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 00:01:21,306 --> 00:01:23,905 Our last four chapters analyzed sex, home, 14 00:01:24,006 --> 00:01:25,705 religion and work. 15 00:01:25,806 --> 00:01:29,105 Now, a fifth aspect important part of everyday life, 16 00:01:29,206 --> 00:01:30,840 politics. 17 00:01:33,659 --> 00:01:40,691 CHAPTER 23 - POLITICS 18 00:01:41,306 --> 00:01:43,605 The Enchanted Desna again. 19 00:01:43,706 --> 00:01:45,940 God help us! 20 00:01:47,973 --> 00:01:50,839 We can count on the director Yulia Solnsteva 21 00:01:50,940 --> 00:01:52,806 to take things to the extreme. 22 00:01:52,907 --> 00:01:56,174 Here she takes idealism from politics to the extreme. 23 00:01:58,226 --> 00:02:00,105 Happy and laughing peasants. 24 00:02:00,206 --> 00:02:01,872 Pictorial compositions. 25 00:02:01,973 --> 00:02:04,805 A holy man fell into the river Desna. 26 00:02:04,906 --> 00:02:06,306 He felt bad. 27 00:02:08,404 --> 00:02:10,505 A rhapsody of rural life. 28 00:02:10,606 --> 00:02:13,306 A noble farmer, filmed from below. 29 00:02:13,706 --> 00:02:15,405 What a village! 30 00:02:15,506 --> 00:02:18,905 Every spring, for over a thousand years, 31 00:02:19,006 --> 00:02:20,772 they get soggy like that 32 00:02:20,873 --> 00:02:23,039 and the devil can't get them out of this place. 33 00:02:23,140 --> 00:02:26,640 So, one of the most daring cuts of cinema history. 34 00:02:31,640 --> 00:02:34,172 Decades later. Still laughing. 35 00:02:34,273 --> 00:02:36,371 The industrial world now. 36 00:02:36,840 --> 00:02:40,772 Equally harmonious and beautiful. Building utopia. 37 00:02:40,873 --> 00:02:43,572 Pure socialist politics. 38 00:02:43,673 --> 00:02:46,866 The present is always in transition from the past to the future. 39 00:02:46,967 --> 00:02:48,633 Dialectic! 40 00:03:02,606 --> 00:03:04,906 From idealism to symbolism. 41 00:03:06,106 --> 00:03:08,172 French filmmaker Marina De Van 42 00:03:08,273 --> 00:03:11,940 directs itself in the disturbing In My Skin. 43 00:03:13,855 --> 00:03:15,205 She's at a work dinner. 44 00:03:15,306 --> 00:03:17,872 Business talk. European capitalists. 45 00:03:17,973 --> 00:03:22,405 We have a global strategy, but Japan is an exception. 46 00:03:22,506 --> 00:03:24,005 We have a marketing team there. 47 00:03:24,106 --> 00:03:26,505 It's so different from Europe and the United States. 48 00:03:26,606 --> 00:03:30,040 De Van's character drinks to dull the conversation. 49 00:03:33,340 --> 00:03:36,639 I didn't know that Japan it was that special. 50 00:03:36,740 --> 00:03:39,205 Yes, a few years ago, We display our ads there. 51 00:03:39,306 --> 00:03:40,939 The tests were catastrophic. 52 00:03:41,040 --> 00:03:43,572 Two different cultures. It did more harm than good... 53 00:03:43,673 --> 00:03:44,880 Suddenly, this... 54 00:03:48,706 --> 00:03:51,372 Your hand gains a mind of its own. 55 00:03:51,473 --> 00:03:55,172 They were almost completely useless. 56 00:03:55,273 --> 00:03:57,305 Instead, we create local strategies. 57 00:03:57,406 --> 00:03:59,172 De Van's anxious look. 58 00:03:59,273 --> 00:04:02,172 Small talk. Cuts between close-ups. 59 00:04:02,273 --> 00:04:06,272 I interned there and ended up staying, but living so far away was difficult, 60 00:04:06,373 --> 00:04:08,472 I missed France. 61 00:04:08,573 --> 00:04:11,445 I worked in Germany and then I returned to Paris. 62 00:04:11,546 --> 00:04:13,012 What attracted you to Japan? 63 00:04:13,113 --> 00:04:16,612 I studied Japanese history and then I did an MBA. 64 00:04:16,713 --> 00:04:20,499 I spoke Japanese and the country fascinated me, 65 00:04:20,600 --> 00:04:23,167 at least for the present and more for your past. 66 00:04:25,907 --> 00:04:28,041 Your hand rebels again. 67 00:04:31,572 --> 00:04:34,790 Protest against this presumptuous capitalism. 68 00:04:36,987 --> 00:04:40,520 And suddenly... Wow! It is completely separate. 69 00:04:42,037 --> 00:04:45,286 The way she would like of being apart. 70 00:04:45,546 --> 00:04:49,846 She envies the shape as his hand fled, he rebelled. 71 00:04:56,552 --> 00:05:00,185 Idealism, symbolism and now, propaganda. 72 00:05:05,597 --> 00:05:11,031 Director and editor Esfir Shub takes archive photos 73 00:05:11,818 --> 00:05:13,851 and add this inter-title... 74 00:05:13,952 --> 00:05:18,151 THOSE TO WHOM WAR IT WAS NECESSARY: VTOROV, 75 00:05:18,252 --> 00:05:22,651 OWNER OF THE LARGEST ARMS FACTORIES... 76 00:05:22,752 --> 00:05:24,917 And then she cuts to Vtorov. 77 00:05:25,018 --> 00:05:27,351 Again, a scene she didn't film. 78 00:05:27,452 --> 00:05:29,952 The intertitle told us what to think of it. 79 00:05:31,952 --> 00:05:32,984 Then another card. 80 00:05:33,085 --> 00:05:36,552 THOSE WHO WOULD BE SENT TO THE SLAUGHTERHOUSE... 81 00:05:37,618 --> 00:05:40,119 Once again, she uses words and editing 82 00:05:40,220 --> 00:05:42,019 to make the images mean something 83 00:05:42,120 --> 00:05:44,853 that may not have been originally recorded. 84 00:05:50,896 --> 00:05:54,829 Shub spent two months watching 60 kilometers of old images 85 00:05:54,930 --> 00:05:57,929 to find scenes and build your story 86 00:05:58,030 --> 00:06:00,695 of the First World War and the Russian Revolution. 87 00:06:00,796 --> 00:06:02,729 WORKERS' HANDS PREPARING DEATH FOR THE BROTHERS. 88 00:06:02,830 --> 00:06:04,629 Originally, she worked as a censor 89 00:06:04,730 --> 00:06:09,530 and edited films by Fritz Lang and others for the Soviet public. 90 00:06:27,430 --> 00:06:29,695 Much more extreme political propaganda, 91 00:06:29,796 --> 00:06:32,263 now, by Leni Riefehstahl, of course. 92 00:06:44,233 --> 00:06:46,495 Workers at the Nuremberg rally. 93 00:06:46,596 --> 00:06:48,596 A close-up of her feet. 94 00:06:51,376 --> 00:06:52,843 Hands on the cable. 95 00:06:54,535 --> 00:06:56,668 And then, open plan. They look like soldiers. 96 00:06:56,769 --> 00:06:58,369 Workers like an army. 97 00:06:59,606 --> 00:07:01,460 Armed work. 98 00:07:03,612 --> 00:07:07,116 So this remarkable montage and disturbing close-ups. 99 00:07:07,804 --> 00:07:09,370 And you, comrade? 100 00:07:09,471 --> 00:07:10,924 From Bavaria. 101 00:07:11,025 --> 00:07:12,408 And you? 102 00:07:12,712 --> 00:07:14,457 From Kaiserstuhl. 103 00:07:14,558 --> 00:07:17,592 -And you? -From Pomerania. 104 00:07:18,425 --> 00:07:22,057 As if the work regions from Germany were calling each other. 105 00:07:22,158 --> 00:07:24,025 A national vocation. 106 00:07:24,458 --> 00:07:27,692 Work as political loyalty, discipline. 107 00:07:28,985 --> 00:07:32,424 -From Rhein. -And from the Saar. 108 00:07:32,525 --> 00:07:34,191 One people! 109 00:07:34,292 --> 00:07:36,024 A leader! 110 00:07:36,125 --> 00:07:37,991 A Reich! 111 00:07:38,092 --> 00:07:39,892 Germany! 112 00:07:40,658 --> 00:07:44,658 Today we work together. 113 00:07:45,158 --> 00:07:46,924 In the swamp. 114 00:07:47,025 --> 00:07:49,391 We work in the swamp. 115 00:07:49,492 --> 00:07:51,091 In the swamp. 116 00:07:51,192 --> 00:07:53,457 And we in the sand. 117 00:07:53,558 --> 00:07:54,824 In the sand. 118 00:07:54,925 --> 00:07:57,326 We dammed the North Sea. 119 00:07:57,427 --> 00:08:00,206 We dammed the North Sea. 120 00:08:00,307 --> 00:08:02,791 We plant trees. 121 00:08:02,892 --> 00:08:05,224 Planting forests. 122 00:08:05,325 --> 00:08:07,557 We build roads. 123 00:08:07,658 --> 00:08:12,624 From village to village, from city to city. 124 00:08:12,725 --> 00:08:16,557 We provide farmers with new soil. 125 00:08:16,658 --> 00:08:19,024 And then business they call each other 126 00:08:19,125 --> 00:08:20,724 cold, robotic. 127 00:08:20,825 --> 00:08:24,841 Almost science fiction, as if they were hypnotized. 128 00:08:26,071 --> 00:08:28,138 Politics as mind control. 129 00:08:32,790 --> 00:08:36,525 RO REICH LABOR SECRETARIAT MARCH 130 00:08:42,993 --> 00:08:46,142 After idealism, symbolism and propaganda, 131 00:08:46,243 --> 00:08:49,510 What a relief to come to political comedy. 132 00:08:50,534 --> 00:08:52,768 A group of Indian women totally different, 133 00:08:52,869 --> 00:08:54,591 going by bus to Blackpool. 134 00:08:54,692 --> 00:08:55,891 One more thing, 135 00:08:55,992 --> 00:08:59,524 It's not often that women move away from patriarchal demands 136 00:08:59,625 --> 00:09:01,188 that are imposed on us in our daily lives. 137 00:09:01,289 --> 00:09:02,291 Fighting... 138 00:09:02,392 --> 00:09:05,057 The common comic models in Bollywood cinema. 139 00:09:05,158 --> 00:09:07,292 A naive shake of the head. 140 00:09:08,725 --> 00:09:10,157 This day is yours. 141 00:09:10,258 --> 00:09:11,958 Have fun! 142 00:09:14,058 --> 00:09:15,291 traditional women, 143 00:09:15,392 --> 00:09:18,357 girls willing to do anything and a Bombay diva. 144 00:09:18,458 --> 00:09:20,392 What could go wrong? 145 00:09:20,992 --> 00:09:22,857 It's so good to go out like this, isn't it? 146 00:09:22,958 --> 00:09:24,724 These people know how to have fun... 147 00:09:24,825 --> 00:09:25,957 On the beach now. 148 00:09:26,058 --> 00:09:27,857 The careful constructions by Gurinda Chadha 149 00:09:27,958 --> 00:09:31,425 capture key lines from the script which she wrote with Meera Syal. 150 00:09:32,010 --> 00:09:33,510 Look at poor Ginda. 151 00:09:34,258 --> 00:09:36,291 I heard that the husband used to hit her. 152 00:09:36,392 --> 00:09:38,791 These modern girls cannot adapt, 153 00:09:38,892 --> 00:09:41,457 and those who have jobs are the first. 154 00:09:41,558 --> 00:09:43,325 Asha, wake up! 155 00:09:43,858 --> 00:09:45,957 You know her in-laws, right? 156 00:09:46,058 --> 00:09:49,124 No. She must have done something. 157 00:09:49,225 --> 00:09:50,590 My own daughter, 158 00:09:50,691 --> 00:09:54,490 the other day I was telling her which is the woman who makes the family. 159 00:09:54,591 --> 00:09:57,491 Do you know what she did? The next day, he shaved his head. 160 00:09:59,036 --> 00:10:00,233 Do you think it's funny? 161 00:10:00,334 --> 00:10:02,260 I was teaching morals at home. 162 00:10:02,361 --> 00:10:04,127 Home? What house? 163 00:10:04,228 --> 00:10:06,693 How long has it been since you been home? 164 00:10:06,794 --> 00:10:08,230 Look at you! 165 00:10:08,331 --> 00:10:10,998 The clothes, the way you think... 166 00:10:11,361 --> 00:10:13,387 The politics of conversation. 167 00:10:13,488 --> 00:10:16,188 Confrontations between tradition and modernity. 168 00:10:20,894 --> 00:10:22,427 Another bus ride now. 169 00:10:22,528 --> 00:10:24,827 More melancholy, but equally political. 170 00:10:24,928 --> 00:10:26,413 A science fiction film 171 00:10:26,514 --> 00:10:29,681 by Iranian director Tahmineh Milani. 172 00:10:30,470 --> 00:10:32,802 The main character has a device that, 173 00:10:32,903 --> 00:10:34,836 when it is pressed and beeps, 174 00:10:34,937 --> 00:10:37,870 allows us to hear people's thoughts. 175 00:10:38,360 --> 00:10:41,002 We can spend tonight selling our sugar coupons. 176 00:10:41,103 --> 00:10:43,236 But what about tomorrow? 177 00:10:43,337 --> 00:10:46,936 The United States is great... Gas stations... 178 00:10:47,037 --> 00:10:49,670 I'll look for Mohammad Ali and then... 179 00:10:50,728 --> 00:10:52,476 Documentary-style scenes, 180 00:10:52,577 --> 00:10:55,509 but thoughts who tell us about poverty... 181 00:10:55,610 --> 00:10:57,644 Dreams from other countries. 182 00:10:58,144 --> 00:11:00,609 A simple and charming montage... 183 00:11:00,710 --> 00:11:03,243 If I am not accepted at University this year, 184 00:11:03,344 --> 00:11:04,576 I will go to Japan. 185 00:11:04,677 --> 00:11:08,244 I am certainly no less a man than Gholam. 186 00:11:08,577 --> 00:11:12,376 They keep blaming me for putting my mother in an asylum. 187 00:11:12,477 --> 00:11:15,444 We can't keep her at home... 188 00:11:15,613 --> 00:11:18,743 Politics was a bit hidden in Milani's film... 189 00:11:18,844 --> 00:11:20,710 And it's here too. 190 00:11:31,970 --> 00:11:33,669 I'm not kidding anymore. 191 00:11:33,770 --> 00:11:36,553 A mother helps her daughter getting ready to go to school. 192 00:11:36,656 --> 00:11:39,223 Charmingly natural act. 193 00:11:41,237 --> 00:11:44,820 Play. And then the mother asks a question, 194 00:11:44,945 --> 00:11:47,811 a question more serious than a joke. 195 00:11:48,004 --> 00:11:49,904 What will you say if they ask you? 196 00:11:52,787 --> 00:11:57,221 That my father sells curtains and my mother is a maid. 197 00:11:58,845 --> 00:12:01,378 It's like a mantra rehearsed for the child. 198 00:12:01,947 --> 00:12:05,646 Only later did we discover that we are in oppressive Argentina 199 00:12:05,747 --> 00:12:07,530 in the 70s. 200 00:12:07,813 --> 00:12:10,697 The girl's father He is a political protester. 201 00:12:10,970 --> 00:12:13,547 She must keep this a secret. 202 00:12:21,495 --> 00:12:24,695 An adult talking about politics with an older child now... 203 00:12:24,796 --> 00:12:26,262 Now listen. 204 00:12:28,514 --> 00:12:32,081 This canal extends across the German countryside. 205 00:12:33,581 --> 00:12:36,113 Asking you to play next to a Nazi camp 206 00:12:36,214 --> 00:12:37,681 and collect information. 207 00:12:37,782 --> 00:12:40,380 When playing in the field at the side of the road, 208 00:12:40,481 --> 00:12:43,181 try to find out exactly where is the exit. 209 00:12:45,214 --> 00:12:46,780 Be careful. 210 00:12:46,881 --> 00:12:49,114 It must be somewhere near the deposit. 211 00:12:50,081 --> 00:12:53,480 Then count the trucks, cars, tanks and cannons. 212 00:12:53,581 --> 00:12:56,981 And where they are located. 213 00:12:57,981 --> 00:13:00,714 Beautiful close-up, intimate sound. 214 00:13:02,614 --> 00:13:05,047 And this zoom-out and movement down. 215 00:13:17,214 --> 00:13:18,614 We are in Albania. 216 00:13:20,347 --> 00:13:23,947 Director Xhanfise Keko I loved crane shots. 217 00:13:27,414 --> 00:13:29,247 A ball over the fence, 218 00:13:30,147 --> 00:13:31,747 then this famous scene. 219 00:13:37,747 --> 00:13:40,181 The boy behind the barbed wire. 220 00:13:49,347 --> 00:13:53,146 Another beautiful scene with a crane, the great Kira Muratova. 221 00:13:53,247 --> 00:13:56,347 His film Melody for a Street Organ. 222 00:13:58,981 --> 00:14:00,281 Did you like it? 223 00:14:01,196 --> 00:14:02,846 I liked it, 224 00:14:04,712 --> 00:14:08,246 but passengers are complaining. 225 00:14:08,347 --> 00:14:10,381 From what? 226 00:14:13,614 --> 00:14:15,314 From the smell. 227 00:14:19,581 --> 00:14:22,114 A homeless woman at a train station. 228 00:14:27,181 --> 00:14:31,014 So, one of the traveling Muratova's narratives 229 00:14:35,481 --> 00:14:38,480 Our Belém is full of beggars ragged and barefoot. 230 00:14:38,581 --> 00:14:40,013 Where are the Mages? 231 00:14:40,114 --> 00:14:41,546 They took gold to the rich. 232 00:14:41,647 --> 00:14:42,913 Where is the incense? 233 00:14:43,014 --> 00:14:47,581 They used to make perfume for your women. 234 00:14:48,868 --> 00:14:51,307 Your courage and boldness. 235 00:14:51,408 --> 00:14:54,774 Trying to shame travelers to listen, think, 236 00:14:54,875 --> 00:14:56,040 care. 237 00:14:56,141 --> 00:14:58,707 The last one to get food. The first to receive a spanking. 238 00:14:58,808 --> 00:15:01,308 Help me, good woman, I say and she runs away. 239 00:15:05,041 --> 00:15:10,941 A little bread, a little salt, I walk barefoot, but I don't wear gold. 240 00:15:11,341 --> 00:15:15,374 I can't even go see the Nativity play... 241 00:15:15,475 --> 00:15:17,808 They kick me out. 242 00:15:18,175 --> 00:15:20,940 I close my eyes and see a dead star. 243 00:15:21,041 --> 00:15:24,540 I open my eyes and see black grass. 244 00:15:24,641 --> 00:15:31,308 I washed the linen in the stream and put it on an oak tree to dry. 245 00:15:31,766 --> 00:15:34,540 So brave is the woman in this scene... 246 00:15:34,641 --> 00:15:37,840 We are in an Iranian Sharia court. 247 00:15:37,941 --> 00:15:40,540 Simple camera movement. Her provocation. 248 00:15:40,641 --> 00:15:41,965 ...after getting divorced, 249 00:15:42,066 --> 00:15:47,807 you must live together in the same home for 3 months and 10 days. 250 00:15:47,908 --> 00:15:51,775 -What if I don't want to? - Thank you. They have to live together. 251 00:15:52,278 --> 00:15:55,973 And if he does something to me during that time? 252 00:15:56,074 --> 00:15:59,173 She turns and smiles at filmmakers Kim Longinotto 253 00:15:59,274 --> 00:16:01,074 and Ziba Mir-Hosseini. 254 00:16:01,480 --> 00:16:04,573 Gender politics at the moment, in the triangle. 255 00:16:04,674 --> 00:16:08,008 Controversial and beautifully observed. 256 00:16:08,841 --> 00:16:13,902 I wasted my youth and my life in this man's house. 257 00:16:14,107 --> 00:16:18,314 We'll see how it goes your compensation later. 258 00:16:19,373 --> 00:16:22,507 The wife knows her rights and how to express them 259 00:16:22,608 --> 00:16:24,741 in Iranian-style divorce. 260 00:16:25,837 --> 00:16:28,603 This young farmer does the same, and even more. 261 00:16:29,108 --> 00:16:31,440 He and other residents they will lose their lands 262 00:16:31,541 --> 00:16:33,541 due to a new dam project. 263 00:16:35,441 --> 00:16:38,607 Director Franny Armstrong, who also filmed the work, 264 00:16:38,708 --> 00:16:40,007 approaches him. 265 00:16:40,108 --> 00:16:44,773 Before the dam, Mother Narmada ran to the sea. 266 00:16:44,874 --> 00:16:49,608 She never destroyed her people. 267 00:16:53,696 --> 00:16:56,007 Then she's in the middle of a protest. 268 00:16:56,108 --> 00:16:58,241 Politics on the ground, at the moment. 269 00:16:58,513 --> 00:17:01,113 Portable camera, without lighting, visual chaos. 270 00:17:05,274 --> 00:17:06,574 Persistence... 271 00:17:09,993 --> 00:17:12,026 This woman is on a hunger strike. 272 00:17:12,541 --> 00:17:16,707 If Minister Sigh wants to speak with us, he must leave now 273 00:17:16,808 --> 00:17:23,974 when people from various villages They came at so much cost... 274 00:17:30,408 --> 00:17:35,341 Even though it was far away, we had to come. 275 00:17:37,108 --> 00:17:43,525 If we didn't see it, nothing would be resolved. 276 00:17:44,498 --> 00:17:47,473 Then older images, video, deteriorated. 277 00:17:47,574 --> 00:17:51,207 But in political films, content is usually king. 278 00:17:51,308 --> 00:17:56,173 Laharia is risking injury whenever you go to a demonstration. 279 00:17:56,274 --> 00:17:59,840 There were rapes, beatings, torture accusations 280 00:17:59,941 --> 00:18:02,674 and countless arrests and convictions. 281 00:18:03,741 --> 00:18:06,340 The truth, the revelation, 282 00:18:06,441 --> 00:18:09,574 arises by any essential means. 283 00:18:14,708 --> 00:18:18,074 Drowned Out blames the police, as well as Strange Pleasures. 284 00:18:18,741 --> 00:18:22,441 Here, Angela Basset handcuffs corrupt police officers. 285 00:18:25,509 --> 00:18:28,176 Then, other police officers advance. 286 00:18:29,477 --> 00:18:31,473 To congratulate Basset? 287 00:18:31,574 --> 00:18:33,140 To finish her work? 288 00:18:33,241 --> 00:18:34,640 Unfortunately no. 289 00:18:34,741 --> 00:18:37,007 Wait, wait. 290 00:18:37,108 --> 00:18:40,340 She is forced to bend down, and the bad cop smiles. 291 00:18:40,441 --> 00:18:42,040 The game turns. 292 00:18:42,141 --> 00:18:44,208 Power takes care of power. 293 00:18:44,974 --> 00:18:47,108 Let me tell you what happened, okay? 294 00:18:47,441 --> 00:18:49,608 Get down! Get down! 295 00:18:54,598 --> 00:18:57,331 Injustice in shallow focus. 296 00:18:58,291 --> 00:18:59,657 Get this shit away from me! 297 00:18:59,758 --> 00:19:01,558 Director Bigelow's trademark, 298 00:19:01,659 --> 00:19:05,726 portable camera, wide screen, Rapid chaos and immersion. 299 00:19:07,293 --> 00:19:09,493 Wait! You don't know what happened! 300 00:19:19,033 --> 00:19:22,067 And then the spectators can't take it anymore... 301 00:19:24,308 --> 00:19:25,941 Let go of her! 302 00:19:44,774 --> 00:19:47,274 Another type of political result. 303 00:19:47,668 --> 00:19:50,840 Japan, after the Second World War. Two brothers. 304 00:19:50,941 --> 00:19:52,740 Their country was defeated. 305 00:19:52,841 --> 00:19:57,008 They believed in the Emperor, but what now? 306 00:19:57,974 --> 00:20:01,140 I know you hate men like me. 307 00:20:01,241 --> 00:20:03,440 The two in the painting, then just one... 308 00:20:03,541 --> 00:20:06,140 Why not live with hope? 309 00:20:06,241 --> 00:20:09,273 I know you were a brave sailor. 310 00:20:09,374 --> 00:20:11,540 You hate that you survived, 311 00:20:11,641 --> 00:20:14,807 but the war ended five years ago. 312 00:20:14,908 --> 00:20:17,307 Forget the past. 313 00:20:17,408 --> 00:20:20,773 Try to win the rat race this time. 314 00:20:20,874 --> 00:20:22,540 Then a counter-plan. 315 00:20:22,641 --> 00:20:25,407 I know you make plans for the future, 316 00:20:25,508 --> 00:20:29,674 but enjoy your life now. There's no other way. 317 00:20:31,465 --> 00:20:34,431 Hiroshi, let's go for a walk. 318 00:20:35,714 --> 00:20:39,263 They continue their walk, your conversation, out of the past. 319 00:20:39,404 --> 00:20:40,871 Starting again. 320 00:20:41,614 --> 00:20:44,030 We accompany you in the future, 321 00:20:44,198 --> 00:20:45,798 the new Japan. 322 00:20:45,899 --> 00:20:48,757 Why did Yamaji start this business? 323 00:20:52,144 --> 00:20:54,576 Another type of political result. 324 00:20:54,677 --> 00:20:59,676 2007 film by the former journalist Franco-Egyptian Jihan El-Tahri 325 00:20:59,777 --> 00:21:04,443 in which she tells the story of the liberation of the Congo from Belgium. 326 00:21:06,177 --> 00:21:08,509 Using old archive images and interviews, 327 00:21:08,610 --> 00:21:11,609 it reconstructs the remarkable political incident 328 00:21:11,710 --> 00:21:15,677 when the Belgian king Baldwin was handing over power. 329 00:21:16,477 --> 00:21:19,210 Its narration is in the past, 330 00:21:19,543 --> 00:21:22,377 but the images make it present. 331 00:21:23,443 --> 00:21:25,209 On Independence Day, 332 00:21:25,310 --> 00:21:28,443 all the dignitaries were gathered in Parliament, 333 00:21:29,610 --> 00:21:32,109 King Baldwin announced the transfer of power 334 00:21:32,210 --> 00:21:33,542 for the new government. 335 00:21:33,643 --> 00:21:37,410 Patrice Lumumba was finished to be elected Prime Minister. 336 00:21:39,443 --> 00:21:42,876 But the euphoria of independence It didn't last long. 337 00:21:42,977 --> 00:21:44,276 That same day, 338 00:21:44,377 --> 00:21:48,810 Lumumba lit a fire that spread spread throughout the continent. 339 00:21:49,510 --> 00:21:51,943 The independence of Congo, 340 00:21:52,977 --> 00:21:58,409 It is the culmination of the work designed by King Leopold II... 341 00:21:58,510 --> 00:22:00,687 King Baldwin's speech 342 00:22:01,277 --> 00:22:08,476 which reminded us how Belgium freed us from slavery, 343 00:22:09,110 --> 00:22:15,210 how they rescued us of sleeping sickness... 344 00:22:15,409 --> 00:22:20,342 It was a shock, we didn't expect it this inadequate reminder. 345 00:22:20,443 --> 00:22:23,426 In our opinion, 346 00:22:24,246 --> 00:22:28,942 King Baldwin was no longer in a position to give us sermons. 347 00:22:29,043 --> 00:22:31,476 At this point, Lumumba stood up. 348 00:22:31,910 --> 00:22:36,409 He was not at the ceremonial, he shouldn't talk. 349 00:22:36,510 --> 00:22:40,243 But he stood up and spoke... 350 00:22:40,577 --> 00:22:42,742 And it was a very militant speech. 351 00:22:42,843 --> 00:22:44,542 Fighters for independence, 352 00:22:44,643 --> 00:22:46,877 now victorious, 353 00:22:47,777 --> 00:22:51,750 I salute you in the name of the Congolese government. 354 00:22:52,087 --> 00:22:56,562 We had our share of ironies and insults 355 00:22:56,977 --> 00:23:03,810 and we suffer blows morning, noon and night. 356 00:23:05,831 --> 00:23:07,371 Director El-Tahri 357 00:23:07,472 --> 00:23:09,571 uses his interviewees to interrupt 358 00:23:09,672 --> 00:23:11,938 and comment on old scenes. 359 00:23:12,039 --> 00:23:14,439 To tell us its meaning. 360 00:23:16,239 --> 00:23:19,571 And when your comment says that the event �lit a fire�, 361 00:23:19,672 --> 00:23:22,105 she makes it metaphorical. 362 00:23:26,772 --> 00:23:29,771 One last film about political retrospective. 363 00:23:29,872 --> 00:23:32,271 Long-range lenses, golden images, 364 00:23:32,372 --> 00:23:34,105 well-groomed people. 365 00:23:35,682 --> 00:23:37,656 But what are they discussing? 366 00:23:38,080 --> 00:23:39,947 What Germany means today. 367 00:23:40,292 --> 00:23:42,658 Its iconography or lack thereof. 368 00:23:43,258 --> 00:23:44,724 As the subject goes deeper, 369 00:23:44,825 --> 00:23:48,824 or it becomes more desperate, the calm of filming, 370 00:23:48,925 --> 00:23:53,725 the polished and shadowless light looks more contrasting. 371 00:23:54,925 --> 00:24:00,492 If I may say so, the only Famous German is Adolf Hitler. 372 00:24:01,850 --> 00:24:06,291 Hitler's smiling face and mustache and everyone recognizes it. 373 00:24:06,392 --> 00:24:08,691 -That's interesting. -You're right. 374 00:24:08,792 --> 00:24:11,857 And there is another problem, the German flag. 375 00:24:11,958 --> 00:24:15,191 My God, it's so ugly. 376 00:24:15,292 --> 00:24:17,924 An aesthetic catastrophe, black and red work together, 377 00:24:18,025 --> 00:24:19,757 but then comes the yellow... 378 00:24:19,858 --> 00:24:22,591 Exactly. And I think it was done on purpose. 379 00:24:22,692 --> 00:24:23,824 Yes. 380 00:24:23,925 --> 00:24:27,191 Because in the Third Reich everything looked very good. 381 00:24:27,292 --> 00:24:30,624 Well, in terms of design, not what happened. 382 00:24:30,725 --> 00:24:33,242 Uniforms, for example, they were very well made 383 00:24:34,073 --> 00:24:36,205 and the flag looked pretty good too. 384 00:24:36,306 --> 00:24:37,605 I don't know... 385 00:24:37,706 --> 00:24:39,072 No. He's right. 386 00:24:39,173 --> 00:24:41,932 And to prevent something like this repeat itself in Germany, 387 00:24:42,033 --> 00:24:45,139 Now everything here is extremely ugly. 388 00:24:45,240 --> 00:24:48,972 Nothing should get more beautiful. Including the flag. 389 00:24:49,073 --> 00:24:52,305 That's why no one here can identify with nothing else. 390 00:24:52,406 --> 00:24:56,272 In addition to advanced technologies, Germany produces poisonous gas, 391 00:24:56,373 --> 00:24:58,105 fast cars... 392 00:24:58,206 --> 00:25:01,805 Cars so safe you survives a collision at 250km/h. 393 00:25:01,906 --> 00:25:04,572 Old buildings reconstructed, with glass elevators 394 00:25:04,673 --> 00:25:07,605 that people use to go to their coverage. 395 00:25:07,706 --> 00:25:10,239 Recycling exists just so that the waste 396 00:25:10,340 --> 00:25:11,572 be sent to Africa. 397 00:25:11,673 --> 00:25:13,305 It's this spirit, this language 398 00:25:13,406 --> 00:25:15,505 that you still find in creative departments 399 00:25:15,606 --> 00:25:17,505 from Mercedes and Siemens. 400 00:25:17,606 --> 00:25:21,005 That's what made it possible kill millions of Jews... 401 00:25:21,106 --> 00:25:22,125 George... 402 00:25:22,226 --> 00:25:24,092 But no one talks about it anymore. 403 00:25:28,290 --> 00:25:31,190 How to end a chapter about politics and cinema? 404 00:25:31,700 --> 00:25:34,300 Perhaps with a scene as simple as this, 405 00:25:34,401 --> 00:25:36,768 set during the Iranian Revolution. 406 00:25:38,261 --> 00:25:40,260 Please promise me one thing. 407 00:25:40,361 --> 00:25:41,660 What? 408 00:25:41,761 --> 00:25:44,994 Do what your organization asks. 409 00:25:45,511 --> 00:25:47,311 Write whatever you want. 410 00:25:47,761 --> 00:25:50,377 Dedicate everything you have to your organization, 411 00:25:50,980 --> 00:25:52,976 except your eyes. 412 00:25:57,694 --> 00:26:03,194 Yes, do what you want, but with your eyes open. 413 00:26:04,161 --> 00:26:06,625 Keep your eyes to yourself. 414 00:26:08,698 --> 00:26:11,726 It is very painful to die of blindness. 415 00:26:11,827 --> 00:26:13,827 This man is in the present. 416 00:26:14,161 --> 00:26:16,655 The conversation was a flashback. 417 00:26:16,756 --> 00:26:20,822 Tahmineh Milani films everything in a closed plane. 418 00:26:21,517 --> 00:26:22,917 His message? 419 00:26:23,313 --> 00:26:24,913 Keep your eyes open. 420 00:26:25,570 --> 00:26:27,136 The politics of the gaze. 421 00:26:27,948 --> 00:26:30,089 A manifesto for cinema. 422 00:26:30,190 --> 00:26:32,428 ...like you said, I won't lose hope so easily. 423 00:26:32,529 --> 00:26:34,433 Please return my texts. 424 00:26:34,534 --> 00:26:36,833 Do you want to go? Come on, the door is open. 425 00:26:36,934 --> 00:26:40,799 But, girl, you didn't come here to become a poet. 426 00:26:40,900 --> 00:26:44,597 And I didn't invite her here to discover a new talent, 427 00:26:44,698 --> 00:26:46,867 So let's be honest. 428 00:26:59,744 --> 00:27:01,210 After five chapters 429 00:27:01,311 --> 00:27:03,843 about some of the things most important things in our lives, 430 00:27:03,944 --> 00:27:07,343 sex, home, religion, work and politics, 431 00:27:07,444 --> 00:27:10,078 It's time to change gears. 432 00:27:11,811 --> 00:27:14,027 Soon we will see the types of films, 433 00:27:14,153 --> 00:27:18,286 comedies, melodramas, science fiction and horror. 434 00:27:18,711 --> 00:27:20,560 But before you start, 435 00:27:20,854 --> 00:27:23,310 how about talking about the gear changes themselves? 436 00:27:23,878 --> 00:27:26,178 How do they appear in the films? 437 00:27:26,911 --> 00:27:29,311 Let's look at six gear changes. 438 00:27:32,020 --> 00:27:38,905 CHAPTER 25 - SHIFT GEAR 439 00:27:40,510 --> 00:27:46,609 Together, we believe that what the illusion of supremacy destroyed, 440 00:27:46,710 --> 00:27:49,109 the truth of equality 441 00:27:49,210 --> 00:27:51,109 can nourish. 442 00:27:51,210 --> 00:27:53,609 I promise it's nothing to be afraid of... 443 00:27:53,710 --> 00:27:57,009 1964, Birmingham, Alabama. 444 00:27:57,110 --> 00:27:58,642 A sweet scene. 445 00:27:58,743 --> 00:28:01,692 Girls in white dresses and gloves. 446 00:28:01,970 --> 00:28:03,142 Lovely conversation. 447 00:28:03,243 --> 00:28:04,675 ...my mother said. 448 00:28:04,776 --> 00:28:08,409 I asked my mother because she did my hair like... 449 00:28:08,510 --> 00:28:10,142 Classic framing. 450 00:28:10,243 --> 00:28:12,075 But she said Ellis is all grown up. 451 00:28:12,176 --> 00:28:13,542 I love her hair. 452 00:28:13,643 --> 00:28:18,310 Then, a bout of violence, apparently uncut. 453 00:28:18,720 --> 00:28:20,748 She divides it in the middle, and then... 454 00:28:38,762 --> 00:28:40,728 A Ku Klux Klan bomb. 455 00:28:41,240 --> 00:28:43,927 And the sweet girl is torn to pieces, 456 00:28:44,028 --> 00:28:46,028 in slow motion. 457 00:28:46,410 --> 00:28:47,643 In shock. 458 00:28:51,946 --> 00:28:54,542 The graceful representation of Ava du Vernay 459 00:28:54,643 --> 00:28:56,787 of a real-life atrocity 460 00:28:56,944 --> 00:29:00,311 It's the classic way to move marching to the cinema... 461 00:29:01,843 --> 00:29:05,402 An unsuspecting climate is violently replaced 462 00:29:05,503 --> 00:29:07,469 by its opposite. 463 00:29:09,082 --> 00:29:14,249 And so life and film change forever. 464 00:29:28,755 --> 00:29:30,750 The transformation into Girls 465 00:29:30,851 --> 00:29:33,451 It's done in a very different way. 466 00:29:35,376 --> 00:29:40,305 Young Marieme was shy and introverted in the film so far. 467 00:29:40,406 --> 00:29:43,906 And then we see her put a knife in her pocket, 468 00:30:02,950 --> 00:30:05,217 and a camera movement backwards, 469 00:30:07,395 --> 00:30:10,875 as if we were stripping us of his new strength. 470 00:30:10,976 --> 00:30:12,943 And the music changed... 471 00:30:16,876 --> 00:30:18,543 And she lifts her head. 472 00:30:24,005 --> 00:30:25,538 She's taller. 473 00:30:26,211 --> 00:30:28,509 She is taking over the port of Mars. 474 00:30:28,610 --> 00:30:30,476 Becoming someone else. 475 00:30:31,076 --> 00:30:32,543 black screen, 476 00:30:39,419 --> 00:30:42,119 then blue and symmetry. 477 00:30:42,410 --> 00:30:44,176 And we're after her now 478 00:30:44,876 --> 00:30:46,643 and her hair is different. 479 00:30:48,302 --> 00:30:50,051 No words spoken, 480 00:30:50,192 --> 00:30:52,759 but she transformed. 481 00:30:52,976 --> 00:30:55,576 A gear was changed. 482 00:31:11,443 --> 00:31:15,776 In this scene from Orlando, of Sally Potter, a mute woman. 483 00:31:16,576 --> 00:31:18,542 Or does it stay the same 484 00:31:18,643 --> 00:31:21,376 and the rest of the world changes gears? 485 00:31:23,476 --> 00:31:25,875 Tilda Swinton walks through a maze 486 00:31:25,976 --> 00:31:30,476 with a huge rococo dress, powdered face and wig. 487 00:31:33,510 --> 00:31:39,476 Then, in an almost invisible cut, We are in the 19th century. 488 00:31:40,405 --> 00:31:42,339 She is the same person, 489 00:31:42,910 --> 00:31:45,110 but women look different now. 490 00:31:45,610 --> 00:31:46,943 Freer, 491 00:31:47,676 --> 00:31:49,243 almost in mourning. 492 00:31:53,343 --> 00:31:57,776 Art, gender and fashion have changed gears. 493 00:31:58,376 --> 00:32:00,276 Not only Orlando. 494 00:32:14,076 --> 00:32:15,342 Nature, nature, 495 00:32:15,443 --> 00:32:16,842 I'm your fiancée. 496 00:32:16,943 --> 00:32:18,676 Take me. 497 00:32:27,976 --> 00:32:31,208 Our fifth gear change It's an even bigger leap, 498 00:32:31,309 --> 00:32:32,609 but the opposite. 499 00:32:42,909 --> 00:32:45,355 Milarepa, by Liliana Cavani. 500 00:32:45,676 --> 00:32:48,509 We are in Italy in the 70s. 501 00:32:49,476 --> 00:32:52,176 Three people were driving by a road. 502 00:32:52,976 --> 00:32:54,843 An everyday scene. 503 00:32:55,543 --> 00:32:57,608 And then they almost hit another car, 504 00:32:57,709 --> 00:33:00,992 they diverted and went down a ravine. 505 00:33:01,233 --> 00:33:04,049 A change of gear conventional in a film. 506 00:33:04,543 --> 00:33:05,808 Moments later, 507 00:33:05,909 --> 00:33:08,508 they are stunned, quiet. 508 00:33:08,609 --> 00:33:10,943 Long-range, close-up lens, 509 00:33:12,276 --> 00:33:13,709 tight framing. 510 00:33:15,176 --> 00:33:18,175 Then cut to this movement and zoom. 511 00:33:18,276 --> 00:33:21,075 Same actor, but in old clothes. 512 00:33:21,176 --> 00:33:23,576 Back to the car accident. 513 00:33:24,046 --> 00:33:25,646 Even more closed plan. 514 00:33:26,691 --> 00:33:30,542 upward movement, to the mud on the roof. 515 00:33:30,643 --> 00:33:34,592 Finally, as requested by my mother, 516 00:33:35,257 --> 00:33:38,776 destroy my enemies through the use of magic. 517 00:33:39,209 --> 00:33:41,159 So, back to the past. 518 00:33:41,347 --> 00:33:44,894 Tibet in the 11th century? 519 00:33:46,076 --> 00:33:50,443 The actor became the poet and Buddhist teacher Milarepa. 520 00:33:50,843 --> 00:33:53,976 Gear change with a huge time jump. 521 00:33:54,409 --> 00:33:58,309 It's as if the accident tore the fabric of space-time. 522 00:34:03,738 --> 00:34:06,442 At that time, in the region of Lhodrak, 523 00:34:06,543 --> 00:34:09,576 There lived the great Lama Marpaza... 524 00:34:10,882 --> 00:34:12,949 There's a stain too. 525 00:34:14,076 --> 00:34:16,543 Have patience. 526 00:34:19,576 --> 00:34:22,542 Just as it is cinematic this change of record 527 00:34:22,643 --> 00:34:24,242 in Asthnic Syndrome, 528 00:34:24,343 --> 00:34:26,778 one of the best films ever made. 529 00:34:26,879 --> 00:34:30,613 Although it doesn't look like it in this bad copy. 530 00:34:32,097 --> 00:34:34,597 We are 38 minutes into the film. 531 00:34:35,176 --> 00:34:39,542 Until now, We follow this woman to the left. 532 00:34:39,643 --> 00:34:41,875 She is in mourning, aggressive 533 00:34:41,976 --> 00:34:44,776 and wandering through a dystopia. 534 00:34:45,343 --> 00:34:48,243 We are immersed in its painful reality. 535 00:34:49,476 --> 00:34:50,843 Suddenly, this. 536 00:34:51,543 --> 00:34:54,342 A cut at the same moment, but the bad image 537 00:34:54,443 --> 00:34:56,742 and with the sound of a projector. 538 00:34:56,843 --> 00:35:00,109 Now it's just a small stain. 539 00:35:01,443 --> 00:35:03,175 Just a little more... 540 00:35:03,276 --> 00:35:05,076 We are at the cinema. 541 00:35:05,976 --> 00:35:08,709 There was no sign of this change. 542 00:35:09,637 --> 00:35:11,204 You're welcome. 543 00:35:12,409 --> 00:35:16,043 And then, the actress. Now smiling. 544 00:35:16,609 --> 00:35:20,043 Lights, and we're on display. 545 00:35:20,409 --> 00:35:22,208 Typical of Kira Muratova, 546 00:35:22,309 --> 00:35:25,808 she makes the moment awkward, funny, absurd. 547 00:35:25,909 --> 00:35:30,143 Asthnic Syndrome has become a Russian doll movie. 548 00:35:30,776 --> 00:35:32,808 Please don't leave. 549 00:35:32,909 --> 00:35:38,176 We have a chance to talk about our impressions. 550 00:35:43,843 --> 00:35:46,642 Finally, the famous change marching by Shirley Clarke 551 00:35:46,743 --> 00:35:48,476 in The Connection. 552 00:35:49,409 --> 00:35:51,708 We already know that we are in a drug center 553 00:35:51,809 --> 00:35:53,542 and there's a team of documentary filmmakers here 554 00:35:53,643 --> 00:35:55,676 filming the addicts. 555 00:35:56,943 --> 00:36:00,842 The camera is on a tripod and generally in an open plan. 556 00:36:00,943 --> 00:36:06,242 Then we heard the operator of that camera talking from behind, 557 00:36:06,343 --> 00:36:07,976 behind us. 558 00:36:08,443 --> 00:36:09,575 You realize that... 559 00:36:09,676 --> 00:36:11,342 Okay, Jim, I'll stop filming... 560 00:36:11,443 --> 00:36:13,108 A cut and shake 561 00:36:13,209 --> 00:36:16,476 as if a ball was thrown pro portable camera operator. 562 00:36:17,943 --> 00:36:21,877 It's like going live from the studio for a street reporter 563 00:36:21,978 --> 00:36:24,678 in modern television news. 564 00:36:25,843 --> 00:36:28,908 From objective to subjective, 565 00:36:29,009 --> 00:36:32,076 from the outside to the inside. 566 00:36:32,943 --> 00:36:36,175 One of the gear changes most fundamental in films 567 00:36:36,276 --> 00:36:39,275 or perhaps in art in general. 568 00:36:39,376 --> 00:36:42,659 ...real addicts just to make a movie, wow! 569 00:36:43,015 --> 00:36:45,109 Believe me, we are not here for the money. 570 00:36:54,856 --> 00:36:57,056 And then our gear was changed. 571 00:36:57,613 --> 00:37:00,296 Let's now see some genres of films... 572 00:37:00,407 --> 00:37:02,385 Comedies, melodramas, 573 00:37:02,486 --> 00:37:05,847 science fiction films and horror images. 574 00:37:06,676 --> 00:37:08,362 First the comedies. 575 00:37:08,463 --> 00:37:15,644 CHAPTER 25 - COMEDY 576 00:37:16,743 --> 00:37:19,742 Okay, I'll put the coin in, 577 00:37:19,843 --> 00:37:22,876 Sorry, I didn't know there was a telephone gestapo... 578 00:37:27,609 --> 00:37:30,043 Whoopi Goldberg It's in a phone booth. 579 00:37:30,676 --> 00:37:32,309 And of course, she is kidnapped. 580 00:37:38,642 --> 00:37:39,908 My umbrella! 581 00:37:40,009 --> 00:37:41,208 Shit! 582 00:37:41,309 --> 00:37:42,976 Help! Help! 583 00:37:45,009 --> 00:37:47,775 Stop! Stop! Call the police! 584 00:37:47,876 --> 00:37:52,208 Don't hang up, I'm a black woman, in a big silver box, 585 00:37:52,309 --> 00:37:54,341 At the top it says "telephone"... 586 00:37:54,442 --> 00:37:56,076 Help! 587 00:37:57,021 --> 00:37:58,588 The action gets crazier. 588 00:38:01,676 --> 00:38:03,009 Help! 589 00:38:04,042 --> 00:38:06,042 A skit about black power. 590 00:38:06,609 --> 00:38:08,941 Are you brother? Say it, black power! 591 00:38:09,042 --> 00:38:10,241 Get me out of here, damn it! 592 00:38:10,342 --> 00:38:11,576 In front! 593 00:38:13,876 --> 00:38:15,176 Help me! 594 00:38:17,209 --> 00:38:19,742 Shit! Help! 595 00:38:20,542 --> 00:38:22,341 And then the flannels. 596 00:38:22,442 --> 00:38:25,976 Don't wash the windows, don't... Get me out of here! 597 00:38:27,503 --> 00:38:29,341 The absurdity of New York. 598 00:38:29,442 --> 00:38:31,158 Where anything goes. 599 00:38:31,374 --> 00:38:33,241 It's like the cops in Keystone Cops, 600 00:38:33,342 --> 00:38:36,242 like the chase scenes in silent films. 601 00:38:40,365 --> 00:38:43,131 Action as a basis of cinematographic comedy. 602 00:38:49,642 --> 00:38:53,542 Another fundamental point of comedy is innocence. 603 00:38:55,742 --> 00:38:59,009 Tom Hanks plays a boy in a man's body. 604 00:38:59,642 --> 00:39:02,642 Somehow he managed a job in a toy store. 605 00:39:09,809 --> 00:39:12,376 Your colleagues watch through adult eyes. 606 00:39:13,509 --> 00:39:15,409 He rolls on the floor. 607 00:39:15,742 --> 00:39:18,175 He has the energy of childhood, 608 00:39:18,276 --> 00:39:21,541 the disinhibition, the lack of context. 609 00:39:21,642 --> 00:39:25,025 That's what I thought. Are you here with your children? 610 00:39:25,126 --> 00:39:29,059 Laurel and Hardy were boys in the body of men. 611 00:39:31,209 --> 00:39:33,176 I was just taking a look... 612 00:39:35,576 --> 00:39:37,941 The brilliance of cinematic comedy. 613 00:39:38,042 --> 00:39:39,576 A world without shadows. 614 00:39:40,376 --> 00:39:43,309 You don't see that in a marketing report. 615 00:39:44,942 --> 00:39:46,676 What is a marketing report? 616 00:39:49,542 --> 00:39:50,941 Exactly! 617 00:39:51,042 --> 00:39:52,641 Come. 618 00:39:52,742 --> 00:39:56,809 Hanks really doesn't know What is a marketing report. 619 00:39:57,176 --> 00:39:58,275 And that's good. 620 00:39:58,376 --> 00:40:00,442 The hockey championship? I love it. 621 00:40:05,876 --> 00:40:08,941 Polly, in the Canadian comedy by Patricia Rozema, 622 00:40:09,042 --> 00:40:11,309 I Heard the Sirens Singing. 623 00:40:14,042 --> 00:40:16,041 Like Hanks' character in I Want to Be Big, 624 00:40:16,142 --> 00:40:18,742 adulthood is a mystery to her. 625 00:40:19,142 --> 00:40:21,276 His coat is like a detective's. 626 00:40:28,642 --> 00:40:29,875 Like a child, 627 00:40:29,976 --> 00:40:32,375 She thinks if her head cannot be seen, 628 00:40:32,476 --> 00:40:34,042 she cannot be seen. 629 00:40:45,042 --> 00:40:48,942 She is fascinated, confused, embarrassed. 630 00:40:49,509 --> 00:40:52,108 He tries to blend in, but fails. 631 00:40:52,209 --> 00:40:55,709 Your socks on your knees make it more childish. 632 00:41:28,776 --> 00:41:32,176 Desiree Akhavan teases with children's-adult comedy. 633 00:41:33,242 --> 00:41:35,075 She directs herself in this scene, 634 00:41:35,176 --> 00:41:37,741 teaching children how to make films. 635 00:41:37,842 --> 00:41:39,609 I need to go to the bathroom. 636 00:41:41,042 --> 00:41:42,808 Are you old enough to go alone? 637 00:41:42,909 --> 00:41:44,242 I don't know. 638 00:41:45,607 --> 00:41:46,661 Wait here. 639 00:41:46,762 --> 00:41:48,875 She goes to the class next door... 640 00:41:48,976 --> 00:41:51,508 Where things are more advanced. 641 00:41:51,609 --> 00:41:54,608 Okay, in the photo of the day we have flocks of framed birds, 642 00:41:54,709 --> 00:41:56,841 crows and seagulls with an evil appearance. 643 00:41:56,942 --> 00:41:59,308 -How's the art department doing? -Excellent. 644 00:41:59,409 --> 00:42:01,342 And the sound, is everything ready? 645 00:42:02,242 --> 00:42:04,475 She tries not to hate students and teacher. 646 00:42:04,576 --> 00:42:06,658 No problem, we are preparing today's filming. 647 00:42:06,858 --> 00:42:10,641 Gracie, could you inform our guest about today's project? 648 00:42:10,742 --> 00:42:14,642 We are doing the remake from a scene from The Birds. 649 00:42:15,841 --> 00:42:18,608 The comedy of incompetence and resentment. 650 00:42:18,709 --> 00:42:21,008 I teach across the hall. 651 00:42:21,109 --> 00:42:23,395 Hello, I'm Tibet, This is the advanced class. 652 00:42:23,496 --> 00:42:26,163 -I just have one quick question. -Yes? 653 00:42:26,309 --> 00:42:29,376 Well, my students are young, five years old, 654 00:42:29,477 --> 00:42:31,605 and one of them needs to use the bathroom. 655 00:42:31,706 --> 00:42:33,006 Yes? 656 00:42:33,809 --> 00:42:36,284 Do I have to go with him or is this perverted? 657 00:42:36,385 --> 00:42:38,855 -Are you serious? -Yes. 658 00:42:38,956 --> 00:42:41,199 Just stay behind the door and ask if you need help. 659 00:42:42,209 --> 00:42:43,942 Thank you very much. 660 00:42:44,514 --> 00:42:46,014 No problem, my friend. 661 00:42:47,335 --> 00:42:48,935 Did we already know each other? 662 00:42:51,465 --> 00:42:54,032 There is also youthful resentment here. 663 00:42:54,509 --> 00:42:56,808 Two convent girls added bubble bath 664 00:42:56,909 --> 00:42:58,809 to the nun's sugar bowl. 665 00:43:00,242 --> 00:43:03,575 Ida Lupino directs this beautiful moving shot. 666 00:43:03,676 --> 00:43:06,576 ...gets closer to the adult world. 667 00:43:07,242 --> 00:43:10,308 Crystal clear comic images again. 668 00:43:10,409 --> 00:43:12,199 ...sophistication. 669 00:43:12,300 --> 00:43:14,932 The poet's words were remembering your youth, 670 00:43:15,033 --> 00:43:18,666 perceiving the child as a prophet, a witness... 671 00:43:18,767 --> 00:43:22,433 The rigid upper mother by Rosalind Russell. 672 00:43:23,467 --> 00:43:24,499 So this. 673 00:43:24,600 --> 00:43:26,733 An adorable visual joke. 674 00:43:27,200 --> 00:43:30,466 ...on the morning of its creation, he participates in creativity 675 00:43:30,567 --> 00:43:32,532 splendid message from your mentor... 676 00:43:32,633 --> 00:43:33,799 The most open scene. 677 00:43:33,900 --> 00:43:37,799 ...ingenious, simple, but profoundly wise, 678 00:43:37,900 --> 00:43:41,466 a hidden source from which challenge bubbles... 679 00:43:41,567 --> 00:43:45,099 The image grows, as does the comedy. 680 00:43:45,200 --> 00:43:49,633 What gives a child an aura Mysterious is his removal... 681 00:43:50,467 --> 00:43:52,132 Frothy and fun. 682 00:43:52,233 --> 00:43:56,332 It is inscrutable in its design and like the philosophers of antiquity, 683 00:43:56,433 --> 00:44:00,700 believe that there is not much to do as well as burying a man. 684 00:44:01,260 --> 00:44:02,659 When the last of your... 685 00:44:02,760 --> 00:44:04,426 Bursts on the soundtrack. 686 00:44:04,527 --> 00:44:06,293 The prank worked. 687 00:44:12,860 --> 00:44:14,427 Those two! 688 00:44:16,260 --> 00:44:17,527 Bring them! 689 00:44:21,068 --> 00:44:25,968 In addition to children's comedy there is, Of course, the sexual comedy. 690 00:44:26,493 --> 00:44:29,159 Walter Matthau is a guy useless and wasteful 691 00:44:29,260 --> 00:44:31,359 who spent all his money. 692 00:44:31,460 --> 00:44:35,059 He's trying to ask the rich Henrietta in marriage, 693 00:44:35,160 --> 00:44:38,292 played here by Elaine May, the film's director. 694 00:44:38,393 --> 00:44:40,593 We have a lot in common, you and I. 695 00:44:41,297 --> 00:44:43,726 His long-suffering old butler listens. 696 00:44:43,827 --> 00:44:46,726 The same class of mammals, the same primate order, 697 00:44:46,827 --> 00:44:49,959 the same hominid family, the same gender homo, 698 00:44:50,060 --> 00:44:51,226 the same species... 699 00:44:51,327 --> 00:44:56,226 Matthau is as bad as Akhavan teaching cinema to children. 700 00:44:56,327 --> 00:44:58,617 Be quiet! Oh, I'm sorry... 701 00:44:58,718 --> 00:45:02,752 Quick cuts to capture the looks and reactions. 702 00:45:03,710 --> 00:45:06,742 In fact, the only difference between us It's just that I'm a man and you're a woman, 703 00:45:06,843 --> 00:45:10,276 but we don't need to let that interfere if we are careful. 704 00:45:13,015 --> 00:45:14,680 Yes yes. 705 00:45:14,781 --> 00:45:17,615 Henrietta, what I'm trying to say is... 706 00:45:20,546 --> 00:45:22,950 He accidentally blurts out, 707 00:45:23,069 --> 00:45:25,801 the financial reason for your proposal. 708 00:45:25,902 --> 00:45:28,402 -Will you marry me? -Sorry? 709 00:45:29,071 --> 00:45:30,471 A comical burp. 710 00:45:33,148 --> 00:45:34,647 The Freudian mistake. 711 00:45:34,748 --> 00:45:37,780 If you care about me, Even if you don't care, 712 00:45:37,881 --> 00:45:40,847 but you think you can learn to care about me, 713 00:45:40,948 --> 00:45:42,413 a reasonable amount... 714 00:45:42,514 --> 00:45:46,847 Matthau can't stop it his desperate, lost look. 715 00:45:46,948 --> 00:45:49,313 I care about you, Henry, I really care. 716 00:45:49,414 --> 00:45:50,914 Henrietta! 717 00:45:51,348 --> 00:45:53,047 -Damn, what the hell! -Did you get hurt? 718 00:45:53,148 --> 00:45:56,213 No, kneel on broken glass It's my favorite pastime, 719 00:45:56,314 --> 00:45:57,480 Don't let me get distracted. 720 00:45:57,581 --> 00:46:00,447 -You should get up, Henry. -Never, not before finishing. 721 00:46:00,548 --> 00:46:03,547 I would kneel to anything for you, Henrietta. 722 00:46:03,648 --> 00:46:06,114 Trying to hide his despair. 723 00:46:06,648 --> 00:46:08,313 Trying to wear your greed. 724 00:46:08,414 --> 00:46:10,947 -It would be so... -I won't, I can't, 725 00:46:11,048 --> 00:46:13,180 I won't let you down, Henry. 726 00:46:13,281 --> 00:46:15,514 -Aren't you going? -No. 727 00:46:16,148 --> 00:46:17,881 I love you, Henry. 728 00:46:18,714 --> 00:46:21,747 Another sexual comedy. Another Elaine May film. 729 00:46:21,848 --> 00:46:23,813 The Gift Hunter was his first... 730 00:46:23,914 --> 00:46:25,414 This, the second... 731 00:46:27,448 --> 00:46:29,547 Charles Grodin recently got married, 732 00:46:29,648 --> 00:46:31,597 but he fell in love with another woman, 733 00:46:31,714 --> 00:46:33,281 Cybill Shepherd. 734 00:46:33,912 --> 00:46:35,746 She is sitting with her family 735 00:46:36,328 --> 00:46:40,262 and he comes between them. 736 00:46:41,295 --> 00:46:43,494 Her father speaks through Grodin. 737 00:46:43,595 --> 00:46:45,795 -Perfect, daddy. -Good, sir. 738 00:46:46,395 --> 00:46:49,595 The father moves his eyes like Matthau. 739 00:46:56,495 --> 00:46:59,648 Then May makes a move accurate camera 740 00:46:59,749 --> 00:47:03,882 to show how uncomfortable It is the proximity of Grodin. 741 00:47:04,140 --> 00:47:05,939 He's not ashamed. 742 00:47:06,040 --> 00:47:08,440 Like a dog begging at the table. 743 00:47:16,474 --> 00:47:18,440 What a wonderful spectacle! 744 00:47:19,774 --> 00:47:22,607 May fills the frames with faces, 745 00:47:23,374 --> 00:47:26,640 so we can see better the embarrassment. 746 00:47:27,174 --> 00:47:29,974 -Fine, daddy -Very fun, sir. 747 00:47:32,174 --> 00:47:35,140 Now, the paranoia of sexual comedy. 748 00:47:36,474 --> 00:47:40,056 Jenny thinks the radio is her thoughts. 749 00:47:40,327 --> 00:47:43,239 It's sarcastic. Your guilt complex. 750 00:47:43,340 --> 00:47:46,540 His immaturity revealed. 751 00:47:47,540 --> 00:47:48,973 If you just tuned in, 752 00:47:49,074 --> 00:47:51,206 Are you listening to the program Donna's Brain, 753 00:47:51,307 --> 00:47:53,290 and I am the voice of the brain. 754 00:47:53,437 --> 00:47:56,469 Today I'm sitting here with the idiot who, 755 00:47:56,570 --> 00:47:59,036 after being dismissed and lost his job, 756 00:47:59,137 --> 00:48:00,602 recently did... 757 00:48:00,703 --> 00:48:05,670 Sorry, I may have had sex with a stranger without a condom. 758 00:48:07,296 --> 00:48:09,695 -I can't take off your shirt. -Did I forget something? 759 00:48:09,796 --> 00:48:11,430 We use condoms. 760 00:48:12,730 --> 00:48:14,229 Well, that's not what I heard. 761 00:48:14,330 --> 00:48:16,463 Let's get on with it! 762 00:48:18,030 --> 00:48:20,563 -Leave it to me! -Look at the sharp teeth... 763 00:48:22,796 --> 00:48:24,229 We should use your hands. 764 00:48:24,330 --> 00:48:26,130 No way. 765 00:48:27,263 --> 00:48:28,722 Ready! 766 00:48:29,696 --> 00:48:31,329 -I don't know any fights. -Did you find it? 767 00:48:31,430 --> 00:48:33,262 I was fast. Five second rule. 768 00:48:33,363 --> 00:48:36,530 Its idealized version is more golden. 769 00:48:36,972 --> 00:48:38,629 The music is triumphant. 770 00:48:38,730 --> 00:48:40,796 Here, sir, is a condom. 771 00:48:42,496 --> 00:48:45,495 It would be more correct to say that you don't remember? 772 00:48:45,596 --> 00:48:46,895 I'm getting a little dizzy. 773 00:48:46,996 --> 00:48:50,428 You're dizzy because you played Russian roulette with the vagina. 774 00:48:50,529 --> 00:48:54,329 Did you know that Hulk Hugan's name is Terry? 775 00:48:56,896 --> 00:49:00,462 Our latest sex comedy It's an explosion of homophobia, 776 00:49:00,563 --> 00:49:02,829 made like a Hollywood musical. 777 00:49:03,996 --> 00:49:05,795 You put it in, you take it out 778 00:49:05,896 --> 00:49:07,662 and goes up and down. 779 00:49:07,763 --> 00:49:10,029 We are in a gay healing field. 780 00:49:10,863 --> 00:49:14,495 Girls learning to vacuum, in pink and blue. 781 00:49:14,596 --> 00:49:18,662 And inside and outside, in every little crevice. 782 00:49:18,763 --> 00:49:20,995 And inside and outside. 783 00:49:21,096 --> 00:49:23,196 Boys in blue. 784 00:49:25,063 --> 00:49:26,629 Add some oil, 785 00:49:26,996 --> 00:49:29,095 stick it in and then take it out, 786 00:49:29,196 --> 00:49:31,862 put on some muscle, put it in again... 787 00:49:31,963 --> 00:49:35,942 And the insinuation flooded in all aspects of the picture, 788 00:49:36,043 --> 00:49:38,543 the language, the design. 789 00:49:39,329 --> 00:49:42,362 Alright, who wants to practice with me? 790 00:49:42,463 --> 00:49:45,228 Scenes so kitsch as the desires of society 791 00:49:45,329 --> 00:49:47,663 that heterosexuals are kitsch. 792 00:49:56,096 --> 00:49:59,263 And the cadres don't know how wrong they are. 793 00:50:26,396 --> 00:50:29,262 Beyond children's comedies and sexuality, 794 00:50:29,363 --> 00:50:33,295 the filmmakers were fascinated with the change of identity. 795 00:50:33,396 --> 00:50:36,595 This is one of the films most famous in Norway, 796 00:50:36,696 --> 00:50:39,395 It is shown on TV every Christmas. 797 00:50:39,496 --> 00:50:41,395 We are in a winter chalet. 798 00:50:41,496 --> 00:50:42,895 Poppe, on the left, 799 00:50:42,996 --> 00:50:45,895 It's the clumsy receptionist at the accommodation. 800 00:50:45,996 --> 00:50:48,195 He is talking to one of the guests. 801 00:50:48,296 --> 00:50:49,428 Upstairs, 802 00:50:49,529 --> 00:50:53,845 there is another guest very similar with this one. 803 00:50:53,963 --> 00:50:56,895 Poppe thinks they are the same person. 804 00:50:56,996 --> 00:50:58,428 The phone rings. 805 00:50:58,529 --> 00:51:00,529 It's the lookalike from upstairs... 806 00:51:00,963 --> 00:51:07,759 Well? It's the receptionist. A glass of sherry? For whom? 807 00:51:07,860 --> 00:51:09,753 For whom? 808 00:51:11,299 --> 00:51:14,483 Now... better be careful. 809 00:51:15,017 --> 00:51:17,499 No, you're standing down here. 810 00:51:17,600 --> 00:51:19,514 Yes, right in front of me. 811 00:51:19,996 --> 00:51:22,429 You're here now, aren't you? 812 00:51:23,061 --> 00:51:25,794 Would you like your sherry on the bus? 813 00:51:25,895 --> 00:51:29,773 Yes, I'm here, but I don't want any sherry! 814 00:51:30,163 --> 00:51:34,296 No. You're here, but you don't want sherry. 815 00:51:35,355 --> 00:51:38,678 Just a minute, you can talk to yourself. 816 00:51:38,779 --> 00:51:41,728 No, that's enough for me. 817 00:51:41,829 --> 00:51:43,028 Yes. 818 00:51:43,129 --> 00:51:44,662 Have a good trip. 819 00:51:44,763 --> 00:51:46,228 Welcome back. 820 00:51:46,329 --> 00:51:49,628 I'm sorry for you, Poppe. Can I give you some advice? 821 00:51:49,729 --> 00:51:52,529 Calm down. Relax. 822 00:51:52,932 --> 00:51:54,397 I'm relaxed. 823 00:51:54,498 --> 00:51:59,097 And I know that you only exist in my imagination. 824 00:51:59,198 --> 00:52:04,431 You are a mirage, a hallucination, a ghost. 825 00:52:04,532 --> 00:52:08,031 If I didn't have sense, would catch that bird, 826 00:52:08,132 --> 00:52:09,797 that I know is not there 827 00:52:09,898 --> 00:52:13,264 and would hit you on the head that you don't have. 828 00:52:13,365 --> 00:52:15,650 But I only have to count to three 829 00:52:15,751 --> 00:52:21,016 and you disappear with the wind. 830 00:52:21,756 --> 00:52:25,272 One... two... 831 00:52:26,001 --> 00:52:27,864 Two and a half... 832 00:52:27,965 --> 00:52:29,965 Three. 833 00:52:39,765 --> 00:52:41,364 Comedy of confusion. 834 00:52:41,465 --> 00:52:43,231 The images are simple, 835 00:52:43,332 --> 00:52:45,331 with one or two characters, 836 00:52:45,432 --> 00:52:47,932 but the confusions are dizzying. 837 00:52:48,865 --> 00:52:50,497 Director Edith Carlmar 838 00:52:50,598 --> 00:52:54,165 It's an incomparable world of confusion, 839 00:52:56,535 --> 00:52:58,879 but add politics to this recipe 840 00:52:58,980 --> 00:53:00,845 and you will have something like this... 841 00:53:00,946 --> 00:53:03,713 El Camino, by Ana Mariscal, 842 00:53:04,313 --> 00:53:07,480 a conservative village in Francoist Spain. 843 00:53:07,880 --> 00:53:12,579 We're at the movies, boys and men in the audience create a commotion. 844 00:53:12,680 --> 00:53:14,280 Here's why. 845 00:53:14,613 --> 00:53:17,479 An aristocratic old man is in the projection room, 846 00:53:17,580 --> 00:53:18,845 blocking the image, 847 00:53:18,946 --> 00:53:23,813 because a woman is dancing and there is a close-up of its movement. 848 00:53:25,246 --> 00:53:28,813 Director Ana Mariscal shows us women now. 849 00:53:29,646 --> 00:53:31,346 They are also old-fashioned. 850 00:53:32,180 --> 00:53:34,280 Stop the machine, Decoroso, stop! 851 00:53:35,313 --> 00:53:38,312 Is there a way to respond To their prohibitions. 852 00:53:38,413 --> 00:53:40,046 Throw things. 853 00:53:41,747 --> 00:53:43,812 The bourgeois indignation. 854 00:53:43,913 --> 00:53:46,845 Politeness and unbridled sexuality 855 00:53:46,946 --> 00:53:48,913 are bound to collide. 856 00:53:51,080 --> 00:53:55,145 Mariscal has fun with pomp and puritanism. 857 00:53:55,246 --> 00:53:59,580 We're from here! We are... We are martyrs! Martyrs! 858 00:54:03,880 --> 00:54:05,812 He's using the chips... Yes! 859 00:54:05,913 --> 00:54:07,745 I told you he would fall in line. 860 00:54:07,846 --> 00:54:10,945 ASSHOLE What is your most popular video game? 861 00:54:11,046 --> 00:54:14,145 The Stupider the Better was amused by this mockery. 862 00:54:14,246 --> 00:54:16,812 So far, the TV show by Wayne and Garth 863 00:54:16,913 --> 00:54:19,881 He was the butt of jokes in the film. 864 00:54:20,166 --> 00:54:23,645 And then a figure appears even goofier. 865 00:54:23,746 --> 00:54:24,778 A businessman, 866 00:54:24,879 --> 00:54:27,312 HE SUCKS GOATS. I HAVE PROOF. -program sponsor. 867 00:54:27,413 --> 00:54:30,778 In the control room, they try to hold back their laughter. 868 00:54:30,879 --> 00:54:34,245 Okay, now tell me, Noah, I always wanted to know, 869 00:54:34,346 --> 00:54:38,062 what is the difference between Pacman and Ms. Pacman? 870 00:54:38,213 --> 00:54:39,985 Well, she has a bow on her head. 871 00:54:40,086 --> 00:54:42,130 THIS MAN DOESN'T HAVE A PENIS - Is that it? 872 00:54:44,475 --> 00:54:45,940 Get out of town! 873 00:54:46,041 --> 00:54:49,307 Trademark of comedy, in two sockets 874 00:54:49,408 --> 00:54:51,141 and shadowless lighting. 875 00:54:51,841 --> 00:54:54,108 In addition to a clashing comic world. 876 00:54:56,568 --> 00:55:01,134 Go to Eastern Europe and this mockery grows darker. 877 00:55:12,610 --> 00:55:15,174 A hanging body was released. 878 00:55:15,275 --> 00:55:16,851 A suicide. 879 00:55:16,952 --> 00:55:20,952 Static, open and distant image. 880 00:55:21,575 --> 00:55:23,808 It's not the classic comedy look. 881 00:55:24,904 --> 00:55:26,766 The police and the coroner. 882 00:55:27,041 --> 00:55:28,541 And suddenly this... 883 00:55:29,741 --> 00:55:31,816 I brought the stool too. 884 00:55:33,508 --> 00:55:36,407 -We need to undress him. -Don't do that, it stinks. 885 00:55:36,508 --> 00:55:41,840 The comic formula would be to cut to the frightened faces of the authorities. 886 00:55:41,941 --> 00:55:43,340 But no, 887 00:55:43,441 --> 00:55:47,374 the great Polish director Malgorzata Szumowska 888 00:55:47,475 --> 00:55:48,841 is in the open plan. 889 00:55:52,455 --> 00:55:55,160 The absurdity is not in the characters, 890 00:55:55,261 --> 00:55:56,994 is in the world. 891 00:56:01,991 --> 00:56:04,640 Further east now, to Indonesia 892 00:56:04,741 --> 00:56:06,541 and even darker. 893 00:56:07,208 --> 00:56:10,574 A woman is talking about sex during pregnancy. 894 00:56:10,675 --> 00:56:13,407 His mother scared us. 895 00:56:13,508 --> 00:56:16,508 She told us not to sleep together for the first month. 896 00:56:16,975 --> 00:56:21,407 But imagine the lust of a pregnant woman. 897 00:56:21,508 --> 00:56:24,941 The woman who is listening He doesn't seem amused. 898 00:56:25,341 --> 00:56:28,307 Open, beautiful and static framing. 899 00:56:28,408 --> 00:56:30,707 So I marked it on the calendar. 900 00:56:30,808 --> 00:56:34,107 When the second month arrived, I threw myself at him. 901 00:56:34,208 --> 00:56:36,875 And then ultra-open socket. 902 00:56:39,756 --> 00:56:43,511 If he is jealous Why don't you spend the day with me? 903 00:56:43,612 --> 00:56:46,012 He knows men want me. 904 00:56:46,773 --> 00:56:48,222 So, 905 00:56:48,653 --> 00:56:51,353 What does the woman who listens see? 906 00:56:53,342 --> 00:56:54,515 Wow... 907 00:56:54,616 --> 00:56:56,516 A body without a head. 908 00:56:58,749 --> 00:57:02,516 The man she beheaded for raping her. 909 00:57:04,650 --> 00:57:06,833 He plays an instrument. 910 00:57:07,154 --> 00:57:09,420 Calm, like a minstrel. 911 00:57:13,815 --> 00:57:16,667 We probably don't laugh about it, 912 00:57:16,768 --> 00:57:19,768 but it's certainly in comic mode, 913 00:57:21,715 --> 00:57:24,882 in mockery mode, in anti-tragic mode. 914 00:57:27,815 --> 00:57:32,531 Can we take the humor mocking and anti-tragic so far 915 00:57:32,913 --> 00:57:35,615 that he doesn't make us laugh anymore? 916 00:57:35,815 --> 00:57:37,542 I was raped. 917 00:57:37,748 --> 00:57:39,382 I killed them. 918 00:57:41,000 --> 00:57:42,267 They? 919 00:57:42,647 --> 00:57:44,380 Did they rape you? 920 00:57:44,682 --> 00:57:46,548 What animals! 921 00:57:47,548 --> 00:57:50,381 Enjoy this scene from Binka Zhelyazkova 922 00:57:50,482 --> 00:57:52,048 in The Attached Balloon. 923 00:57:52,782 --> 00:57:55,114 The dogs bark at the mysterious balloon 924 00:57:55,215 --> 00:57:59,136 that hovered over the village and which seems to symbolize light 925 00:57:59,237 --> 00:58:00,703 and freedom. 926 00:58:01,663 --> 00:58:04,830 But Zhelyazkova gives words to dogs. 927 00:58:05,630 --> 00:58:07,762 ITS A PERSON HAS NO FACE SHE MUST BE DANGEROUS 928 00:58:07,863 --> 00:58:08,962 GET IT! 929 00:58:09,063 --> 00:58:13,296 Impossible and absurd. Inventive and satirical. 930 00:58:13,397 --> 00:58:16,563 The opposite of serious social realism, 931 00:58:16,971 --> 00:58:20,562 but there is something manic and enraged here. 932 00:58:20,663 --> 00:58:23,796 DO YOU REMEMBER HOW WE WERE CHASING A LIKE MONSTER 933 00:58:23,897 --> 00:58:27,596 WHAT ENDED UP BEING A BUS? HE RUN OVER A BUNCH OF DOGS 934 00:58:27,697 --> 00:58:29,196 MAY THEY REST IN PEACE! 935 00:58:29,297 --> 00:58:31,162 ATCHIM! I SMELL A RABBIT. 936 00:58:31,263 --> 00:58:36,796 WHENEVER I SMELL RABBIT, I START Sneezing. ATCHIM! 937 00:58:36,897 --> 00:58:39,697 HEALTH! ATCHIM! HEALTH!