 A chair. 149 00:11:12,957 --> 00:11:15,590 Things that were within reach, 150 00:11:15,691 --> 00:11:18,924 from the eye, for years. 151 00:11:20,291 --> 00:11:25,591 Like a boy on the floor 152 00:11:27,827 --> 00:11:29,727 Goodbye to all this. 153 00:11:42,860 --> 00:11:46,460 Liu Jiayin and Margaret Tait venerate their homes, 154 00:11:46,561 --> 00:11:48,461 the living room of your house? 155 00:11:49,132 --> 00:11:51,499 If so, what is that? 156 00:11:52,598 --> 00:11:56,131 Write a sentence that contains the word �house�. 157 00:11:57,154 --> 00:11:58,654 He hesitates. 158 00:11:59,521 --> 00:12:01,154 �House� in a sentence? 159 00:12:01,791 --> 00:12:03,291 The suspense. 160 00:12:03,991 --> 00:12:05,491 What is a “house”? 161 00:12:07,366 --> 00:12:09,648 Then this march of people. 162 00:12:10,004 --> 00:12:13,623 And we are excluded from your safe place. 163 00:12:13,724 --> 00:12:14,990 LEPER COLONY 164 00:12:15,091 --> 00:12:17,357 Where they can be themselves. 165 00:12:18,257 --> 00:12:20,257 And then he writes his sentence. 166 00:12:20,924 --> 00:12:22,924 A beautiful phrase. 167 00:12:37,591 --> 00:12:42,057 THE HOUSE IS DARK 168 00:12:43,099 --> 00:12:47,049 From The Dark House for Safe, by Antonia Bird, 169 00:12:47,191 --> 00:12:51,490 one of the great films about homelessness and safety. 170 00:12:51,591 --> 00:12:53,624 Young people in London. 171 00:12:54,035 --> 00:12:56,590 They spend the night in a homeless shelter, 172 00:12:56,691 --> 00:12:58,356 but everything is chaos. 173 00:12:58,457 --> 00:13:01,623 He's short of breath. 174 00:13:01,724 --> 00:13:04,756 Gypo, their friend, is outside, 175 00:13:04,857 --> 00:13:07,991 enraged, frantic. Uncontrolled. 176 00:13:11,577 --> 00:13:13,656 He got an apartment, 177 00:13:13,757 --> 00:13:16,323 but 4 walls are not what he needs. 178 00:13:16,424 --> 00:13:18,124 He needs people. 179 00:13:25,257 --> 00:13:26,524 Kaz! 180 00:13:27,456 --> 00:13:29,190 He will do anything. 181 00:13:33,293 --> 00:13:35,693 Home almost doesn't exist for him. 182 00:13:36,490 --> 00:13:38,524 Home is life and death. 183 00:13:39,348 --> 00:13:41,681 The intercom is your salvation. 184 00:13:41,782 --> 00:13:43,556 Come down here... 185 00:13:43,657 --> 00:13:45,390 Quick, okay? 186 00:13:46,590 --> 00:13:48,590 Can you come down here? 187 00:13:51,357 --> 00:13:56,157 Director Antonia Bird intersperses the environments. 188 00:13:57,290 --> 00:13:59,157 Are any of them safe? 189 00:14:21,793 --> 00:14:24,123 Isabelle Huppert tried to protect herself, 190 00:14:24,224 --> 00:14:27,357 blocking the doors and windows of your home. 191 00:14:28,118 --> 00:14:32,285 The highway outside drove them crazy. 192 00:14:32,938 --> 00:14:35,638 Gypo wanted to enter. They want out. 193 00:14:36,218 --> 00:14:39,095 They need air. They were too trapped. 194 00:14:39,196 --> 00:14:40,496 Very scared. 195 00:14:41,381 --> 00:14:44,281 Car noise and exhaust smoke. 196 00:14:44,893 --> 00:14:46,137 Paradise. 197 00:14:48,525 --> 00:14:50,792 She steps out into the sunlight. 198 00:14:56,203 --> 00:14:58,956 Tutankhamun emerging from his tomb. 199 00:14:59,057 --> 00:15:02,990 A home is no good when there is nothing else. 200 00:15:18,596 --> 00:15:21,230 The last three scenes of this chapter... 201 00:15:21,540 --> 00:15:25,696 A broken home, a new home and a futuristic home. 202 00:15:26,483 --> 00:15:30,623 The Epic of the Years of Fire, by Yulia Solntseva. 203 00:15:30,724 --> 00:15:32,990 The Great Patriotic War. 204 00:15:34,157 --> 00:15:36,657 A soldier returns home. 205 00:15:37,390 --> 00:15:38,757 A destroyed house. 206 00:15:39,390 --> 00:15:40,724 A silhouette. 207 00:15:43,193 --> 00:15:44,926 It's like a cemetery. 208 00:15:54,947 --> 00:15:56,156 A tank, 209 00:15:56,257 --> 00:15:59,024 but also sprouts on a bush. 210 00:16:03,674 --> 00:16:05,207 He walks, 211 00:16:08,938 --> 00:16:10,238 walk... 212 00:16:10,918 --> 00:16:13,985 The music grows, clears. 213 00:16:26,369 --> 00:16:28,536 An even more ruined scenario. 214 00:16:29,344 --> 00:16:31,837 But also a woman and a child. 215 00:16:31,938 --> 00:16:33,689 She is making bread. 216 00:16:33,790 --> 00:16:36,957 At least there is an oven, a furnace. 217 00:16:37,764 --> 00:16:40,214 And then this approach. 218 00:16:40,324 --> 00:16:43,290 A wave of feelings, back home. 219 00:16:49,804 --> 00:16:51,171 A recommendation. 220 00:16:51,473 --> 00:16:53,007 Cultivating the fields... 221 00:16:55,981 --> 00:16:57,648 And more new shoots. 222 00:17:02,824 --> 00:17:05,623 And then this shot on a crane inside and above 223 00:17:05,724 --> 00:17:07,790 of what was left of his house. 224 00:17:26,857 --> 00:17:28,956 A tour of the Soviet world 225 00:17:29,057 --> 00:17:33,157 and Larisa Shepitko suggests that it is necessary to rethink. 226 00:17:33,690 --> 00:17:37,357 Your rarely seen film, The Homeland of Electricity. 227 00:17:40,124 --> 00:17:44,624 A beautiful shot of an old man looking from his house. 228 00:17:46,417 --> 00:17:50,050 And then a young man, main character of the film. 229 00:17:50,151 --> 00:17:51,723 We walked with him. 230 00:17:51,824 --> 00:17:54,689 He looks around to a desolate village. 231 00:17:54,790 --> 00:17:56,589 He just arrived. 232 00:17:56,690 --> 00:17:58,123 Destroyed houses. 233 00:17:58,224 --> 00:18:01,824 Your head spins suddenly for this moving shot. 234 00:18:02,558 --> 00:18:05,825 An old woman watches from her house. 235 00:18:06,557 --> 00:18:09,812 The lack of rain means that the harvest failed 236 00:18:09,913 --> 00:18:12,280 and the people are hungry. 237 00:18:12,657 --> 00:18:14,991 The young man observes a corporal. 238 00:18:15,442 --> 00:18:16,908 Start thinking. 239 00:18:17,009 --> 00:18:18,625 You have an idea. 240 00:18:18,946 --> 00:18:20,680 Follow the line. 241 00:18:21,073 --> 00:18:24,740 The piano solo seems reflect your thoughts. 242 00:18:28,509 --> 00:18:33,142 And then the camera searches a third villager at home. 243 00:18:33,609 --> 00:18:35,674 It's as if we were in The Grapes of Wrath. 244 00:18:35,775 --> 00:18:38,442 His gaze, straight at us. 245 00:18:38,909 --> 00:18:40,391 A faster movement. 246 00:18:40,563 --> 00:18:43,797 Something needs to be done to help these people. 247 00:18:48,671 --> 00:18:50,865 This man, so thin, 248 00:18:50,966 --> 00:18:53,399 so centered image. 249 00:18:53,998 --> 00:18:57,641 The village is dying. Home is dying. 250 00:19:01,275 --> 00:19:04,474 But the young man, a Christ figure, 251 00:19:04,575 --> 00:19:07,158 creates an irrigation scheme, 252 00:19:07,354 --> 00:19:12,220 using electrical cables to power the water pump. 253 00:19:12,942 --> 00:19:15,224 Imagination and technology 254 00:19:15,396 --> 00:19:18,596 reinventing the home. 255 00:19:47,742 --> 00:19:51,103 From one of the key themes of human culture, the home, 256 00:19:51,204 --> 00:19:53,770 for another, religion. 257 00:19:54,450 --> 00:19:56,749 Its intensity, diversity, 258 00:19:56,850 --> 00:20:00,540 complexity, hypocrisy and absurdity. 259 00:20:00,801 --> 00:20:05,201 CHAPTER 21 - RELIGION 260 00:20:08,496 --> 00:20:12,463 The rich and well-dressed Americans by Lois Weber once again. 261 00:20:12,863 --> 00:20:16,262 The year is 1915. A pleasant walk. 262 00:20:16,363 --> 00:20:18,179 The best of Sunday. 263 00:20:18,480 --> 00:20:20,195 Suddenly, this title... 264 00:20:20,296 --> 00:20:24,463 THE BROAD ROAD OR THE NARROW WAY? 265 00:20:26,963 --> 00:20:29,846 And now a monk from the previous era, 266 00:20:30,089 --> 00:20:31,761 the medieval era. 267 00:20:32,096 --> 00:20:34,730 A steeper path, an ascent. 268 00:20:44,310 --> 00:20:49,234 And then, director Lois Weber shows us a young woman in trouble. 269 00:20:56,128 --> 00:20:58,461 Getting dirty in the dust. 270 00:21:01,847 --> 00:21:03,162 On your knees. 271 00:21:03,263 --> 00:21:04,963 Dragging. 272 00:21:13,993 --> 00:21:17,527 And then one of those people well dressed. 273 00:21:25,507 --> 00:21:26,940 A small pan to the left 274 00:21:27,041 --> 00:21:28,941 to reframe his fall. 275 00:21:30,163 --> 00:21:33,530 Religion here is earthly, it is toil. 276 00:21:34,410 --> 00:21:36,044 Your body weight. 277 00:21:46,500 --> 00:21:47,867 What she achieves. 278 00:21:50,145 --> 00:21:55,337 1915, the year of the trenches of the First World War, 279 00:21:55,944 --> 00:21:58,411 of the Second Battle of Ypres. 280 00:22:12,897 --> 00:22:16,464 Sri Lanka in 1978 now. 281 00:22:17,254 --> 00:22:21,053 The beautiful love story by director Sumitra Peries, 282 00:22:21,154 --> 00:22:22,454 The Girls. 283 00:22:23,320 --> 00:22:27,220 Half an hour into the film, we have this scene... 284 00:22:28,034 --> 00:22:29,219 Her face 285 00:22:29,320 --> 00:22:32,087 framed by a screen of cut paper. 286 00:22:33,518 --> 00:22:35,218 The camera approaches. 287 00:22:46,637 --> 00:22:48,687 Cut to this object. 288 00:22:49,287 --> 00:22:50,520 What is this? 289 00:22:50,963 --> 00:22:52,846 Then a movement to the right 290 00:22:52,988 --> 00:22:55,821 along beautiful patterns. 291 00:22:56,554 --> 00:22:58,454 Filigree foreground. 292 00:22:58,722 --> 00:22:59,954 Floral. 293 00:23:00,287 --> 00:23:01,520 Metric. 294 00:23:01,987 --> 00:23:03,787 The camera wanders. 295 00:23:04,554 --> 00:23:06,054 Follow a thread. 296 00:23:23,593 --> 00:23:24,927 Another thread. 297 00:23:43,025 --> 00:23:44,553 Out of the darkness, 298 00:23:44,654 --> 00:23:48,620 you see people praying, intertwined. 299 00:23:50,439 --> 00:23:52,055 A scene, 300 00:23:52,220 --> 00:23:53,919 a religious moment, 301 00:23:54,020 --> 00:23:56,187 like a spider's web. 302 00:23:57,565 --> 00:24:01,465 Peries' camera stroll through this Buddhist scene. 303 00:24:02,454 --> 00:24:05,454 The camera creates the connections. 304 00:24:14,527 --> 00:24:15,553 And now, 305 00:24:15,654 --> 00:24:19,383 a third genuine scene religious intensity. 306 00:24:19,520 --> 00:24:22,386 Vera Stroyeva's 1959 film 307 00:24:22,487 --> 00:24:25,587 based on the work of Mussorgsky, Khovanshchina. 308 00:24:27,953 --> 00:24:31,953 The setting is the Moscow Uprising of 1682. 309 00:24:32,587 --> 00:24:34,886 Prince Khovansky was murdered. 310 00:24:34,987 --> 00:24:38,020 Some of his followers doubted him. 311 00:24:38,466 --> 00:24:41,219 Director Stroyeva Cut to a forest. 312 00:24:41,320 --> 00:24:44,320 Misty, backlit, mystical. 313 00:24:45,053 --> 00:24:48,020 The libretto says it is sanctified. 314 00:24:48,474 --> 00:24:50,908 Wide canvas, like a tapestry... 315 00:24:53,144 --> 00:24:54,471 There is a cut 316 00:24:54,572 --> 00:24:58,239 and your face meets the light. 317 00:25:08,064 --> 00:25:10,080 A scene about doubt, 318 00:25:10,480 --> 00:25:12,886 but enlightenment, the setting, the intimacy, 319 00:25:12,987 --> 00:25:17,453 emotion and intensity They have a Gethsemane sincerity. 320 00:25:53,807 --> 00:25:58,573 The same sincerity present in The Holy Girl, by Lucrecia Martel. 321 00:25:59,587 --> 00:26:02,419 Amalia, 16, watches her doctor, 322 00:26:02,520 --> 00:26:04,853 who swims in a hotel pool. 323 00:26:05,487 --> 00:26:08,320 He touched her inappropriately. 324 00:26:08,720 --> 00:26:10,352 She is quite religious 325 00:26:10,453 --> 00:26:13,653 and feel that maybe may your mercy save you 326 00:26:13,754 --> 00:26:15,252 or absolve him. 327 00:26:15,353 --> 00:26:18,886 Lord, have mercy on us. Christ, hear my prayer. 328 00:26:18,987 --> 00:26:21,452 Heavenly Father, have mercy. 329 00:26:21,553 --> 00:26:26,119 God son. Redeemer of the world. Holy Mary, pray for us. 330 00:26:26,220 --> 00:26:28,386 Holy mother of God. Virgin of virgins, 331 00:26:28,487 --> 00:26:30,619 Mother of divine grace, purest Mother. 332 00:26:30,720 --> 00:26:33,819 Chaste mother. Guilt-free mother. 333 00:26:33,920 --> 00:26:36,086 Kindest mother, most admirable mother, 334 00:26:36,187 --> 00:26:38,675 wisest mother, mother of the creator. 335 00:26:38,776 --> 00:26:39,997 Whispering... 336 00:26:40,098 --> 00:26:42,122 Faithful Virgin, mirror of justice. Throne of eternal wisdom... 337 00:26:42,223 --> 00:26:43,555 and the back of his head. 338 00:26:43,656 --> 00:26:48,690 Vase of grace, vessel of true devotion... 339 00:26:57,756 --> 00:27:00,623 Silent and persistent looks. 340 00:27:06,056 --> 00:27:08,590 Then this woman touches his ear. 341 00:27:09,590 --> 00:27:12,590 Amalia herself has hearing problems. 342 00:27:31,123 --> 00:27:33,822 Then we become even more intensely in her world. 343 00:27:33,923 --> 00:27:37,490 Martel keeps the scene and focuses on Amalia. 344 00:27:38,090 --> 00:27:40,555 Gate of heaven, morning star, health of the sick, 345 00:27:40,656 --> 00:27:43,090 refuge of sinners... 346 00:27:43,490 --> 00:27:45,655 Health of the sick, refuge of sinners, 347 00:27:45,756 --> 00:27:48,122 comfort of the afflicted. 348 00:27:48,223 --> 00:27:49,755 Queen of Angels, Queen of Patriarchs, 349 00:27:49,856 --> 00:27:52,555 Queen of Prophets, Queen of the Apostles... 350 00:27:52,656 --> 00:27:56,156 Why do you remember that? Is there nothing more useful to do? 351 00:27:56,656 --> 00:27:59,823 It's almost like a scene of extrasensory perception. 352 00:28:00,623 --> 00:28:03,555 As if whispered prayers were being transmitted 353 00:28:03,656 --> 00:28:07,422 on some new radio frequency of faith. 354 00:28:07,523 --> 00:28:12,264 Lamb of God, take away the sins of the world, forgive us. 355 00:28:12,365 --> 00:28:13,355 Don't talk to me. 356 00:28:13,456 --> 00:28:16,044 Your enchantment uses archaic language. 357 00:28:16,145 --> 00:28:20,478 Asymmetric framing and very empty in the sockets. 358 00:28:21,423 --> 00:28:24,755 A world out of the ordinary where religion and sexuality 359 00:28:24,856 --> 00:28:26,456 they mix. 360 00:28:28,490 --> 00:28:31,190 The complexity of religious belief. 361 00:28:41,756 --> 00:28:44,655 The figure of the Savior in The Homeland of Electricity, 362 00:28:44,756 --> 00:28:46,890 by Larisa Shepitko. 363 00:28:48,056 --> 00:28:51,156 The arch behind him looks a Renaissance painting. 364 00:28:52,656 --> 00:28:55,656 Then a cut for your face. A beetle. 365 00:28:56,456 --> 00:28:59,123 Was he teleported to this place? 366 00:28:59,856 --> 00:29:01,290 Cold wind. 367 00:29:04,990 --> 00:29:06,656 Desert landscape. 368 00:29:15,723 --> 00:29:18,290 A watercolor of distant peasants. 369 00:29:19,156 --> 00:29:20,523 In a procession. 370 00:29:23,690 --> 00:29:25,190 What are they doing? 371 00:29:45,523 --> 00:29:46,689 Cut to this. 372 00:29:46,790 --> 00:29:49,023 A priest. Crosses. 373 00:29:52,023 --> 00:29:53,656 A religious procession. 374 00:29:54,690 --> 00:29:57,456 A woman's devotion and despair. 375 00:29:58,956 --> 00:30:00,723 Waiting for the rains. 376 00:30:03,656 --> 00:30:05,922 This beautiful movement accompanies children, 377 00:30:06,023 --> 00:30:07,966 Chechen children. 378 00:30:08,067 --> 00:30:10,633 Shepitko and his photographer 379 00:30:10,734 --> 00:30:15,001 are great in close-ups in a broad framework. 380 00:30:35,043 --> 00:30:37,177 The holy man is not participating. 381 00:30:38,256 --> 00:30:40,823 He is the least worthy of all. 382 00:30:41,623 --> 00:30:44,156 Religion is abandoning their story, 383 00:30:44,257 --> 00:30:45,691 your leadership. 384 00:30:46,878 --> 00:30:50,278 A scene about the failure of religion. 385 00:30:59,825 --> 00:31:02,874 Here religion is also in crisis. 386 00:31:02,980 --> 00:31:06,557 A Liverpool chapel. Communion time. 387 00:31:06,658 --> 00:31:11,924 Everyone lines up to receive it of the priest on the right. 388 00:31:12,025 --> 00:31:15,234 Nobody wants it from this priest, on the left, 389 00:31:15,335 --> 00:31:20,435 because the newspapers exposed him as gay. 390 00:31:21,101 --> 00:31:22,857 And then this girl. 391 00:31:22,958 --> 00:31:24,958 She was abused by her father. 392 00:31:26,249 --> 00:31:28,824 The young priest heard about it, 393 00:31:28,925 --> 00:31:31,358 but in a superficial way. 394 00:31:34,425 --> 00:31:36,024 Director Antonia Bird 395 00:31:36,125 --> 00:31:38,955 make it pass through the line of people 396 00:31:39,056 --> 00:31:41,091 who reject the gay priest 397 00:31:41,192 --> 00:31:43,360 and then accompanies her, 398 00:31:43,558 --> 00:31:48,158 emphasizing your choice, your walk, your courage. 399 00:31:56,925 --> 00:31:58,658 Their calm voices. 400 00:31:59,858 --> 00:32:01,258 His hesitation. 401 00:32:02,125 --> 00:32:03,492 Their look. 402 00:32:03,858 --> 00:32:06,492 -The Body of Christ. -Am�m. 403 00:32:08,207 --> 00:32:10,174 He knows he made a mistake. 404 00:32:13,254 --> 00:32:17,087 But his offense was not have sex with a guy, 405 00:32:17,587 --> 00:32:20,020 it was having failed to protect her. 406 00:32:23,854 --> 00:32:26,221 Failed in his pastoral care. 407 00:32:27,554 --> 00:32:29,787 Her walk absolves him. 408 00:32:34,287 --> 00:32:36,320 This is a confessional scene. 409 00:32:36,987 --> 00:32:38,620 Will he fall to his knees? 410 00:32:39,420 --> 00:32:41,254 He should fall to his knees. 411 00:32:51,188 --> 00:32:54,288 So this crane movement visually articulated, 412 00:32:55,220 --> 00:32:58,420 up and opening. A revelation. 413 00:32:59,354 --> 00:33:00,854 A J�accuse. 414 00:33:34,327 --> 00:33:37,294 Another argument. Another Catholic world. 415 00:33:38,487 --> 00:33:40,653 Christine had multiple sclerosis 416 00:33:40,754 --> 00:33:42,353 and was in a wheelchair. 417 00:33:42,454 --> 00:33:47,886 On a religious pilgrimage to Lourdes, she was healed. 418 00:33:47,987 --> 00:33:49,587 Now she can dance. 419 00:33:53,054 --> 00:33:54,454 But suddenly, this. 420 00:34:02,268 --> 00:34:06,562 Director Jessica Hausner still doesn't show it on the floor. 421 00:34:06,663 --> 00:34:11,263 We see people serving cake before seeing her. 422 00:34:12,520 --> 00:34:16,487 And the strange Lynchian music doesn't stop. 423 00:34:17,920 --> 00:34:22,120 The sleepwalking atmosphere is uninterrupted. 424 00:34:27,787 --> 00:34:29,619 These people didn't stay very satisfied 425 00:34:29,720 --> 00:34:32,054 with his miraculous recovery, 426 00:34:33,054 --> 00:34:37,220 nor are they distressed with his apparent relapse. 427 00:34:38,120 --> 00:34:40,887 No blood, no passion. 428 00:34:43,687 --> 00:34:46,554 It's as if their belief reassure them. 429 00:35:47,087 --> 00:35:49,691 They reject these beliefs reassuring? 430 00:35:49,792 --> 00:35:50,918 No. 431 00:35:51,019 --> 00:35:52,930 But one of the most daring films 432 00:35:53,031 --> 00:35:56,931 about the rejection of dogmas religious is this... 433 00:35:57,787 --> 00:36:00,753 By Marjane Satrapi, Pers�polis. 434 00:36:01,620 --> 00:36:03,752 Iranian boys were told that, 435 00:36:03,853 --> 00:36:07,120 if they die for their religion, they will go to heaven. 436 00:36:08,520 --> 00:36:10,919 Tonight our army destroyed 63 tanks 437 00:36:11,020 --> 00:36:12,986 and 26 Iraqi combat aircraft. 438 00:36:13,087 --> 00:36:16,019 The blood of our martyrs irrigate our sacred soil 439 00:36:16,120 --> 00:36:19,552 and then the deserts of despair they will be fertile again. 440 00:36:19,653 --> 00:36:24,184 When a martyr dies the blood pumps through the veins of society. 441 00:36:24,285 --> 00:36:26,834 Together with Vincent Paronnoud, 442 00:36:27,085 --> 00:36:30,703 Satrapi adapted her own comics. 443 00:36:31,352 --> 00:36:34,552 Full contrast in black and white. 444 00:36:35,170 --> 00:36:36,686 And this story... 445 00:36:36,851 --> 00:36:39,750 He has a terrible face, Mrs. Nasreen, is everything okay? 446 00:36:39,851 --> 00:36:41,317 It's not okay, 447 00:36:41,418 --> 00:36:43,497 They gave this to my son at school. 448 00:36:43,598 --> 00:36:46,330 They told the boys that, if they died fighting, 449 00:36:46,431 --> 00:36:49,934 they would go to paradise and enter with this plastic key. 450 00:36:50,035 --> 00:36:53,500 That in paradise they would eat like kings, surrounded by women 451 00:36:53,601 --> 00:36:55,700 and live in houses made of gold and diamonds. 452 00:36:55,801 --> 00:36:57,201 By women? 453 00:36:58,027 --> 00:37:00,627 Of course, he's 14, I know it's age. 454 00:37:01,135 --> 00:37:02,467 I suffered a lot, 455 00:37:02,568 --> 00:37:05,367 I raised my five children with blood, sweat and tears 456 00:37:05,468 --> 00:37:08,934 and now they want to take my only son with this fake key. 457 00:37:09,035 --> 00:37:11,234 I have always lived in agreement with religious rules, 458 00:37:11,335 --> 00:37:15,135 all my life I prayed, I wore a veil and obeyed. 459 00:37:15,770 --> 00:37:18,877 And for what? How can I still have faith? 460 00:37:18,978 --> 00:37:21,577 An angry mother with religious authorities 461 00:37:21,678 --> 00:37:24,244 for glamorizing death. 462 00:37:24,553 --> 00:37:26,119 And she puts on the veil. 463 00:37:28,489 --> 00:37:31,655 The effort to understand religion, 464 00:37:32,627 --> 00:37:34,694 to see beyond your veil. 465 00:37:35,264 --> 00:37:38,564 Ask your child to come and talk with me, don't worry. 466 00:37:39,707 --> 00:37:40,840 Thanks to my parents, 467 00:37:40,941 --> 00:37:43,674 Mrs.'s son Nasreen never went to war. 468 00:38:00,120 --> 00:38:03,420 After sex, home and religion, 469 00:38:03,874 --> 00:38:06,773 let's take a look at another central thing in our life... 470 00:38:06,874 --> 00:38:08,307 Work. 471 00:38:08,670 --> 00:38:12,173 How the directors portrayed and valued it? 472 00:38:12,274 --> 00:38:17,074 CHAPTER 22 - WORK 473 00:38:18,607 --> 00:38:21,306 Miranda July has fun with her work, 474 00:38:21,407 --> 00:38:24,440 with a guy who is terrible in your profession. 475 00:38:24,541 --> 00:38:26,006 His hesitation. 476 00:38:26,107 --> 00:38:29,106 He doesn't understand the rules basics of work. 477 00:38:29,207 --> 00:38:31,023 OUTSIDE SELLERS 478 00:38:31,218 --> 00:38:33,285 Oh, sorry, I didn't see your warning. 479 00:38:33,741 --> 00:38:36,290 I think I'm a salesman... 480 00:38:36,394 --> 00:38:38,940 -Swear? -I mean, I... 481 00:38:39,041 --> 00:38:40,406 You are my first... 482 00:38:40,507 --> 00:38:43,306 Lovely breaks from acting. 483 00:38:43,407 --> 00:38:44,540 Or not. 484 00:38:44,641 --> 00:38:47,441 -Let's leave it that way. -Of course. 485 00:38:57,589 --> 00:38:58,640 Yes? 486 00:38:58,741 --> 00:39:02,006 My name is Jason and I work on the tree by tree. 487 00:39:02,107 --> 00:39:04,473 I would have a minute to help to reduce global warming? 488 00:39:04,574 --> 00:39:07,206 A salesperson needs to keep his gaze, 489 00:39:07,307 --> 00:39:10,473 but his eyes waver, and hers too. 490 00:39:10,574 --> 00:39:14,073 ...goal of planting one million of trees in Los Angeles 491 00:39:14,174 --> 00:39:17,040 for a small donation. 492 00:39:17,141 --> 00:39:21,373 We will give you a tree young and healthy. 493 00:39:21,474 --> 00:39:23,273 Our boy needs to learn how to do 494 00:39:23,374 --> 00:39:27,807 the most basic of jobs Americans: Sell. 495 00:39:28,493 --> 00:39:30,193 Could you throw that away? 496 00:39:30,605 --> 00:39:31,907 Of course. 497 00:39:42,332 --> 00:39:45,806 Did you read the manual last night? The seller's five steps? 498 00:39:45,907 --> 00:39:47,406 -Yes. -A lot of nonsense... 499 00:39:47,507 --> 00:39:48,806 You don't need that... 500 00:39:48,907 --> 00:39:51,773 He could have heard Shia Labeouf's opinion. 501 00:39:51,874 --> 00:39:54,574 In Jay's book there's one damn step. 502 00:39:55,139 --> 00:39:57,773 Not five, just one, one step. 503 00:39:57,874 --> 00:40:01,607 After you take the first step, He is already the chief of the tribe. 504 00:40:02,807 --> 00:40:07,174 He sells magazines and is teaching his techniques here. 505 00:40:07,512 --> 00:40:10,412 Basically, when they open the door and look at you, 506 00:40:10,974 --> 00:40:13,373 It's the big critical moment. The moment to hook or lose, 507 00:40:13,474 --> 00:40:15,373 because in that second you need to study them, 508 00:40:15,474 --> 00:40:18,106 need to read them, scan them to understand them. 509 00:40:18,207 --> 00:40:20,574 Understand what kind of person that person wants in their life 510 00:40:20,675 --> 00:40:22,406 and you need to be that person. 511 00:40:22,507 --> 00:40:27,074 The skills needed are improvisation and performance. 512 00:40:29,021 --> 00:40:31,073 Persuade. Talk zucchini. 513 00:40:31,174 --> 00:40:33,240 Always be close to the goal. 514 00:40:33,341 --> 00:40:36,273 His job is to sell himself. 515 00:40:36,374 --> 00:40:38,740 ..."Mom has cancer" or "my foot is falling off". 516 00:40:38,841 --> 00:40:40,573 "I'm trying to get my life back." 517 00:40:40,674 --> 00:40:43,140 You know, "I was lost as a teenager 518 00:40:43,241 --> 00:40:45,522 "and now I'm committed to changing... 519 00:40:45,623 --> 00:40:47,619 "You know, my father died in Iraq." 520 00:40:47,720 --> 00:40:50,152 Any sad nonsense, and they repeat this all the time 521 00:40:50,253 --> 00:40:51,920 until it loses its meaning. 522 00:40:52,820 --> 00:40:55,785 This person doesn't give a damn about magazines, 523 00:40:55,886 --> 00:40:57,519 they want something from me. 524 00:40:57,620 --> 00:41:01,569 So if I'm smart, I will understand what it is 525 00:41:01,825 --> 00:41:03,279 and work on it. 526 00:41:03,380 --> 00:41:06,013 -�? -That's a super seller. 527 00:41:06,646 --> 00:41:10,242 After learning your job, if he is lucky, he will have pleasure, 528 00:41:10,343 --> 00:41:12,643 purpose or dignity. 529 00:41:13,521 --> 00:41:18,637 Women of Ryazan was directed by Olga Preobrazhenskaya, 530 00:41:18,841 --> 00:41:20,641 an actress born in Moscow 531 00:41:20,742 --> 00:41:23,744 which was one of the first women directing a feature film. 532 00:41:23,845 --> 00:41:27,778 She films the cutting and harvesting of wheat. 533 00:41:27,879 --> 00:41:30,178 Men and women harvest together, 534 00:41:30,279 --> 00:41:34,445 It's almost as if the field were the sea and they were fish. 535 00:41:36,645 --> 00:41:39,879 Classic takes, balanced and elegant. 536 00:41:56,364 --> 00:41:58,597 Sometimes heroic. 537 00:42:00,042 --> 00:42:01,509 His smile 538 00:42:03,506 --> 00:42:04,771 and her smile. 539 00:42:04,872 --> 00:42:07,972 Pleasure and common purpose. 540 00:42:08,472 --> 00:42:11,838 One year before collectivization forced agriculture 541 00:42:11,939 --> 00:42:13,606 in the Soviet Union. 542 00:42:22,206 --> 00:42:27,672 Salt extraction, now in Venezuela, in 1959. 543 00:42:29,272 --> 00:42:31,038 A shot taken with a crane 544 00:42:31,139 --> 00:42:33,971 abandoned by salt workers. 545 00:42:34,072 --> 00:42:39,455 Director Margot Benacerraf shows us the process, 546 00:42:39,556 --> 00:42:43,390 how organized it is, how beautiful it is. 547 00:42:43,639 --> 00:42:45,071 Another cinematic shot, 548 00:42:45,172 --> 00:42:47,805 but this film was made by just two people, 549 00:42:47,906 --> 00:42:51,171 Benacerraf and his director of photography. 550 00:42:51,272 --> 00:42:53,511 ...with the strength of his arms. 551 00:42:53,612 --> 00:42:57,879 She said to get to Araya it was like going to the moon. 552 00:43:00,372 --> 00:43:02,856 The film shared an award at Cannes 553 00:43:02,957 --> 00:43:06,991 with the film by Alain Resnais, Hiroshima, My Love. 554 00:43:09,439 --> 00:43:12,572 And what lies beyond of the dignity of work? 555 00:43:21,606 --> 00:43:23,238 Remove synchronized sound 556 00:43:23,339 --> 00:43:25,938 and get closer to the workers' faces 557 00:43:26,039 --> 00:43:29,872 and get something like portraits by Rembrandt... 558 00:43:37,872 --> 00:43:40,139 Something spiritual. 559 00:43:40,539 --> 00:43:43,506 Exhausting and sunlit. 560 00:44:09,672 --> 00:44:12,538 Stay away from this spirituality 561 00:44:12,639 --> 00:44:14,872 and you will have a scene like this. 562 00:44:15,239 --> 00:44:16,772 Cooking. 563 00:44:17,256 --> 00:44:19,166 And jazz playing. 564 00:44:24,455 --> 00:44:26,122 The song stops. 565 00:44:26,339 --> 00:44:28,772 But his domestic work continues. 566 00:44:33,706 --> 00:44:35,271 The song again. 567 00:44:35,372 --> 00:44:37,271 Your daily tasks, 568 00:44:37,372 --> 00:44:39,371 in a diurnal cycle. 569 00:44:39,472 --> 00:44:41,271 Like a music loop. 570 00:44:41,372 --> 00:44:42,906 Syncopated. 571 00:44:43,339 --> 00:44:45,971 Dust always accumulates. 572 00:44:46,072 --> 00:44:50,472 Pans and dishes always need to be saved. 573 00:44:50,806 --> 00:44:53,571 She is not happy in these scenes, 574 00:44:53,672 --> 00:44:55,938 but it is also not oppressed. 575 00:44:56,039 --> 00:44:58,438 Her life is not bad. 576 00:44:58,539 --> 00:45:01,171 The ambiguity of his work. 577 00:45:01,272 --> 00:45:06,072 Repetitive, tiring, but with its rewards. 578 00:45:28,216 --> 00:45:32,138 Vera Chytilova gave us a housework assembly, 579 00:45:32,239 --> 00:45:34,918 but Valerie Massadian 580 00:45:35,019 --> 00:45:40,753 There's your character, Nana, filmed in a single scene. 581 00:45:41,583 --> 00:45:44,149 Nana's mother disappeared. 582 00:45:44,572 --> 00:45:48,455 child got dressed and played with his toys. 583 00:45:48,615 --> 00:45:52,288 But it occurred to her that she I couldn't play forever. 584 00:45:52,468 --> 00:45:57,035 Playing is the gaps from work or vice versa. 585 00:45:57,206 --> 00:45:59,377 Work is an obligation. 586 00:45:59,706 --> 00:46:02,638 She has to drag things, move things. 587 00:46:02,739 --> 00:46:05,572 She tries to make the bed, in a way. 588 00:46:07,906 --> 00:46:11,572 In a cluttered room, she wants to create some order. 589 00:46:15,145 --> 00:46:18,445 Work as the opposite of entropy. 590 00:46:38,606 --> 00:46:42,839 Chantal Akerman also uses a simple and rigorous scene. 591 00:46:43,505 --> 00:46:48,039 We also see Jeanne Dielmann from a fixed point. 592 00:46:48,439 --> 00:46:52,539 No cuts, no diminishing the process of making the bed. 593 00:46:59,072 --> 00:47:02,226 It could be a YouTube video about making the bed, 594 00:47:02,327 --> 00:47:05,560 but Akerman is behind of something more radical. 595 00:47:06,068 --> 00:47:10,351 She said that in the movies there were hierarchies of images... 596 00:47:10,544 --> 00:47:13,442 A kiss or an accident by car were more important 597 00:47:13,543 --> 00:47:15,412 than domestic work. 598 00:47:15,513 --> 00:47:19,580 She wanted to level the hierarchy, respect this work, 599 00:47:19,681 --> 00:47:22,781 this world of doing and redoing. 600 00:47:37,910 --> 00:47:40,492 Jeanne Dielman was forced to work, 601 00:47:40,704 --> 00:47:42,938 and these boys too. 602 00:47:43,224 --> 00:47:48,557 The economic crisis meant that if could make money from scrap metal. 603 00:47:50,464 --> 00:47:53,380 Beautiful traveling with long-range lenses. 604 00:47:53,483 --> 00:47:55,983 Suddenly, the weighing machine. 605 00:47:58,110 --> 00:47:59,109 What it was? 606 00:47:59,210 --> 00:48:00,710 What the hell is this? 607 00:48:02,410 --> 00:48:03,843 It's aluminum! 608 00:48:04,563 --> 00:48:05,971 Wait, 609 00:48:06,210 --> 00:48:08,109 and some bronze. 610 00:48:08,210 --> 00:48:09,942 Arbor is so young 611 00:48:10,043 --> 00:48:13,075 who does not need to know the value of the metal. 612 00:48:13,176 --> 00:48:15,310 But life forced him. 613 00:48:15,843 --> 00:48:18,775 He joins the yard of juvenile delinquents. 614 00:48:18,876 --> 00:48:21,776 It's like a scene from Victorian times. 615 00:48:26,410 --> 00:48:29,147 That's when the story on which the film is based, 616 00:48:29,248 --> 00:48:33,215 The Selfish Giant, by Oscar Wilde, was written. 617 00:48:44,914 --> 00:48:46,242 What is this? 618 00:48:46,343 --> 00:48:48,175 Don't you know how the action arrives, Leone? 619 00:48:48,276 --> 00:48:49,709 I have no idea. 620 00:48:49,810 --> 00:48:53,030 He goes up the river in barges and is loaded on trailers... 621 00:48:53,131 --> 00:48:55,497 The short film Skyscraper, by Shirley Clark 622 00:48:55,598 --> 00:48:58,164 also tells the story of metal work. 623 00:48:58,265 --> 00:49:00,064 But she does something unusual. 624 00:49:00,165 --> 00:49:02,697 She keeps her characters behind the camera. 625 00:49:02,798 --> 00:49:04,564 Narrating. Ironizing. 626 00:49:04,665 --> 00:49:06,130 ...it would be a mess, if it ever happened. 627 00:49:06,231 --> 00:49:08,097 When the contractor does the planning, 628 00:49:08,198 --> 00:49:11,664 make sure that all the requested action is delivered. 629 00:49:11,765 --> 00:49:13,764 -That's logistics. -What is logistics? 630 00:49:13,865 --> 00:49:15,797 Oh, honest Leone, that's logistics! 631 00:49:15,898 --> 00:49:19,428 That truck carries the action through the streets to work. 632 00:49:19,529 --> 00:49:20,628 Did you understand? 633 00:49:20,729 --> 00:49:23,062 Where we men of iron take over. 634 00:49:25,789 --> 00:49:28,389 Watch how we put it in place, piece by piece. 635 00:49:29,665 --> 00:49:32,530 See the guy pulling the strings? It's Harry Schnider, work hard... 636 00:49:32,631 --> 00:49:34,464 -It's a nice guy. -Thank you, Murphy. 637 00:49:34,565 --> 00:49:36,897 I didn't know it was here, Schnider, I take it all back! 638 00:49:36,998 --> 00:49:38,297 What is so difficult? 639 00:49:38,398 --> 00:49:41,264 He has to guide every piece of action for position, Dumbo. 640 00:49:41,365 --> 00:49:44,231 One bell, up, two to the right, and so on. 641 00:49:45,458 --> 00:49:48,397 It's me again, isn't it me? I was fine, right? 642 00:49:48,498 --> 00:49:51,797 -Not bad for a master builder. -Maybe I can learn something from one. 643 00:49:51,898 --> 00:49:53,864 -Tell him you're going, Lucky. -Well, Leone... 644 00:49:53,965 --> 00:49:57,630 There is a real feeling of them watching themselves, 645 00:49:57,731 --> 00:50:00,864 your own work, your own process. 646 00:50:00,965 --> 00:50:03,031 They seem to own the film. 647 00:50:04,794 --> 00:50:06,227 Santa Claus! 648 00:50:08,298 --> 00:50:11,797 But what about when work becomes despair? 649 00:50:11,898 --> 00:50:14,564 All you need in life is love, 650 00:50:14,665 --> 00:50:16,264 and believe in yourself, 651 00:50:16,365 --> 00:50:18,331 There is nothing you can't achieve. 652 00:50:20,231 --> 00:50:23,264 Okay, let me see If I understand all this correctly. 653 00:50:23,365 --> 00:50:24,730 Basically, 654 00:50:24,831 --> 00:50:28,064 you have no experience, diploma, CV, 655 00:50:28,165 --> 00:50:32,430 work history and now you want to be a lawyer? 656 00:50:32,531 --> 00:50:35,931 Patty Jenkins' film about Aileen Wornous. 657 00:50:36,421 --> 00:50:41,255 The simple grammar of the film, plan and counter-plan, 658 00:50:41,689 --> 00:50:43,930 which suits an interview scene. 659 00:50:44,031 --> 00:50:46,297 But the text and the acting 660 00:50:46,398 --> 00:50:49,164 capture your expectation and hope. 661 00:50:49,265 --> 00:50:52,697 I don't want to seem harsh, but this is a bit offensive. 662 00:50:52,798 --> 00:50:57,230 And then humiliation and even disappointment. 663 00:50:57,331 --> 00:51:01,030 Can I tell you something? When the beach party ends, 664 00:51:01,131 --> 00:51:04,630 you can't find it who will have what others 665 00:51:04,731 --> 00:51:07,398 They worked their whole lives to have it. It doesn't work like that. 666 00:51:08,865 --> 00:51:11,864 Fuck you, man. Yes, fuck! 667 00:51:11,965 --> 00:51:13,764 You don't fucking know me! 668 00:51:13,865 --> 00:51:15,930 Okay... That's a good one. It saw? 669 00:51:16,031 --> 00:51:17,964 I'm sorry for not having hired you before. 670 00:51:18,065 --> 00:51:20,764 Leslie, could you, accompany you, Miss... 671 00:51:20,865 --> 00:51:23,830 I don't know her name, because she doesn't even have a CV. 672 00:51:23,931 --> 00:51:26,364 I don't need your shitty escort. 673 00:51:26,465 --> 00:51:29,947 Do you think I'm retarded? The power of the interviewer. 674 00:51:30,048 --> 00:51:32,448 Your license to judge. 675 00:51:32,765 --> 00:51:35,497 He is the guardian of the world of work. 676 00:51:35,598 --> 00:51:38,831 All you need is love and believe in yourself. 677 00:51:39,660 --> 00:51:40,927 Great idea! 678 00:51:41,777 --> 00:51:44,002 That's not quite how it works. 679 00:51:44,949 --> 00:51:47,764 And when you're really desperate for a job 680 00:51:47,865 --> 00:51:50,298 and can read the guardian... 681 00:51:50,735 --> 00:51:53,635 Maybe you can answer the tables, cocktail? 682 00:51:53,942 --> 00:51:55,535 No, no, no. 683 00:51:56,740 --> 00:51:58,773 No, no... 684 00:52:01,765 --> 00:52:03,031 Look... 685 00:52:05,553 --> 00:52:07,590 Maggie Gyllenhall's character 686 00:52:07,691 --> 00:52:11,364 recently got out of prison, I was addicted to heroin 687 00:52:11,465 --> 00:52:14,430 and her daughter barely knows who she is. 688 00:52:14,531 --> 00:52:18,163 So what does she want, work with children, 689 00:52:18,264 --> 00:52:20,506 It's not just about the money. 690 00:52:20,607 --> 00:52:23,830 She wants to regain some social status. 691 00:52:23,931 --> 00:52:25,364 Very well... 692 00:52:28,564 --> 00:52:30,264 And then? 693 00:52:44,264 --> 00:52:45,497 Beautiful. 694 00:52:46,146 --> 00:52:48,713 I'll suck your dick if you give it to me the job I want. 695 00:53:01,198 --> 00:53:03,697 Allen, congratulations on the Fisher account. 696 00:53:03,798 --> 00:53:05,364 Thanks, Baxter. 697 00:53:05,990 --> 00:53:08,763 Although the world of yuppies the 80s is far away 698 00:53:08,864 --> 00:53:11,311 of Sherrybaby's problems, 699 00:53:11,412 --> 00:53:15,746 this scene is strange similar to your interview. 700 00:53:16,031 --> 00:53:18,756 The investment banker Patrick Bateman 701 00:53:18,857 --> 00:53:21,023 and his associates are desperate 702 00:53:21,124 --> 00:53:23,456 to assert social status. 703 00:53:23,557 --> 00:53:27,489 The soundtrack hums when we see the static, 704 00:53:27,590 --> 00:53:31,290 almost erotic of your business cards. 705 00:53:31,627 --> 00:53:32,910 New card. 706 00:53:33,122 --> 00:53:34,588 What do you think? 707 00:53:36,131 --> 00:53:38,198 Wow, very cool. 708 00:53:38,531 --> 00:53:39,797 Look at this! 709 00:53:39,898 --> 00:53:41,630 I got it from the printer yesterday. 710 00:53:41,731 --> 00:53:43,697 -Beautiful colors! -That's bone, 711 00:53:43,798 --> 00:53:46,797 and the letters are called silian rail. 712 00:53:46,898 --> 00:53:48,930 Very cool, but that's nothing. 713 00:53:49,031 --> 00:53:50,365 See this. 714 00:53:50,798 --> 00:53:52,664 This is sensational! 715 00:53:52,765 --> 00:53:55,298 Eggshell, with Romania font. 716 00:53:55,798 --> 00:53:57,231 What do you think? 717 00:53:58,065 --> 00:53:59,164 Nice. 718 00:53:59,265 --> 00:54:02,130 It's as if they were comparing their penises. 719 00:54:02,231 --> 00:54:06,130 Ritualized work, commodified and decadent, 720 00:54:06,231 --> 00:54:09,397 like a scene from a samurai movie. 721 00:54:09,498 --> 00:54:10,664 Wait, 722 00:54:10,765 --> 00:54:12,765 you haven't seen anything yet. 723 00:54:14,465 --> 00:54:17,398 Embossed letters. Nimbus pale. 724 00:54:17,880 --> 00:54:19,165 White. 725 00:54:20,398 --> 00:54:21,464 Impressive. 726 00:54:21,565 --> 00:54:25,297 They take it too far, these peacock men. 727 00:54:25,398 --> 00:54:27,997 Work for them is show, 728 00:54:28,098 --> 00:54:31,298 Freudian and gladiatorial. 729 00:54:41,465 --> 00:54:46,130 Look at this subtly white color and the thickness of good taste... 730 00:54:46,231 --> 00:54:49,698 My God, it even has a watermark. 731 00:54:54,365 --> 00:54:56,731 Something wrong? Patrick? 732 00:54:57,098 --> 00:54:58,431 You're sweating. 733 00:54:59,098 --> 00:55:02,097 Stylistically, this documentary is nothing like it 734 00:55:02,198 --> 00:55:04,098 with the film by Mary Harron. 735 00:55:04,199 --> 00:55:10,162 But he's also about taking the work, your ethos, your ego, 736 00:55:10,263 --> 00:55:11,930 to an extreme. 737 00:55:12,131 --> 00:55:13,795 Director Barbara Hammer 738 00:55:13,896 --> 00:55:17,595 interview people about a notable film collective 739 00:55:17,696 --> 00:55:21,363 in Japan in the 1960s and 1970s. 740 00:55:21,723 --> 00:55:25,629 They radicalized production and distribution of documentaries 741 00:55:25,730 --> 00:55:27,999 living among your affairs, 742 00:55:28,100 --> 00:55:32,633 farmers protesting, for example, for years in a row. 743 00:55:32,994 --> 00:55:38,629 For Ogawa Produ�es, living in... 744 00:55:38,730 --> 00:55:42,862 Sanrizuka Agricultural Cooperative, 745 00:55:42,963 --> 00:55:45,295 to live collectively, 746 00:55:45,396 --> 00:55:50,662 make films collectively, have a common approach 747 00:55:50,763 --> 00:55:52,863 at work... 748 00:55:53,351 --> 00:55:57,717 But director Hammer doesn't avoid the downside of their approach. 749 00:55:58,235 --> 00:56:01,901 Working on Ogawa productions became a kind of cult, 750 00:56:02,002 --> 00:56:07,002 obsessive, in his own way, like in American Psycho. 751 00:56:08,513 --> 00:56:13,012 The filmmakers canceled all the boundaries between life and work, 752 00:56:13,113 --> 00:56:16,379 and its brilliant leader, Ogawa Shinsuke, 753 00:56:16,480 --> 00:56:21,312 demanded devotion and, Sometimes sexual submission. 754 00:56:21,413 --> 00:56:25,079 In Japanese radical collectives of the time, 755 00:56:25,180 --> 00:56:27,347 the ego was reproached, 756 00:56:27,861 --> 00:56:32,053 but he was present at work from Ogawa and his team 757 00:56:32,154 --> 00:56:34,846 and damaged the bonds of work. 758 00:56:34,947 --> 00:56:38,347 I think Ogawa It had that kind of attraction. 759 00:56:43,180 --> 00:56:45,912 Colombian director Marta Rodriguez 760 00:56:46,013 --> 00:56:50,347 begins by taking us to a world of non-unionized work. 761 00:56:50,947 --> 00:56:53,346 Close-up of a girl that digs the mud. 762 00:56:53,447 --> 00:56:55,712 Her family makes bricks. 763 00:56:55,813 --> 00:56:58,247 No soundtrack. 764 00:56:59,680 --> 00:57:02,547 It's in this chimney where Are bricks burned? 765 00:57:07,227 --> 00:57:09,705 The siren is an alert. 766 00:57:19,613 --> 00:57:22,147 A warning for these conditions? 767 00:57:22,780 --> 00:57:26,212 We are far from dignity of salt workers 768 00:57:26,313 --> 00:57:29,780 or spirituality from Shepitko's film. 769 00:58:01,075 --> 00:58:05,588 So besides your camera observant, anthropological, 770 00:58:05,689 --> 00:58:09,989 Rodriguez adds an authoritative voice. 771 00:58:10,413 --> 00:58:11,780 Colombia. 772 00:58:12,313 --> 00:58:14,945 Alfredo and Maria's family, plus his twelve children, 773 00:58:15,046 --> 00:58:19,480 live in this ignored reality. 774 00:58:20,713 --> 00:58:25,295 Like them, a population of around 50 thousand people 775 00:58:25,396 --> 00:58:28,395 survives from primitive brick production 776 00:58:28,496 --> 00:58:32,296 in urban estates around Bogota. 777 00:58:41,380 --> 00:58:43,263 Learning how to work, 778 00:58:43,364 --> 00:58:44,970 about your dignity, 779 00:58:45,071 --> 00:58:47,829 spirituality, need, 780 00:58:47,930 --> 00:58:52,063 excesses, division and exploitation. 781 00:58:52,547 --> 00:58:57,547 Another scene about work, that takes us away from the threshold. 782 00:59:13,740 --> 00:59:16,806 The kitchen of a Tunisian palace. 783 00:59:17,273 --> 00:59:20,039 The maids just saw the mother of the house scream, 784 00:59:20,140 --> 00:59:24,248 because she is pregnant, probably from rape. 785 00:59:24,349 --> 00:59:26,115 And what do they do? 786 00:59:31,096 --> 00:59:32,405 They work. 787 00:59:32,506 --> 00:59:33,672 rhythmically, 788 00:59:33,773 --> 00:59:35,005 slowly, 789 00:59:35,106 --> 00:59:36,506 gently. 790 00:59:43,873 --> 00:59:48,105 Director Moufida Tlatli walks the camera around the faces 791 00:59:48,206 --> 00:59:50,873 while washing and cooking. 792 00:59:55,040 --> 00:59:57,756 Work calms your hearts. 793 00:59:57,857 --> 01:00:01,323 It's what they do when they don't know what to do. 794 01:00:06,906 --> 01:00:08,373 It's restorative.