1 00:00:21,226 --> 00:00:24,089 Most films were run by men. 2 00:00:24,190 --> 00:00:28,690 Most classic sayings were run by men. 3 00:00:29,675 --> 00:00:34,165 But 13 decades ago, in all six continents where films are made, 4 00:00:34,266 --> 00:00:37,304 thousands of women too have directed films. 5 00:00:39,560 --> 00:00:41,550 Some of the best. 6 00:00:43,404 --> 00:00:45,150 What films did they make? 7 00:00:45,390 --> 00:00:47,729 What techniques did they use? 8 00:00:49,121 --> 00:00:52,110 What can we learn about cinema with them? 9 00:00:52,506 --> 00:00:57,415 Let's revisit the films through from the eyes of the directors. 10 00:00:58,960 --> 00:01:02,529 Let's make a new one road movie through the cinema. 11 00:01:06,060 --> 00:01:08,489 WOMEN MAKE CINEMA 12 00:01:08,590 --> 00:01:12,960 A NEW ROAD MOVIE THROUGH THE CINEMA. 13 00:01:19,920 --> 00:01:22,619 How the directors Did they make drama films? 14 00:01:22,720 --> 00:01:24,640 What do your films show? 15 00:01:28,926 --> 00:01:34,880 DRAMA 16 00:01:37,953 --> 00:01:41,986 Let's start slowly. A woman on her lunch break. 17 00:01:42,193 --> 00:01:44,000 She works in a thrift store. 18 00:01:44,160 --> 00:01:46,180 He tries to support his family. 19 00:01:47,506 --> 00:01:49,872 The elegant men sitting next door do not approve 20 00:01:49,973 --> 00:01:52,920 let her eat a sandwich in a paper bag. 21 00:01:54,413 --> 00:01:57,366 A small camera moves to reframe it. 22 00:01:57,546 --> 00:02:00,146 His sadness and isolation. 23 00:02:01,180 --> 00:02:04,553 A fundamental aspect of melodrama characters. 24 00:02:09,126 --> 00:02:11,786 An open plan in the direction you look. 25 00:02:12,813 --> 00:02:14,466 She wanted to live like them, 26 00:02:14,840 --> 00:02:17,990 But as if there were a glass panel 27 00:02:18,186 --> 00:02:21,486 separating poverty from it and their wealth. 28 00:02:22,613 --> 00:02:25,166 The longing look of melodrama. 29 00:02:26,293 --> 00:02:29,806 The central character generally powerless. 30 00:02:31,186 --> 00:02:35,080 You can't control your life, you can't change it. 31 00:02:40,760 --> 00:02:44,120 It appears in the open plan and looks down. 32 00:02:50,646 --> 00:02:55,833 And a close-up expresses your shame and your dream. 33 00:03:05,833 --> 00:03:11,073 She leans back on the bench, and the sun seems to burn your face. 34 00:03:16,406 --> 00:03:18,399 Lois Weber shows the pain 35 00:03:18,500 --> 00:03:21,585 and the character's victimization center of melodrama, 36 00:03:21,686 --> 00:03:23,926 but your images are basically static. 37 00:03:24,886 --> 00:03:27,792 The first Norwegian film directed by a woman, 38 00:03:27,893 --> 00:03:30,280 Edith Calm, there was more movement. 39 00:03:31,700 --> 00:03:36,166 A rich woman has an affair with a young mechanic. 40 00:03:37,290 --> 00:03:38,513 A close up... 41 00:03:41,800 --> 00:03:43,479 She closes her eyes, 42 00:03:43,580 --> 00:03:46,120 and we see a romantic montage with jazz in the background. 43 00:03:52,880 --> 00:03:54,320 Image overlay. 44 00:03:54,520 --> 00:03:58,746 Champagne, cigarettes, trumpet, romantic images... 45 00:04:01,413 --> 00:04:04,490 Almost Freudian, Hollywood style. 46 00:04:10,600 --> 00:04:13,120 But after an hour of film, 47 00:04:13,480 --> 00:04:15,020 we have opposite emotions. 48 00:04:15,640 --> 00:04:17,560 Hatred instead of love. 49 00:04:18,193 --> 00:04:21,553 An orchestral torrent instead of jazz. 50 00:04:22,200 --> 00:04:24,860 Your desperation and resistance. 51 00:04:32,140 --> 00:04:34,673 A quick cut when she attacks him. 52 00:04:39,220 --> 00:04:41,760 Then comes tranquility after the storm. 53 00:04:47,800 --> 00:04:50,560 The image is out of focus and the camera pulls back 54 00:04:54,786 --> 00:04:58,520 beyond the bedroom door where someone was stabbed. 55 00:05:01,280 --> 00:05:03,146 Then the camera follows... 56 00:05:04,160 --> 00:05:08,306 We look for the body, the chaos, the consequences. 57 00:05:16,006 --> 00:05:17,546 The police arrive. 58 00:06:01,306 --> 00:06:04,426 The two scenes from Calma, love and death, showed us 59 00:06:04,833 --> 00:06:08,040 the breadth of melodrama, 60 00:06:09,546 --> 00:06:11,566 your "highs" on top of the mountains 61 00:06:11,730 --> 00:06:14,153 and the "lows" in the valley of tears. 62 00:06:16,333 --> 00:06:19,740 How to show These heightened emotions? 63 00:06:20,153 --> 00:06:23,453 One of the simplest ways through dialogue. 64 00:06:23,780 --> 00:06:29,759 I'm talking, right? One sweater at least! 65 00:06:29,860 --> 00:06:32,593 A mother asks her husband 66 00:06:32,753 --> 00:06:35,133 buy a sweater for the son. 67 00:06:35,973 --> 00:06:39,312 A close up of her. His pleading voice. 68 00:06:39,413 --> 00:06:42,259 He is no longer a child. He's ashamed. 69 00:06:42,360 --> 00:06:45,660 Not like before. 70 00:06:49,133 --> 00:06:52,993 I tell you at least buy him a sweater. 71 00:06:53,206 --> 00:06:59,800 He is no longer a child! He's ashamed! 72 00:07:02,926 --> 00:07:06,932 Buy him a sweater. It's embarrassing to look... 73 00:07:07,033 --> 00:07:10,099 He is no longer a child! He's ashamed! 74 00:07:10,200 --> 00:07:12,652 Then two of his sons they start to hum. 75 00:07:12,753 --> 00:07:18,529 Porridge, porridge, television, porridge, porridge. 76 00:07:18,630 --> 00:07:25,126 Bait, bait... Porridge, porridge, television 77 00:07:25,353 --> 00:07:29,089 Lures, baits, baits, baits 78 00:07:29,190 --> 00:07:33,880 Porridge, porridge, television... 79 00:07:36,220 --> 00:07:38,513 Suddenly, the sound of a storm in the background. 80 00:07:38,786 --> 00:07:42,712 He is no longer a child. He's embarrassed to walk around without clothes. 81 00:07:42,813 --> 00:07:46,100 Repetitive, irritated. The tension is increasing. 82 00:07:46,680 --> 00:07:50,020 Beyond the children and the thunder, 83 00:07:50,346 --> 00:07:52,259 the wife starts talking again. 84 00:07:52,360 --> 00:07:58,519 He is no longer a child. He's embarrassed to walk around without clothes. 85 00:07:58,620 --> 00:08:01,925 There is often an ascension, something volcanic in melodrama. 86 00:08:02,026 --> 00:08:04,372 We await the eruption. 87 00:08:04,473 --> 00:08:08,160 Kira Muratova is brilliant in explosive scenes. 88 00:08:57,420 --> 00:09:04,253 The dialogue and voices of the drama come of the actors and the hysteria, of course, 89 00:09:04,573 --> 00:09:06,645 but passions are so strong 90 00:09:06,746 --> 00:09:11,466 that often seem to change for the cinematographic style. 91 00:09:12,366 --> 00:09:15,540 The style is acting by other means. 92 00:09:17,500 --> 00:09:18,992 Here, for example. 93 00:09:19,093 --> 00:09:22,100 Larisa Shepitko's doctor, in Siberia. 94 00:09:23,026 --> 00:09:25,759 The scene is filmed in the snow, but he's so hot 95 00:09:25,860 --> 00:09:29,126 that needs ice to cool off. 96 00:09:35,046 --> 00:09:39,573 Alfred Shnitke's soundtrack It's sharp, scorching, metallic. 97 00:09:41,113 --> 00:09:44,046 And the actor can't endure the agony. 98 00:10:17,790 --> 00:10:22,386 And now the music is of bells. Announcing imminent death. 99 00:10:46,620 --> 00:10:49,220 Another man's agony in the open sky. 100 00:10:49,720 --> 00:10:53,226 A shepherd, whose sheep are being attacked by a wolf. 101 00:10:56,130 --> 00:10:57,259 They roll down the bank. 102 00:10:57,360 --> 00:10:59,506 A full orchestra full steam ahead. 103 00:11:05,680 --> 00:11:08,392 These are short takes, almost always close ups 104 00:11:08,493 --> 00:11:11,093 to show your agony, your fight. 105 00:11:11,273 --> 00:11:14,000 The animal growling. A fight. 106 00:11:15,553 --> 00:11:17,886 But the film too it was a "growl". 107 00:11:18,000 --> 00:11:20,132 It was made by Leni Riefenstahl. 108 00:11:20,233 --> 00:11:21,499 In some scenes, 109 00:11:21,600 --> 00:11:24,553 she filmed with prisoners from the camps of Nazi concentrations. 110 00:11:27,900 --> 00:11:31,313 It was one of the films most compromising ever done. 111 00:11:52,080 --> 00:11:54,793 Riefenstahl created the scene manically, 112 00:11:55,140 --> 00:11:57,146 but somewhat conventional. 113 00:12:00,566 --> 00:12:04,740 Here, Drahomira Vihanova found a more innovative way 114 00:12:05,046 --> 00:12:07,380 to shape the melodrama. 115 00:12:08,333 --> 00:12:10,993 An argument between two men. 116 00:12:12,620 --> 00:12:14,193 A zoom in on the wallet, 117 00:12:14,693 --> 00:12:17,379 and then the camera pans about quickly. 118 00:12:17,480 --> 00:12:20,605 Commander, come on, please... 119 00:12:20,706 --> 00:12:23,959 Don't be angry, I didn't want... 120 00:12:24,060 --> 00:12:25,390 And returns. 121 00:12:26,000 --> 00:12:30,513 I didn't mean to offend you, sir! 122 00:12:30,813 --> 00:12:32,506 -And I said you did it? -My God. 123 00:12:33,413 --> 00:12:35,940 Come back for the third time and it continues like this. 124 00:12:37,033 --> 00:12:41,120 The discussion as a competition, like a tennis match. 125 00:12:41,426 --> 00:12:45,273 The camera expresses the shuttle. 126 00:12:52,590 --> 00:12:58,513 Binka Zhelyazkova combines mania with innovation in the Hitchcockian scene. 127 00:12:58,766 --> 00:13:02,106 The young photographer Tsveta and wheelchair user. 128 00:13:02,300 --> 00:13:04,020 She looks at the street. 129 00:13:05,390 --> 00:13:06,613 The camera comes with 130 00:13:09,240 --> 00:13:11,133 and then it's on her bike. 131 00:13:11,853 --> 00:13:13,540 The music speeds up. 132 00:13:17,933 --> 00:13:20,433 Closer and closer. 133 00:13:20,600 --> 00:13:22,106 "Eisensteinian". 134 00:13:24,560 --> 00:13:27,306 And the melodrama intensifies. 135 00:13:35,953 --> 00:13:37,213 A crescendo. 136 00:13:56,206 --> 00:13:59,066 Our final scene is a great melodrama 137 00:13:59,393 --> 00:14:01,433 and sums up the drama genre. 138 00:14:02,413 --> 00:14:07,246 Like the poor woman in the silent film who is ashamed of his shoes, 139 00:14:08,306 --> 00:14:10,933 this woman was convicted to ostracism. 140 00:14:11,233 --> 00:14:13,705 She had an affair with an American soldier 141 00:14:13,806 --> 00:14:15,653 during the Second World War. 142 00:14:16,293 --> 00:14:18,533 It's on the side of the road at night. 143 00:14:18,906 --> 00:14:23,153 Director Kinuyo Tanaka styled car headlights 144 00:14:23,673 --> 00:14:26,040 to flash in your face. 145 00:14:27,266 --> 00:14:31,333 The lights and music are her exoskeleton. 146 00:14:39,126 --> 00:14:42,389 The film's style expresses what a woman of your class 147 00:14:42,490 --> 00:14:46,060 couldn't say in Japan at that time. 148 00:14:47,420 --> 00:14:50,226 They are the volcano, the lava. 149 00:14:51,020 --> 00:14:56,133 In the end, the melodrama is an explosion of cinema. 150 00:15:17,930 --> 00:15:21,466 Men drove most of the famous science fiction films, 151 00:15:23,866 --> 00:15:27,053 but the filmmakers had creative ideas in the genre. 152 00:15:29,800 --> 00:15:36,993 FIC? THE SCIENT-?FICA 153 00:15:38,366 --> 00:15:42,385 In 1999, the Wachovski brothers created science fiction images 154 00:15:42,486 --> 00:15:45,100 that would influence cinema in the coming years. 155 00:15:47,620 --> 00:15:48,880 When he is hit, 156 00:15:49,186 --> 00:15:50,872 a character's chest multiplies 157 00:15:50,973 --> 00:15:53,180 and strays from the line of fire to avoid the bullets. 158 00:15:53,745 --> 00:15:54,745 Trinity! 159 00:15:54,846 --> 00:15:57,340 But the other one shoots against Keanu Reeve's Grandson. 160 00:15:57,793 --> 00:15:59,473 And the shooting show begins. 161 00:16:00,280 --> 00:16:02,739 The camera seems circulate so fast 162 00:16:02,840 --> 00:16:04,525 we see the trajectory of the bullet 163 00:16:04,626 --> 00:16:06,693 and visual ripples. 164 00:16:07,586 --> 00:16:11,440 Wire effects were used of Chinese cinema and various cameras. 165 00:16:11,646 --> 00:16:13,833 The sockets were digitally stitched. 166 00:16:14,746 --> 00:16:18,659 The Matrix was a parallel universe Einsteinian of the digital age, 167 00:16:18,760 --> 00:16:20,840 a key idea in science fiction. 168 00:16:34,373 --> 00:16:36,020 It wasn't for that that we came here. 169 00:16:37,586 --> 00:16:40,133 The shootings were a new way of seeing. 170 00:16:40,973 --> 00:16:44,045 Eighteen years later, director Patty Jenkins used this 171 00:16:44,146 --> 00:16:45,939 to recreate a battle of the First World War 172 00:16:46,040 --> 00:16:47,706 in the DC universe. 173 00:16:51,640 --> 00:16:53,193 Camera circling... 174 00:16:53,400 --> 00:16:54,645 No, but that's what I'm going to do. 175 00:16:54,746 --> 00:16:56,300 Slow motion again. 176 00:16:58,146 --> 00:17:00,933 A gleam of metal in the middle from the ashes of the trenches. 177 00:17:01,466 --> 00:17:03,280 Then more metal appears. 178 00:17:03,813 --> 00:17:06,686 We see the armor and the logo of Wonder Woman. 179 00:17:10,620 --> 00:17:12,000 Diana! 180 00:17:13,740 --> 00:17:15,633 The fantasy of science fiction: 181 00:17:15,740 --> 00:17:19,345 A powerful superhero inserted in global hysteria, 182 00:17:19,446 --> 00:17:21,713 walking where thousands of people were massacred. 183 00:17:23,940 --> 00:17:25,726 The camera follows a bullet. 184 00:17:26,393 --> 00:17:27,733 And the bullets start to fly. 185 00:17:27,966 --> 00:17:29,806 And your invincibility... 186 00:17:34,273 --> 00:17:36,893 What the hell is she doing? 187 00:17:42,460 --> 00:17:44,345 Get ready! Fire! 188 00:17:44,446 --> 00:17:45,733 Fire! 189 00:17:49,546 --> 00:17:51,226 She starts running. 190 00:17:53,220 --> 00:17:55,386 She's taking all the shots. Let's go! 191 00:17:55,526 --> 00:17:57,940 Let's go! Let's go! 192 00:17:59,860 --> 00:18:01,792 Science fiction usually be set in the future, 193 00:18:01,893 --> 00:18:07,413 but here, it's a spectacle of the past improved, revisited. 194 00:18:34,793 --> 00:18:36,006 Gotcha! 195 00:18:44,626 --> 00:18:46,372 Science fiction is usually a spectacle. 196 00:18:46,473 --> 00:18:47,792 It is often something invisible, 197 00:18:47,893 --> 00:18:50,320 costumed, designed or choreographed. 198 00:18:53,080 --> 00:18:55,105 "The Fate of Jupiter", by Wachovski it was rain 199 00:18:55,206 --> 00:18:56,860 of design and movement. 200 00:18:57,446 --> 00:19:00,066 Perhaps this was one of the reasons for negative reviews. 201 00:19:04,030 --> 00:19:05,893 A chase through the plantation 202 00:19:06,353 --> 00:19:09,313 like a scene from Hitchcock in "International Intrigue". 203 00:19:10,226 --> 00:19:12,265 Mila Kunis is attacked by aliens 204 00:19:12,366 --> 00:19:14,760 because she is a princess from another galaxy. 205 00:19:16,566 --> 00:19:20,270 Then a man appears with a unique weapon. 206 00:19:20,866 --> 00:19:25,360 We see its explosion, its waves, like what happened in The Matrix. 207 00:19:36,913 --> 00:19:38,840 So aliens computers appear... 208 00:19:43,013 --> 00:19:46,393 followed by the rebels who comes to rescue her. 209 00:19:46,573 --> 00:19:48,800 Floating, blackened. 210 00:19:57,653 --> 00:20:00,872 Channing Tatum suddenly appears defying gravity 211 00:20:00,973 --> 00:20:02,906 like in a movie from the Chinese wuxia genre. 212 00:20:05,233 --> 00:20:08,126 New types of footage, movement and presentation. 213 00:20:24,330 --> 00:20:27,500 -We are free. -Who knows? 214 00:20:29,900 --> 00:20:31,445 We better go before they come back. 215 00:20:31,546 --> 00:20:32,766 You get the tank. 216 00:20:36,486 --> 00:20:37,846 He is sure? 217 00:20:39,720 --> 00:20:40,933 ENTER THE SECURITY CODE 218 00:20:44,033 --> 00:20:45,932 "Tank Girl" too shows the fun, 219 00:20:46,033 --> 00:20:48,693 the spectacle and the design of science fiction. 220 00:20:49,126 --> 00:20:50,446 We are in Australia. 221 00:20:50,680 --> 00:20:52,793 An impact on the earth caused a drought. 222 00:20:53,426 --> 00:20:55,673 The government controls the water supply. 223 00:20:56,030 --> 00:20:57,500 A police state. 224 00:20:58,200 --> 00:21:00,380 Lori Petty is handling a tank. 225 00:21:02,413 --> 00:21:04,353 Just images from a war film. 226 00:21:04,526 --> 00:21:05,860 But it drew laughter. 227 00:21:06,586 --> 00:21:11,293 She doesn't know how to handle it. Absurd, dangerous, fun. 228 00:21:12,193 --> 00:21:14,986 Then a blow to the head like a Charlie Chaplin movie. 229 00:21:26,153 --> 00:21:27,760 As if we were underwater 230 00:21:28,060 --> 00:21:29,429 and in the world of hysteria in comics. 231 00:21:29,530 --> 00:21:30,773 Are you okay? 232 00:21:36,130 --> 00:21:37,789 Sorry about the bump on the head. 233 00:21:37,890 --> 00:21:39,559 I think I need to practice more. 234 00:21:39,660 --> 00:21:41,759 Young women are cyberpunks in this world. 235 00:21:41,860 --> 00:21:43,485 -Yes, take this! -No, not yet! 236 00:21:43,586 --> 00:21:45,359 The concept of fiction scientific allows 237 00:21:45,460 --> 00:21:47,780 that the director's mind Rachel Talalay run wild. 238 00:21:49,793 --> 00:21:52,846 You shouldn't to have hit me like that, Becky! 239 00:21:56,673 --> 00:21:59,726 Science fiction acts here as "the ends justify the means". 240 00:22:01,430 --> 00:22:05,232 A boomerang that takes our imagination away, 241 00:22:05,333 --> 00:22:07,493 but then bring her back to the real world. 242 00:22:19,980 --> 00:22:22,673 The series "The Handmaid's Tale" It's even darker. 243 00:22:23,520 --> 00:22:27,306 The Story of Margaret Atwood is set in the USA in the near future. 244 00:22:27,540 --> 00:22:30,946 A future out of reach that activates the vivid imagination. 245 00:22:34,060 --> 00:22:35,939 Fertility rates fell considerably. 246 00:22:36,040 --> 00:22:38,926 Therefore, women who still can have children are valuable. 247 00:22:39,066 --> 00:22:42,153 They are incarcerated and forced to procreate multiple times. 248 00:22:46,126 --> 00:22:48,553 They told them that the man was a rapist. 249 00:22:49,093 --> 00:22:50,513 Maybe he isn't, 250 00:22:50,626 --> 00:22:56,220 but they surround him, angry, with controlled minds and bodies. 251 00:22:56,440 --> 00:22:58,813 Desperate for lack of freedom. 252 00:23:12,786 --> 00:23:15,720 Director Reed Morano shows a scene of terror, 253 00:23:16,046 --> 00:23:17,886 of inevitable violence. 254 00:23:18,280 --> 00:23:20,560 Cavernous roars on the soundtrack. 255 00:23:22,166 --> 00:23:25,586 A coliseum. Blood and fervor. 256 00:23:39,346 --> 00:23:41,440 Abuse begets abuse. 257 00:23:43,100 --> 00:23:44,960 The fury of the Old Testament. 258 00:23:48,900 --> 00:23:51,500 The golden sunlight inserts visual irony. 259 00:23:51,880 --> 00:23:53,433 Again, the boomerang. 260 00:24:25,060 --> 00:24:26,273 Offred. 261 00:24:28,440 --> 00:24:29,666 Are you okay? 262 00:24:42,253 --> 00:24:43,500 Have a good day. 263 00:24:53,066 --> 00:24:57,620 Austrian artist Valie Export films even more shocking scenes. 264 00:24:58,066 --> 00:25:01,580 Like the Wachowski brothers, she was interested in invaders. 265 00:25:02,120 --> 00:25:03,360 In your hysteria, 266 00:25:03,480 --> 00:25:07,340 aliens called Hyksos have infiltrated everyday life, 267 00:25:07,473 --> 00:25:09,120 making her schizophrenic. 268 00:25:10,526 --> 00:25:12,206 An everyday scene. 269 00:25:12,793 --> 00:25:14,890 The kitchen table of the main character. 270 00:25:15,513 --> 00:25:17,166 Representing almost a still life. 271 00:25:19,113 --> 00:25:23,740 But then the fish, the mouse and the parakeet move. 272 00:25:24,280 --> 00:25:26,353 And things become much more visceral. 273 00:25:26,733 --> 00:25:31,766 And violent. And sadists. Almost impossible to look at. 274 00:25:40,900 --> 00:25:44,073 Quick cuts suggest horrible things. 275 00:26:00,566 --> 00:26:02,366 A baby in the fridge. 276 00:26:07,393 --> 00:26:09,193 There are no special effects here. 277 00:26:09,400 --> 00:26:12,086 Just the power of cinema to disturb. 278 00:26:12,773 --> 00:26:14,880 The boomerang flies back. 279 00:26:30,160 --> 00:26:32,690 Future or parallel worlds. 280 00:26:33,166 --> 00:26:37,153 Places to escape or versions veiled from our own discomfort. 281 00:26:37,520 --> 00:26:38,906 Our final clip, 282 00:26:39,320 --> 00:26:41,899 one of the most notable of the genre science fiction, 283 00:26:42,000 --> 00:26:44,346 can overcome all these things. 284 00:26:47,913 --> 00:26:49,133 You! 285 00:26:50,200 --> 00:26:51,420 Puppy! 286 00:26:52,800 --> 00:26:54,506 Stars talk to a dog! 287 00:26:54,753 --> 00:26:56,353 And then they whisper to each other. 288 00:26:56,726 --> 00:26:58,400 They try to make the dog happy. 289 00:26:59,586 --> 00:27:02,420 He is being used as a guinea pig in a laboratory. 290 00:27:05,886 --> 00:27:08,760 The film becomes the dog's inner eye. 291 00:27:14,980 --> 00:27:17,640 The stars are celestial projectionists. 292 00:27:18,000 --> 00:27:19,566 They show the plane. 293 00:27:25,700 --> 00:27:27,173 A woman on the swing. 294 00:27:34,113 --> 00:27:36,913 The world of construction and botany. 295 00:27:37,680 --> 00:27:39,846 The best of life on earth, perhaps. 296 00:27:40,480 --> 00:27:44,040 In a way, it's joyful but also unbalanced. 297 00:27:44,433 --> 00:27:45,800 The dog is a dog. 298 00:27:48,680 --> 00:27:50,526 What does he really would you like to see? 299 00:27:52,386 --> 00:27:55,085 The Hungarian director's film Ildeko Enyedi shows 300 00:27:55,186 --> 00:27:57,386 that science fiction has no limits. 301 00:27:57,900 --> 00:28:00,493 It could be about animals and planets. 302 00:28:00,953 --> 00:28:05,093 "My 20th Century" won the award for best film at Cannes. 303 00:28:19,333 --> 00:28:22,366 From science fiction to another genre of visual films, 304 00:28:22,866 --> 00:28:26,306 one of the most successful of cinema history. 305 00:28:29,566 --> 00:28:34,800 HELL AND TERROR 306 00:28:41,053 --> 00:28:42,540 A dark hotel. 307 00:28:43,220 --> 00:28:47,020 A messenger takes a man down a downhill corridor. 308 00:28:47,660 --> 00:28:49,166 Funeral music. 309 00:28:49,820 --> 00:28:51,593 There are no photos on the walls. 310 00:28:55,330 --> 00:28:56,690 There are no windows. 311 00:28:57,520 --> 00:29:00,386 As if they were coming in in a nuclear shelter. 312 00:29:01,373 --> 00:29:02,793 Afterwards, he goes alone. 313 00:29:04,746 --> 00:29:06,360 Another companion. 314 00:29:19,793 --> 00:29:22,686 -big? -Immense. 315 00:29:25,860 --> 00:29:27,390 And he arrives. 316 00:29:39,846 --> 00:29:41,806 Napoleonic decoration. 317 00:29:42,026 --> 00:29:45,093 A bourgeois world in which he gets stuck. 318 00:29:45,360 --> 00:29:47,472 - Here. -That's right. 319 00:29:47,573 --> 00:29:51,772 "Between Four Walls" by the pioneer French Jacqueline Audry, 320 00:29:51,873 --> 00:29:53,500 It is an adaptation of the play by Jean Paul Sartre 321 00:29:53,620 --> 00:29:59,573 with the famous line: "Hell is other people." 322 00:30:01,266 --> 00:30:02,539 Are all rooms the same? 323 00:30:02,640 --> 00:30:04,139 Think carefully. 324 00:30:04,240 --> 00:30:06,325 We have Hindus, Chinese... 325 00:30:06,426 --> 00:30:08,299 What would they think of the sofa? of the Second French Empire? 326 00:30:08,400 --> 00:30:10,229 And me, what awaits What do I think about this? 327 00:30:10,330 --> 00:30:11,613 Do you know where I was? 328 00:30:11,906 --> 00:30:13,493 It doesn't matter. 329 00:30:15,060 --> 00:30:16,400 Actually, you're right. 330 00:30:20,733 --> 00:30:24,053 For Ellen in this scene, what the hell is? wait. 331 00:30:24,846 --> 00:30:27,073 She was taken to a house with men. 332 00:30:27,700 --> 00:30:28,926 She was placed in a room. 333 00:30:29,360 --> 00:30:31,120 A red and pink room. 334 00:30:32,006 --> 00:30:33,566 And someone opens the door. 335 00:30:40,966 --> 00:30:43,293 Your speech expresses its isolation. 336 00:30:44,506 --> 00:30:46,125 If a tree falls in the forest 337 00:30:46,226 --> 00:30:48,226 and no one is around to hear it, 338 00:30:48,566 --> 00:30:50,340 Will it make noise? 339 00:31:00,106 --> 00:31:01,626 Will there be any sound? 340 00:31:07,233 --> 00:31:10,226 She filmed behind the men, between your legs. 341 00:31:12,273 --> 00:31:13,533 Does it make noise? 342 00:31:19,306 --> 00:31:21,073 Then the camera moves away. 343 00:31:21,713 --> 00:31:23,486 The house is in a dead end. 344 00:31:24,086 --> 00:31:27,153 Houses are like trees which she talks about. 345 00:31:49,280 --> 00:31:52,453 Busy birds in the film "Earth" by Deepa Mehta. 346 00:31:53,393 --> 00:31:55,040 And someone is waiting. 347 00:31:56,140 --> 00:31:58,245 An ice cream man is at Lahore station, 348 00:31:58,346 --> 00:32:01,106 waiting for the train from Gurdaspur, 349 00:32:01,586 --> 00:32:05,153 the city of Punjab allocated to India the night before. 350 00:32:06,353 --> 00:32:08,360 The train will bring a crowd. 351 00:32:11,340 --> 00:32:13,493 This doesn't feel like hell, to be honest. 352 00:32:14,166 --> 00:32:17,093 Too soft, too serene. 353 00:32:17,653 --> 00:32:19,606 There is a lot of similarity with a Victorian painting. 354 00:32:46,473 --> 00:32:47,740 You're twelve hours late. 355 00:32:48,260 --> 00:32:50,186 Is there any news from the train Coming from Gurdaspur? 356 00:32:50,353 --> 00:32:52,600 Trust in Ala, brother. 357 00:33:03,060 --> 00:33:05,030 He walks towards the camera. 358 00:33:16,373 --> 00:33:18,946 Then we see a light over his shoulder. 359 00:33:19,500 --> 00:33:20,746 The train. 360 00:33:28,080 --> 00:33:31,833 It was beautifully filmed or does it appear to be boiling? 361 00:33:40,473 --> 00:33:42,173 Or are you breathing like a dragon? 362 00:33:58,153 --> 00:34:00,653 We are inside the train and he discovers... 363 00:34:08,713 --> 00:34:10,266 First the sound of lament... 364 00:34:22,786 --> 00:34:24,100 then a hand, 365 00:34:32,740 --> 00:34:34,086 then the bodies. 366 00:34:34,860 --> 00:34:37,413 A train full of corpses, 367 00:34:37,886 --> 00:34:40,260 filmed like a painting by Caravaggio. 368 00:34:42,986 --> 00:34:44,620 Hell with composure. 369 00:34:54,226 --> 00:34:57,380 This chapter should be about the horror genre, 370 00:34:57,933 --> 00:35:00,626 but it's getting closer of real-life horror. 371 00:35:01,530 --> 00:35:02,840 So be it. 372 00:35:03,706 --> 00:35:06,240 Where do we find the face most convincing in cinema. 373 00:35:27,333 --> 00:35:28,866 What we see here, for example, 374 00:35:29,073 --> 00:35:32,280 at the end of "Asthonic Syndrome", by Kira Muratova. 375 00:35:33,033 --> 00:35:34,580 Women crying. 376 00:35:35,120 --> 00:35:37,179 Sepia and brown tones. 377 00:35:37,280 --> 00:35:38,690 From head to toe. 378 00:35:43,980 --> 00:35:45,472 The more they cry, 379 00:35:45,573 --> 00:35:48,360 but we fear to see the horror who are testifying. 380 00:35:49,786 --> 00:35:51,013 And then, the cut. 381 00:35:54,660 --> 00:35:56,413 The cause appears of your tears. 382 00:35:57,446 --> 00:35:59,333 A locked dog. 383 00:36:06,990 --> 00:36:08,300 Then wider. 384 00:36:08,960 --> 00:36:11,980 Nine abandoned dogs, prostrate. 385 00:36:12,900 --> 00:36:15,393 A piano solo acts as a defender of their cause. 386 00:36:51,686 --> 00:36:54,046 People crawling like dogs. 387 00:36:54,273 --> 00:36:55,526 Kurdistan... 388 00:36:57,713 --> 00:37:00,040 There was a rumor that a gun chemistry would be released. 389 00:37:01,440 --> 00:37:04,853 A mother, with her son grabbed? stomach. 390 00:37:05,053 --> 00:37:07,400 Using her body to protect you. 391 00:37:08,426 --> 00:37:09,999 Your partner uses the blackboard 392 00:37:10,100 --> 00:37:12,265 to protect them of possible gases. 393 00:37:12,366 --> 00:37:14,953 They are not chemical weapons. 394 00:37:17,206 --> 00:37:20,580 Don't be afraid, my dear. 395 00:37:20,690 --> 00:37:22,630 A village on its knees. 396 00:37:23,586 --> 00:37:26,352 One cut, and the music continues. 397 00:37:26,453 --> 00:37:28,000 The women, the children... 398 00:37:30,160 --> 00:37:31,540 And we listened breathing heavily... 399 00:37:34,260 --> 00:37:36,913 We are not going to die. 400 00:37:38,346 --> 00:37:41,046 They are not chemical weapons. 401 00:37:41,286 --> 00:37:43,340 They are the soldiers across the border. 402 00:37:44,770 --> 00:37:47,129 If they hear us, they'll shoot. 403 00:37:47,230 --> 00:37:49,066 I swear they're not chemical weapons. 404 00:37:49,366 --> 00:37:52,026 If they hear us, they'll shoot. 405 00:37:52,826 --> 00:37:56,820 And an elderly man who tries to urinate for hours, but he can't. 406 00:37:57,153 --> 00:37:58,480 His agony. 407 00:37:59,760 --> 00:38:01,959 The camera follows his agony, 408 00:38:02,060 --> 00:38:03,433 crawling with her. 409 00:38:16,173 --> 00:38:17,800 Hide underneath of the blackboard. 410 00:38:25,060 --> 00:38:28,033 I will protect them. 411 00:38:34,260 --> 00:38:35,886 From the hell of war 412 00:38:36,300 --> 00:38:39,733 to the hell of sadism, of humiliation and pain. 413 00:38:47,933 --> 00:38:49,933 We are a normal family... 414 00:38:53,113 --> 00:38:55,293 And you acted like if it were part of it. 415 00:38:57,740 --> 00:38:59,399 You betrayed us. 416 00:38:59,500 --> 00:39:02,153 The young Christian that we've seen before. 417 00:39:04,846 --> 00:39:07,089 A woman who had her own problems in life. 418 00:39:07,190 --> 00:39:08,766 Filmed handheld. 419 00:39:10,886 --> 00:39:12,960 She appears to be comforting him. 420 00:39:13,473 --> 00:39:16,253 But then, my God... 421 00:39:25,090 --> 00:39:26,640 We still have a friend which keeps jumping. 422 00:39:26,953 --> 00:39:29,326 It is also likely a problematic person. 423 00:39:29,686 --> 00:39:31,426 Pain begets pain. 424 00:39:34,293 --> 00:39:36,706 An inescapable place becomes hell. 425 00:39:37,066 --> 00:39:38,726 Life imprisonment. 426 00:39:39,166 --> 00:39:40,726 And they're not finished yet. 427 00:39:48,280 --> 00:39:50,939 Director Katrin Gebbe filmed the scene in the same way 428 00:39:51,040 --> 00:39:53,253 that director Makhmalbaf films. 429 00:39:53,866 --> 00:39:55,433 Below where the action took place. 430 00:39:58,553 --> 00:39:59,773 Spit. 431 00:40:00,133 --> 00:40:04,240 Like the torture of Christ, whom he adores so much. 432 00:40:13,440 --> 00:40:16,366 Then more pain, more torture, 433 00:40:19,153 --> 00:40:20,860 out of focus sometimes. 434 00:40:21,800 --> 00:40:24,226 These women are in control now. 435 00:40:27,653 --> 00:40:30,273 And everything is based in a real story. 436 00:40:35,226 --> 00:40:37,589 In this key scene from the film ?Safe?, 437 00:40:37,690 --> 00:40:40,659 Antonia Bird showed the agony of a young homeless man, 438 00:40:40,760 --> 00:40:42,726 focusing the camera on your face. 439 00:40:43,586 --> 00:40:44,952 I have no clothes. 440 00:40:45,053 --> 00:40:46,812 He is not tortured by individuals, 441 00:40:46,913 --> 00:40:48,600 but for society, 442 00:40:49,093 --> 00:40:52,513 for your lack of perspective, security or belonging. 443 00:40:52,846 --> 00:40:54,613 You decide, sir. 444 00:40:56,480 --> 00:41:00,906 Gyppo, this place It's shit! Let's go! 445 00:41:01,133 --> 00:41:03,313 Maybe so hell be seen better, 446 00:41:03,780 --> 00:41:05,573 in a close-up of a face. 447 00:41:26,180 --> 00:41:30,690 The Bulgarian-Austrian artist Mara Mattushka peels off a face. 448 00:41:31,160 --> 00:41:33,429 As if he were a thief with pantyhose on my head 449 00:41:33,530 --> 00:41:35,340 that rips apart. 450 00:41:40,973 --> 00:41:44,633 It has a screaming soundtrack, throbbing and throbbing. 451 00:41:47,873 --> 00:41:49,760 Asphyxiation in hell. 452 00:42:09,133 --> 00:42:15,306 The hell of abuse, murder, torture, war and homelessness. 453 00:42:16,186 --> 00:42:17,760 Unfortunately, there is even more. 454 00:42:18,420 --> 00:42:21,230 And the hell that can a couple cause? 455 00:42:22,040 --> 00:42:24,373 We have four great scenes to show this. 456 00:42:28,705 --> 00:42:29,705 First scene, 457 00:42:29,806 --> 00:42:33,273 A Girl Walks Home Alone at Night? by Ana Lily Amirpour. 458 00:42:37,633 --> 00:42:40,179 The young Iranian that we've seen before 459 00:42:40,280 --> 00:42:42,706 is in the apartment of a drugged guy. 460 00:42:49,453 --> 00:42:52,000 The lonely sound when she touches the drums. 461 00:43:02,753 --> 00:43:04,173 He approaches. 462 00:43:08,266 --> 00:43:09,473 Focused point. 463 00:43:14,353 --> 00:43:17,120 He has sex on his mind and on the neck. 464 00:43:41,333 --> 00:43:42,993 Your touch is so tender... 465 00:43:55,286 --> 00:43:58,906 the atmosphere so mellow. But then... 466 00:43:59,930 --> 00:44:03,490 An incursion of horror, a counterattack. 467 00:44:48,730 --> 00:44:51,606 The supernatural also appears for this couple. 468 00:44:52,500 --> 00:44:56,253 Safi Faye directs this single take complex tracking system. 469 00:44:57,160 --> 00:44:58,612 The couple appears. 470 00:44:58,713 --> 00:45:02,005 You grew up together, very close. 471 00:45:02,106 --> 00:45:05,079 But it's hard to believe in your friendship. 472 00:45:05,180 --> 00:45:09,233 Her beauty is so impressive that even your brother fell in love with. 473 00:45:10,033 --> 00:45:11,746 The village residents are worried. 474 00:45:12,493 --> 00:45:15,400 They see this beauty as a threat or a curse. 475 00:45:15,760 --> 00:45:18,380 Therefore, this wedding ritual is being carried out. 476 00:45:19,506 --> 00:45:23,199 There are no cuts when Mossane and the young man who she grew up with stand up 477 00:45:23,300 --> 00:45:27,159 and approach the man who is going remove the threat, the nuisance. 478 00:45:27,260 --> 00:45:32,806 Right foot first, because the left of bad luck. 479 00:45:42,966 --> 00:45:44,326 What does he do afterwards? 480 00:45:48,793 --> 00:45:50,400 He ties them up. 481 00:45:52,493 --> 00:45:55,320 A symbol of marriage like a prison. 482 00:45:55,713 --> 00:45:59,673 And they are half buried. The camera follows them. 483 00:46:27,760 --> 00:46:30,360 Afterwards they are bathed in blood. 484 00:46:30,506 --> 00:46:32,719 Ancestors, accept this offering... 485 00:46:32,820 --> 00:46:36,240 They are buried, tied up... What the hell! 486 00:46:41,633 --> 00:46:44,085 Act tomorrow, children. 487 00:46:44,186 --> 00:46:46,432 The camera is completing its ?arabesque?. 488 00:46:46,533 --> 00:46:51,300 Then another element appears. The element of hell, fire. 489 00:47:31,900 --> 00:47:34,013 The third scene from hell for two. 490 00:47:37,766 --> 00:47:39,805 Her shadow falls over his shadow. 491 00:47:39,906 --> 00:47:42,586 As in the beginning of our history, 492 00:47:42,793 --> 00:47:45,740 we saw the light of his torch fall into the light of her torch. 493 00:47:46,526 --> 00:47:50,100 They are part of the resistance and were caught by the Nazis. 494 00:47:52,320 --> 00:47:53,560 Then this happens. 495 00:48:00,580 --> 00:48:02,386 They set fire in your tied hands. 496 00:48:06,193 --> 00:48:08,526 Her shock and the music enters. 497 00:48:10,846 --> 00:48:13,419 She has to testify her lover's suffering. 498 00:48:13,520 --> 00:48:16,973 Are you listening, Demo? 499 00:48:17,186 --> 00:48:20,313 Demo is not a traitor. Everyone knows! 500 00:48:20,753 --> 00:48:22,389 Are you listening, Demo? Everyone knows! 501 00:48:22,490 --> 00:48:25,089 One of the hells more distressing than there is. 502 00:48:25,190 --> 00:48:27,189 Zlatko is the traitor! 503 00:48:27,290 --> 00:48:28,906 Everyone knows! Everyone! 504 00:48:29,300 --> 00:48:31,320 Let go of me! 505 00:48:48,960 --> 00:48:50,459 Essie Davis plays the role of a woman 506 00:48:50,560 --> 00:48:53,386 who saw her husband suffer and die in The Babadook? 507 00:48:58,906 --> 00:49:01,819 Director Jennifer Kent made her hide so much, 508 00:49:01,920 --> 00:49:04,145 so scared to face the truth, 509 00:49:04,246 --> 00:49:06,259 even in your subconscious, 510 00:49:06,360 --> 00:49:08,613 that fear becomes something terrifying... 511 00:49:12,053 --> 00:49:13,753 a beetle on the run. 512 00:49:28,180 --> 00:49:31,546 Black, brittle, invader. 513 00:49:34,726 --> 00:49:36,829 Like many other hells are invading. 514 00:49:36,930 --> 00:49:39,799 -What are we going to do? -Let's go down. 515 00:49:39,900 --> 00:49:42,266 -Why? -Just because. 516 00:49:44,760 --> 00:49:47,513 Well, we have pheasant. All good. 517 00:49:49,100 --> 00:49:53,040 Yes, a local pheasant. But he wasn't caught by dad. 518 00:49:56,840 --> 00:49:58,153 Is he a good shot? 519 00:50:00,253 --> 00:50:04,313 Joanna Hogg's Archipelago the opposite of Babadook, without a doubt. 520 00:50:04,733 --> 00:50:06,606 There are no black bugs here. 521 00:50:07,240 --> 00:50:10,426 Soft beige and green tones. 522 00:50:10,593 --> 00:50:13,446 Nice decor and tasteful art. 523 00:50:16,880 --> 00:50:19,033 A couple and their adult children. 524 00:50:19,626 --> 00:50:23,080 static scene, significant pauses. 525 00:50:36,093 --> 00:50:37,880 Irrelevant conversation. 526 00:50:38,860 --> 00:50:40,140 Have you eaten yours yet? 527 00:50:41,880 --> 00:50:44,286 -It sank. -Yes, it sank. 528 00:50:49,113 --> 00:50:50,606 Mine also sank. 529 00:50:52,913 --> 00:50:55,326 That's good, we are practically brothers. 530 00:51:08,086 --> 00:51:10,166 People are a little bored. 531 00:51:10,633 --> 00:51:12,246 With little to say. 532 00:51:13,120 --> 00:51:15,893 Bloody Marys and olives before lunch. 533 00:51:16,226 --> 00:51:18,973 As if they were drowning in good taste. 534 00:51:29,010 --> 00:51:31,399 Lunch is ready, if you want to come. 535 00:51:31,500 --> 00:51:32,665 Great! 536 00:51:32,766 --> 00:51:34,430 -Okay. -Yes. 537 00:51:36,500 --> 00:51:38,933 The short film The Swimmer? by Lynne Ramsay. 538 00:51:39,880 --> 00:51:41,360 A man is underwater. 539 00:51:43,973 --> 00:51:46,866 Boys who are out of water they try to hit him with arrows. 540 00:51:47,473 --> 00:51:49,960 Demonic chant on the soundtrack. 541 00:51:56,233 --> 00:51:58,520 His nudity makes him vulnerable. 542 00:52:02,073 --> 00:52:05,680 This is a reason to trust. Trust in me! 543 00:52:12,393 --> 00:52:15,200 He struggles like a tuna on the fishing line. 544 00:52:22,933 --> 00:52:26,300 Then he goes down, going down... 545 00:52:30,380 --> 00:52:31,593 and the screen goes dark. 546 00:52:33,626 --> 00:52:35,173 And beyond fiction... 547 00:52:36,233 --> 00:52:39,266 This is a shocking true story about an inferno on the river. 548 00:52:40,346 --> 00:52:42,753 A 19 year old girl Tell your story. 549 00:52:43,433 --> 00:52:45,340 An assassination attempt for reasons of honor. 550 00:52:47,313 --> 00:52:50,833 Soon after, my uncle stopped the car and pulled me out. 551 00:52:51,186 --> 00:52:54,100 He started hitting me, slap me. 552 00:52:55,100 --> 00:52:59,293 I became aware throughout the beating. 553 00:52:59,740 --> 00:53:06,220 I remember shaking with fear and begging, but they did not listen to me. 554 00:53:07,186 --> 00:53:09,780 A pistol was pointed to my brain, 555 00:53:10,426 --> 00:53:13,040 next to my temple 556 00:53:13,306 --> 00:53:16,419 and my uncle was holding my neck. 557 00:53:16,520 --> 00:53:23,339 But I managed to turn my face and the shot didn't hit the target. 558 00:53:23,440 --> 00:53:26,726 Then they put me in a bag and threw me into the river. 559 00:53:29,020 --> 00:53:30,139 Winner of two Oscars, 560 00:53:30,240 --> 00:53:33,759 Sharmeen Obaid Chinoy uses simple techniques. 561 00:53:33,860 --> 00:53:38,326 Interviews, kicks, POV cameras, retell the story. 562 00:53:38,826 --> 00:53:40,513 Nothing else is needed. 563 00:53:40,906 --> 00:53:44,299 First person narrative, direct and scary. 564 00:53:44,400 --> 00:53:45,713 I saw the motorcycle light in the distance. 565 00:53:47,990 --> 00:53:51,993 I followed the light and slowly began walking towards you. 566 00:53:56,126 --> 00:54:00,320 I arrived at a gas station and that's where I sought help. 567 00:54:10,460 --> 00:54:12,533 Of course the young woman escaped. 568 00:54:12,913 --> 00:54:15,706 And so we must end this chapter about hell, 569 00:54:16,526 --> 00:54:18,206 looking at your escapes, 570 00:54:18,673 --> 00:54:20,280 its consequences. 571 00:54:36,206 --> 00:54:40,673 Here's an escape attempt. The Silences of the Palaces?. 572 00:54:41,400 --> 00:54:43,619 The prince wants rape a woman. 573 00:54:43,720 --> 00:54:45,320 Her daughter listens. 574 00:54:45,906 --> 00:54:47,740 She looks in the direction where this happens. 575 00:54:48,060 --> 00:54:49,573 Back to the rape. 576 00:54:53,590 --> 00:54:56,920 And to the daughter again, who now looks up. 577 00:55:09,273 --> 00:55:11,293 Her breathing quickens. 578 00:55:13,720 --> 00:55:18,286 Maybe cover your ears. But no, she rubs her temples. 579 00:55:18,573 --> 00:55:20,980 Try to remove yourself from the moment. 580 00:55:21,526 --> 00:55:24,020 Almost as if it could do self hypnosis. 581 00:55:26,293 --> 00:55:27,733 She appears running, 582 00:55:28,193 --> 00:55:30,545 trying to escape of this silent palace, 583 00:55:30,646 --> 00:55:31,860 of this hell. 584 00:55:32,630 --> 00:55:34,280 But the doors close. 585 00:55:35,466 --> 00:55:37,052 When a tree falls in the forest 586 00:55:37,153 --> 00:55:40,926 and no one is around to hear, does it make noise? 587 00:55:43,906 --> 00:55:45,213 They shot him. 588 00:55:47,286 --> 00:55:49,119 You should have stayed below like I told you. 589 00:55:49,220 --> 00:55:50,665 It's your fault 590 00:55:50,766 --> 00:55:52,012 because they shot. 591 00:55:52,113 --> 00:55:54,253 You stole food and now he is dead. 592 00:55:57,300 --> 00:55:58,853 He fell. 593 00:55:59,193 --> 00:56:00,800 He ran in the wrong direction. 594 00:56:01,406 --> 00:56:04,080 A forest where we heard screams. 595 00:56:04,833 --> 00:56:08,319 The consequences of one of the hells more terrible, 596 00:56:08,420 --> 00:56:10,146 the Second World War. 597 00:56:10,760 --> 00:56:12,360 A boy was shot. 598 00:56:13,253 --> 00:56:15,693 A Jew helped his brothers. 599 00:56:16,500 --> 00:56:18,993 Raw colors and sharp lighting. 600 00:56:19,560 --> 00:56:22,946 This boy doesn't want to use his dead brother's shoes. 601 00:56:23,886 --> 00:56:27,020 He does not know that in certain Hell, there are needs. 602 00:56:27,926 --> 00:56:29,399 And he doesn't want to eat either. 603 00:56:29,500 --> 00:56:32,026 -Eat! -I don't want to. 604 00:56:32,540 --> 00:56:34,200 Eat your bread! 605 00:56:34,553 --> 00:56:36,366 -I don't want to. -Eat! 606 00:56:44,206 --> 00:56:47,273 Your performance life is plausible. 607 00:56:48,400 --> 00:56:51,553 Wrong to eat when something so terrible happened. 608 00:56:52,466 --> 00:56:56,033 But the man knows that leaving Hell is hard work. 609 00:57:05,520 --> 00:57:07,360 Ann knows how difficult it is. 610 00:57:08,406 --> 00:57:11,000 She was raped and is returning to work. 611 00:57:11,893 --> 00:57:13,059 Writer, actress, director 612 00:57:13,160 --> 00:57:17,560 and British-American composer Ida Lupino follows her. 613 00:57:18,233 --> 00:57:21,566 No dialogue, but with an annoying sound 614 00:57:21,913 --> 00:57:23,453 and a pat on the shoulder. 615 00:57:26,220 --> 00:57:27,720 She is very alert. 616 00:57:28,493 --> 00:57:30,820 The sound of the stamp shakes your nervous system. 617 00:57:33,560 --> 00:57:38,320 This fantastic close-up bottomless, just with her. 618 00:57:38,800 --> 00:57:42,880 Stamping speeds up, and anxiety too. 619 00:57:43,813 --> 00:57:46,753 Then another close-up, another rhythm. 620 00:58:06,213 --> 00:58:08,593 Keep going! Take a good look. 621 00:58:08,900 --> 00:58:10,860 All of you! 622 00:58:11,560 --> 00:58:13,179 Hey, Annie, stop it. 623 00:58:13,280 --> 00:58:15,933 We understand... No one is looking at you. 624 00:58:16,273 --> 00:58:18,373 Come on, let's take some water. 625 00:58:28,973 --> 00:58:31,359 Back to that bourgeois room from Between Four Walls, 626 00:58:31,460 --> 00:58:33,306 where we begin this chapter. 627 00:58:37,073 --> 00:58:40,293 People decided spend your life together. 628 00:58:40,920 --> 00:58:42,299 Hell is other people 629 00:58:42,400 --> 00:58:49,513 and, as we have seen, there is torture, abuse, war, invasion, drowning 630 00:58:50,080 --> 00:58:52,600 and consequences in this symbolic hell. 631 00:58:53,200 --> 00:58:56,653 Director Jacqueline Audrey wants escape from hell like that? 632 00:59:01,253 --> 00:59:04,313 A vast pull-out through sulfurous smoke.