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 00:01:17,706 --> 00:01:20,420 Suspense is one of the pillars of cinema and TV. 14 00:01:22,833 --> 00:01:26,020 Every police series has it. 15 00:01:29,273 --> 00:01:30,980 But how to build it well? 16 00:01:31,786 --> 00:01:37,120 SUSPENSE 17 00:01:38,106 --> 00:01:40,766 Do you like each other? 18 00:01:41,273 --> 00:01:42,832 I hate her, she's a slut. 19 00:01:42,933 --> 00:01:46,626 She loves black people. Her hand is black! 20 00:01:47,853 --> 00:01:50,172 Let's start in an unusual place. 21 00:01:50,273 --> 00:01:53,880 Not in the thriller genre, but in the documentary. 22 00:01:54,226 --> 00:01:55,719 Suspense in the real world. 23 00:01:55,820 --> 00:01:57,133 Shut up, please! 24 00:01:58,906 --> 00:02:00,820 Here you come, here you come. 25 00:02:04,566 --> 00:02:07,760 Raw images, out of the scene... 26 00:02:08,393 --> 00:02:12,566 A scene from the making of a film amateur horror film, Demon Lover?. 27 00:02:13,520 --> 00:02:18,419 The director of the documentary, Joel DeMott, captured the naivety 28 00:02:18,520 --> 00:02:20,319 and the arrogance of the filmmakers. 29 00:02:20,420 --> 00:02:22,279 But this happens. 30 00:02:22,380 --> 00:02:24,953 What the hell! I missed it. 31 00:02:25,326 --> 00:02:27,540 Terry told the three girls to improvise, 32 00:02:27,706 --> 00:02:30,253 and they spread whipped cream all over the room. 33 00:02:32,766 --> 00:02:34,866 Those stupid hippies. 34 00:02:37,566 --> 00:02:39,092 Calm down, Jeff. 35 00:02:39,193 --> 00:02:41,772 Look, Jerry, This equipment is mine. 36 00:02:41,873 --> 00:02:44,073 And I don't want them to fill my cream things. 37 00:02:44,260 --> 00:02:45,859 The cameraman was furious 38 00:02:45,960 --> 00:02:48,120 because the actors damaged your equipment. 39 00:02:48,826 --> 00:02:51,466 Traveling camera. Absurd. 40 00:02:52,733 --> 00:02:55,360 And people represent subtly into the camera. 41 00:02:55,893 --> 00:02:58,019 But we understand the tension unmistakable image of a film 42 00:02:58,120 --> 00:02:59,713 when things go wrong. 43 00:03:00,860 --> 00:03:04,240 Damn, I'll have What a change of bag! 44 00:03:05,626 --> 00:03:07,425 The camera bag it was ruined. 45 00:03:07,526 --> 00:03:09,199 Okay, I want two hundred dollars cash tonight 46 00:03:09,300 --> 00:03:11,406 to cover my loss. 47 00:03:11,933 --> 00:03:13,186 I'm serious. 48 00:03:13,373 --> 00:03:16,740 Okay, get your money, Jeff. But stay calm! 49 00:03:16,946 --> 00:03:19,585 Dude, you... you know which she didn't do on purpose. 50 00:03:19,686 --> 00:03:21,626 You shouldn't have done that. 51 00:03:21,940 --> 00:03:23,025 Shouldn't I have done this? 52 00:03:23,126 --> 00:03:24,860 Yes, it shouldn't have thrown an attack. 53 00:03:25,780 --> 00:03:26,989 You can forget it. 54 00:03:27,090 --> 00:03:28,039 I want you in the movie, man. 55 00:03:28,140 --> 00:03:31,759 Look Don, this movie is disorganized as hell. 56 00:03:31,860 --> 00:03:33,112 So do something for me. 57 00:03:33,213 --> 00:03:34,973 -What? -Show me how to film it. 58 00:03:35,520 --> 00:03:37,732 I want... I don't know how to film this. I don't make horror movies, Don. 59 00:03:37,833 --> 00:03:40,359 -Explain it to me? -I already explained. 60 00:03:40,460 --> 00:03:41,812 -What about F numbers? -Yes. 61 00:03:41,913 --> 00:03:43,045 Let me film it. 62 00:03:43,146 --> 00:03:45,005 Look, Don, I'm not going to stand by crossed for a week and a half... 63 00:03:45,106 --> 00:03:47,293 Stay with me on filming and I will pay double. 64 00:03:47,845 --> 00:03:48,845 When? 65 00:03:48,946 --> 00:03:52,779 I pay now. I'll give you a thousand dollars. 66 00:03:52,880 --> 00:03:54,859 No, you don't. I mean, that's not fair. 67 00:03:54,960 --> 00:03:56,393 Jerry, give me your money. 68 00:03:56,926 --> 00:03:58,005 Don, you don't. 69 00:03:58,106 --> 00:03:59,639 Okay, let's go to his house to get the money. 70 00:03:59,740 --> 00:04:00,712 Don, no. 71 00:04:00,813 --> 00:04:02,719 I'll give you a thousand dollars in cash now. 72 00:04:02,820 --> 00:04:05,013 Let me film or never I'm going to finish the damn movie. 73 00:04:05,180 --> 00:04:07,152 Let me film it, friend. I know what I want! 74 00:04:07,253 --> 00:04:11,400 Help me, Jeff. Come on, help me! 75 00:04:13,393 --> 00:04:15,859 And here's another guy of unexpected suspense. 76 00:04:15,960 --> 00:04:17,039 Trying to be a little more... 77 00:04:17,140 --> 00:04:19,799 Carol Morley's film about Joyce Vincent, 78 00:04:19,900 --> 00:04:21,892 who died in his apartment in London 79 00:04:21,993 --> 00:04:24,946 and whose body was not discovered for years. 80 00:04:25,880 --> 00:04:28,073 Morley did Joyce's voice. 81 00:04:28,313 --> 00:04:31,266 Hello, my name is Joyce. And that's cool! 82 00:04:32,306 --> 00:04:34,913 Hi, I'm Joyce. And that's cool. 83 00:04:37,906 --> 00:04:40,172 It's strange, doesn't sound like Joyce. 84 00:04:40,273 --> 00:04:42,799 See, that's it, isn't it? Bring the person? life. 85 00:04:42,900 --> 00:04:47,399 You know, she's not talking about pathologists, 86 00:04:47,500 --> 00:04:48,765 bodily fluids... 87 00:04:48,866 --> 00:04:52,646 People arguing if she seemed like herself. 88 00:04:53,386 --> 00:04:56,166 Neutral background in warm tones. 89 00:04:56,506 --> 00:05:00,386 So we just focus on the faces of the interviewees. 90 00:05:06,640 --> 00:05:10,419 When we met, She wanted to be a singer. 91 00:05:10,520 --> 00:05:16,220 I had a recording studio and I booked a session for her. 92 00:05:16,433 --> 00:05:20,400 As much as I loved Joyce, She wasn't a singer. 93 00:05:23,326 --> 00:05:25,633 I said she could mime in the background. 94 00:05:26,010 --> 00:05:29,425 No effort No effort. 95 00:05:29,526 --> 00:05:32,120 There is no reward No. 96 00:05:32,530 --> 00:05:34,840 Recreate a moment of hers. 97 00:05:36,033 --> 00:05:38,446 Joyce had a lovely voice. 98 00:05:38,660 --> 00:05:40,659 When I was a child, 99 00:05:40,760 --> 00:05:44,905 Did you already sing On a Summer? by Shirley Bassey. 100 00:05:45,006 --> 00:05:47,189 Nobody is lying in these moments, 101 00:05:47,290 --> 00:05:49,820 and not even the filmmaker is playing tricks. 102 00:05:50,026 --> 00:05:53,773 They tell documentary filmmakers that tell the story. 103 00:05:55,166 --> 00:05:57,366 But what if the story not accepted? 104 00:05:58,206 --> 00:06:00,426 What if there is tension in truth? 105 00:06:01,253 --> 00:06:03,973 And if the memories test its traction force? 106 00:06:05,490 --> 00:06:07,059 Effortlessly. 107 00:06:07,160 --> 00:06:08,119 There were many people. 108 00:06:08,220 --> 00:06:10,559 Girls, boys, adults... 109 00:06:10,660 --> 00:06:13,099 Anyone could be at the playground. 110 00:06:13,200 --> 00:06:14,312 It was something automatic. 111 00:06:14,413 --> 00:06:15,772 There was a crowd around Joyce 112 00:06:15,873 --> 00:06:17,932 who just appreciated and she was a people pleaser. 113 00:06:18,033 --> 00:06:20,179 But he didn't show off. 114 00:06:20,280 --> 00:06:23,446 It was something he liked to do, loved it and was good at it. 115 00:06:27,373 --> 00:06:29,305 Speaking of resistance and traction. 116 00:06:29,406 --> 00:06:32,453 How about a family middle class going to dinner? 117 00:06:33,673 --> 00:06:37,305 They should be having fun, enjoying the moment. 118 00:06:37,406 --> 00:06:39,213 We see the soft colors again. 119 00:06:39,893 --> 00:06:41,560 As if they were in a fog. 120 00:06:41,800 --> 00:06:44,399 And the plan becomes broad for a long time. 121 00:06:44,500 --> 00:06:47,540 No intimacy, no vivacity. 122 00:06:49,613 --> 00:06:52,080 -Pepper? -Not yet, thank you. 123 00:06:53,020 --> 00:06:56,086 -Pepper, hand? -Thank you my dear. 124 00:06:56,360 --> 00:06:57,673 Politeness. 125 00:06:58,206 --> 00:06:59,420 But then... 126 00:06:59,986 --> 00:07:01,600 This was not well prepared. 127 00:07:05,786 --> 00:07:08,153 -It's still pink in the middle. -Same? 128 00:07:10,606 --> 00:07:14,386 Yes, it shouldn't be like that. No, not really. 129 00:07:17,060 --> 00:07:18,639 Wait 25 minutes and then... 130 00:07:18,740 --> 00:07:19,732 Look! 131 00:07:19,833 --> 00:07:22,125 Angry about the right way to cook something 132 00:07:22,226 --> 00:07:24,733 and the right way to complain. 133 00:07:25,560 --> 00:07:27,059 No need to say it's good if not. 134 00:07:27,160 --> 00:07:28,585 We are paying, then we can send it back. 135 00:07:28,686 --> 00:07:31,205 -It's good. -Well, mine isn't good at all. 136 00:07:31,306 --> 00:07:32,853 A day of leisure together. 137 00:07:33,806 --> 00:07:39,579 A small evaluation arena, expectations, discord, irritations. 138 00:07:39,680 --> 00:07:41,119 Well, if you're not satisfied with that, then... 139 00:07:41,220 --> 00:07:43,059 Well it doesn't make sense don't complain 140 00:07:43,160 --> 00:07:44,452 when are we going to a restaurant together. 141 00:07:44,553 --> 00:07:45,766 Please! 142 00:07:46,120 --> 00:07:48,119 And when we look closely, 143 00:07:48,220 --> 00:07:50,766 we notice hard looks through dissatisfaction. 144 00:07:51,279 --> 00:07:52,279 Are you all right? 145 00:07:52,380 --> 00:07:55,639 Hello, the meat is not well cooked in the middle. 146 00:07:55,740 --> 00:07:57,440 -Right. -Yes. 147 00:07:58,353 --> 00:07:59,589 I am really sorry. 148 00:07:59,690 --> 00:08:02,259 Do you want me to bring you a new one or you? 149 00:08:02,360 --> 00:08:04,552 I think I'll choose something else. 150 00:08:04,653 --> 00:08:05,953 Maybe have some soup. 151 00:08:06,486 --> 00:08:08,920 Because this is very dangerous. 152 00:08:09,500 --> 00:08:11,259 Mom, mom, don't want to send your plate back? 153 00:08:11,360 --> 00:08:12,590 Mine is fine. 154 00:08:14,226 --> 00:08:16,189 No need to say it's good. I'm sending mine back. 155 00:08:16,290 --> 00:08:17,385 I've already eaten some. It's okay. 156 00:08:17,486 --> 00:08:18,693 Then it's okay. 157 00:08:19,780 --> 00:08:20,945 Here it is, thank you very much. 158 00:08:21,046 --> 00:08:23,289 -Okay, would you like to... -Yes, a soup, great. 159 00:08:23,390 --> 00:08:25,359 -I am really sorry. -Can I speak to the chef? 160 00:08:25,460 --> 00:08:27,389 Because it's really dangerous. Thanks. 161 00:08:27,490 --> 00:08:29,613 -No problem. I'll call him. -Thanks! 162 00:08:33,080 --> 00:08:34,645 You don't need sit in silence. 163 00:08:34,746 --> 00:08:35,805 And you don't need to look at me 164 00:08:35,906 --> 00:08:37,259 as if I were making a scandal, 165 00:08:37,360 --> 00:08:38,325 as if I embarrassed them. 166 00:08:38,426 --> 00:08:41,600 The cook... It's not well cooked, it's dangerous. 167 00:08:43,553 --> 00:08:44,639 It would be nice to stay here 168 00:08:44,740 --> 00:08:46,926 no silent people around me. 169 00:08:48,226 --> 00:08:49,433 It doesn't matter. 170 00:08:50,986 --> 00:08:53,020 With cutting looks to Blue Steel? 171 00:08:53,220 --> 00:08:56,273 and the first sequence of more generic voltage. 172 00:08:57,560 --> 00:09:00,773 The Cop by Jamie Lee Curtis Look for a thief. 173 00:09:00,990 --> 00:09:03,833 There is a metal door leading are service area. 174 00:09:05,790 --> 00:09:07,013 She checks... 175 00:09:19,886 --> 00:09:21,173 but he is not there. 176 00:09:29,946 --> 00:09:33,393 There is another door, leading to the illuminated warehouse. 177 00:09:33,933 --> 00:09:35,180 Her point of view. 178 00:09:41,000 --> 00:09:42,586 Open the drawer, man! 179 00:09:45,160 --> 00:09:48,860 She peers through the shelves. But he's not there. 180 00:09:49,660 --> 00:09:51,232 The music is underscore, 181 00:09:51,333 --> 00:09:53,319 but we realized that the question here, 182 00:09:53,420 --> 00:09:56,086 one of the first in tension and suspense, 183 00:09:56,720 --> 00:09:58,573 And where will this happen? 184 00:09:59,706 --> 00:10:03,020 The camera turns suddenly. It's not here either. 185 00:10:03,680 --> 00:10:05,220 Our fifth space. 186 00:10:06,480 --> 00:10:08,992 What a slut! What does she know? 187 00:10:09,093 --> 00:10:11,652 And not here either, our sixth space. 188 00:10:11,753 --> 00:10:12,986 But there is a body. 189 00:10:13,586 --> 00:10:15,046 We're getting closer. 190 00:10:15,960 --> 00:10:17,752 A high tone in the music, 191 00:10:17,853 --> 00:10:20,026 like the top rope of a violin. 192 00:10:21,866 --> 00:10:24,080 The firmest and most tense rope. 193 00:10:28,393 --> 00:10:32,746 And finally, there he is, in the seventh space. 194 00:10:34,180 --> 00:10:36,245 I'm not asking Chinese food, man. 195 00:10:36,346 --> 00:10:37,573 Give me the money! 196 00:10:38,360 --> 00:10:39,445 That's it. 197 00:10:39,546 --> 00:10:42,133 And the change there. Put the coins there! 198 00:10:45,066 --> 00:10:47,340 Don't even dare to breathe. 199 00:10:50,933 --> 00:10:52,473 All good. 200 00:10:52,720 --> 00:10:54,259 The idiot who acts brave you're going to get screwed. 201 00:10:54,360 --> 00:10:56,040 Give me the bag, give me the bag. 202 00:10:59,540 --> 00:11:01,093 Are you kidding? 203 00:11:01,990 --> 00:11:04,340 You want to be funny, you idiot? 204 00:11:05,090 --> 00:11:07,172 The heartbeat of the baby are weak. 205 00:11:07,273 --> 00:11:08,999 What do you mean with "weak"? 206 00:11:09,100 --> 00:11:14,539 -I'm going to check your dilation. -There won't be a cesarean section? 207 00:11:14,640 --> 00:11:15,866 No. 208 00:11:16,480 --> 00:11:19,073 Put on the mask. You need oxygen. 209 00:11:20,833 --> 00:11:22,692 You are fully dilated. We have to deliver the baby now. 210 00:11:22,793 --> 00:11:26,179 The baby's head is being pressed down. 211 00:11:26,280 --> 00:11:28,812 When the voltage is not on the spot where will it happen, 212 00:11:28,913 --> 00:11:31,106 and, often, about the moment in what will happen. 213 00:11:32,053 --> 00:11:34,840 In the Swedish film Hotel?, by Lisa Langseth, 214 00:11:35,093 --> 00:11:37,306 Alicia Vikander does the role of Erika. 215 00:11:38,153 --> 00:11:40,713 She's in labor, but things are going wrong. 216 00:11:41,420 --> 00:11:43,239 We didn't leave the room, 217 00:11:43,340 --> 00:11:45,260 then we know where it will happen. 218 00:11:45,813 --> 00:11:48,013 The tension comes from the moment in what will happen. 219 00:11:48,840 --> 00:11:51,246 We can say that will be traumatic. 220 00:11:55,120 --> 00:11:58,780 So we want it to end soon, as she also wants. 221 00:12:02,406 --> 00:12:06,000 But cinema energizes the moment, the time. 222 00:12:06,446 --> 00:12:09,393 The heartbeat beep is the underscore soundtrack. 223 00:12:12,366 --> 00:12:15,340 The plans become increasingly shorter and closer. 224 00:12:15,853 --> 00:12:17,820 There are more moments out of focus. 225 00:12:17,960 --> 00:12:19,532 There is more visual chaos, 226 00:12:19,633 --> 00:12:21,426 when people they are stressed. 227 00:12:27,120 --> 00:12:30,793 The eyes move quickly, the panic increases. 228 00:12:31,120 --> 00:12:32,953 They lose control. 229 00:12:48,466 --> 00:12:50,946 I'm going to count to ten and everything will end. 230 00:12:54,480 --> 00:12:55,700 One... 231 00:12:59,766 --> 00:13:03,066 The tension of the moment can also be done in the opposite way. 232 00:13:04,346 --> 00:13:06,020 Another hospital scene. 233 00:13:06,446 --> 00:13:08,753 It happens again in the operating room. 234 00:13:10,880 --> 00:13:13,986 But the camera stays still, and need. 235 00:13:14,160 --> 00:13:15,766 Almost mathematics. 236 00:13:17,593 --> 00:13:21,340 There is no attempt to express fear or anxiety in your movements. 237 00:13:21,986 --> 00:13:25,553 But the woman counting hurts anxiety, dread. 238 00:13:25,946 --> 00:13:28,346 And their calm is unsettling. 239 00:13:29,153 --> 00:13:30,386 Five... 240 00:13:32,613 --> 00:13:34,026 Just one detail, 241 00:13:34,390 --> 00:13:37,779 boy's feet in motion express their anxiety and fear. 242 00:13:37,880 --> 00:13:39,093 Seven... 243 00:13:40,190 --> 00:13:41,753 A needle in the flesh. 244 00:13:42,633 --> 00:13:46,260 Our nervous system reacts the threat of pain or injury. 245 00:13:48,333 --> 00:13:49,640 Eight... 246 00:13:53,060 --> 00:13:55,440 The whisper when saying ten... 247 00:13:56,353 --> 00:13:57,560 Ten... 248 00:14:00,066 --> 00:14:01,765 Someone completely under control. 249 00:14:01,866 --> 00:14:05,053 It's so scary as someone out of control. 250 00:14:11,006 --> 00:14:12,653 Metal on the skin again. 251 00:14:13,226 --> 00:14:15,713 In The Wayward Girl? by Edith Carlmar, 252 00:14:15,820 --> 00:14:17,666 the couple wants to kill a sheep. 253 00:14:18,913 --> 00:14:22,232 Liv Ullman's title character has a knife and an axe. 254 00:14:22,333 --> 00:14:23,700 Double cut. 255 00:14:23,860 --> 00:14:25,953 And in the background, the darkest sounds of string instruments. 256 00:14:26,066 --> 00:14:27,966 Violins raise their tone. 257 00:14:31,213 --> 00:14:33,760 Seven short plans fragment the scene. 258 00:14:34,980 --> 00:14:36,313 He pauses. 259 00:14:36,560 --> 00:14:39,886 The softness of the sheep, the solidity of the axe. 260 00:14:40,260 --> 00:14:43,380 The tension of the moment lengthens time like melted mozzarella. 261 00:14:44,566 --> 00:14:46,000 A second pause. 262 00:14:46,226 --> 00:14:48,753 Postponed pain is doubled pain. 263 00:14:56,780 --> 00:14:58,853 A dagger I see now? 264 00:14:59,340 --> 00:15:01,300 And the knife is out of focus. 265 00:15:09,013 --> 00:15:10,920 All good! It's okay! 266 00:15:11,666 --> 00:15:13,033 You can't go through there. 267 00:15:13,593 --> 00:15:15,119 Turn around, keep walking, thank you! 268 00:15:15,220 --> 00:15:17,579 Left please go around the barrier. 269 00:15:17,680 --> 00:15:19,025 I think he's between the first and second... 270 00:15:19,126 --> 00:15:20,486 Another concentrated scene at the moment. 271 00:15:20,590 --> 00:15:22,313 Time stretches like melted mozzarella. 272 00:15:22,873 --> 00:15:24,599 The debut film, by Mimi Leder, 273 00:15:24,700 --> 00:15:28,293 one of the main directors from the TV drama Plantão Mdico. 274 00:15:30,006 --> 00:15:31,346 Come on, come with daddy. 275 00:15:31,880 --> 00:15:35,340 A vengeful Yugoslav has a nuclear device in backpack. 276 00:15:38,346 --> 00:15:39,906 A police sniper. 277 00:15:40,366 --> 00:15:43,359 George Clooney sends the policeman special ops shoot. 278 00:15:43,460 --> 00:15:44,759 The area is not clean, there are many innocents. 279 00:15:44,860 --> 00:15:46,266 Number four, here is the leader, shoot. 280 00:15:46,440 --> 00:15:48,040 There is a child, a family. 281 00:15:48,980 --> 00:15:50,673 Got it, shoot him. 282 00:15:50,873 --> 00:15:54,005 But only the shooter can see that he doesn't have a clear aim. 283 00:15:54,106 --> 00:15:57,889 He can kill a child. The pressure is weighing on him. 284 00:15:57,990 --> 00:16:00,060 I repeat, shoot the target. Shoot him! 285 00:16:02,780 --> 00:16:04,846 There is an internal debate. 286 00:16:07,753 --> 00:16:09,053 My God! 287 00:16:09,180 --> 00:16:11,093 Damn, someone has than shoot him! 288 00:16:11,486 --> 00:16:14,560 And as director Leder leaves us see what he sees, 289 00:16:14,690 --> 00:16:17,639 our mirror neurons make us feel some of his anxiety, 290 00:16:17,740 --> 00:16:20,000 your indecision and the pressure suffered. 291 00:16:25,613 --> 00:16:27,552 Four people at one time. 292 00:16:27,653 --> 00:16:29,933 Five if you count the viewer. 293 00:16:32,406 --> 00:16:33,739 We need to get through here. 294 00:16:33,840 --> 00:16:36,886 Yes, you and the rest of NY. Stay calm down, okay? But get out of here. 295 00:16:37,973 --> 00:16:43,459 In essential sectors for future development. 296 00:16:43,560 --> 00:16:46,446 -It could be brief, Miss. Brower? -For sure. 297 00:16:47,190 --> 00:16:48,919 The director's debut Dutch Oscar winner, 298 00:16:49,020 --> 00:16:54,253 Marleen Gorris, it was one of the films most tense and choleric at the time. 299 00:16:55,466 --> 00:16:58,825 Three women who are condescending, silent, 300 00:16:58,926 --> 00:17:02,373 mistreated or humiliated are pushed to the limit. 301 00:17:03,086 --> 00:17:05,066 A scene at the beginning in the boardroom. 302 00:17:10,426 --> 00:17:13,406 The cut on your expressionless face when she stirs the coffee. 303 00:17:19,966 --> 00:17:21,186 And this happens. 304 00:17:26,820 --> 00:17:28,920 And her head moves like a robot. 305 00:17:29,566 --> 00:17:31,645 As if I were dead in a place like that. 306 00:17:31,746 --> 00:17:33,686 Radioactive isotopes. 307 00:17:35,773 --> 00:17:38,200 Is there something we can do about it? 308 00:17:39,240 --> 00:17:43,089 I would like to propose not to expand of activities in West Africa 309 00:17:43,190 --> 00:17:46,333 because the prospects are highly dubious. 310 00:17:48,033 --> 00:17:49,580 The camera approaches. 311 00:17:49,993 --> 00:17:51,986 And the synthesizer music of the 80s begins. 312 00:17:52,213 --> 00:17:56,780 Pulsating, lively, a touch Halloween, by John Carpenter. 313 00:18:00,226 --> 00:18:03,746 Let's go to your inner world. She decided to act. 314 00:18:07,273 --> 00:18:08,853 Later, She is in a store. 315 00:18:09,553 --> 00:18:13,020 Another woman, owned by the store owner. 316 00:18:17,833 --> 00:18:19,532 Our first woman advances. 317 00:18:19,633 --> 00:18:20,846 There are no lines. 318 00:18:21,160 --> 00:18:22,793 A synthesizer like heartbeat. 319 00:18:23,673 --> 00:18:26,246 The second woman steals openly an outfit. 320 00:18:33,060 --> 00:18:35,820 The third woman appears. She turns her head. 321 00:18:36,540 --> 00:18:39,260 As if they were being called by an invisible force, 322 00:18:39,946 --> 00:18:42,260 as Close Encounters of the Third Type. 323 00:18:58,886 --> 00:19:01,013 Then our first woman steal something. 324 00:19:13,980 --> 00:19:16,179 The invisible force is getting stronger. 325 00:19:16,280 --> 00:19:19,320 The strength of anger against men and for being humiliated. 326 00:19:20,246 --> 00:19:21,980 These women improvise, 327 00:19:22,090 --> 00:19:25,493 inventing your story, their protest as they continue. 328 00:19:37,246 --> 00:19:38,279 Moments later... 329 00:19:38,380 --> 00:19:39,760 They push the man. 330 00:19:39,953 --> 00:19:41,186 Slap... 331 00:19:44,380 --> 00:19:47,033 kick, cold violence. 332 00:19:47,400 --> 00:19:49,380 There are none volcanic eruption here. 333 00:19:54,806 --> 00:19:57,365 The music is outdated or expressive in a way 334 00:19:57,466 --> 00:19:58,733 that women are not. 335 00:20:06,473 --> 00:20:08,300 A clothing store full of weapons. 336 00:20:31,346 --> 00:20:35,580 As disturbing as a movie by Brian De Palma or Martin Scorsese. 337 00:20:47,573 --> 00:20:50,900 Where to go after Opposite Wives in Conflict, by Gorris from the 80s? 338 00:20:52,520 --> 00:20:54,046 For Selma, perhaps, 339 00:20:54,600 --> 00:20:56,492 and a group of people equally enraged. 340 00:20:56,593 --> 00:21:00,840 This summer we can focus our actions in a building. 341 00:21:01,553 --> 00:21:04,646 A citadel, defended by fanatics. 342 00:21:04,920 --> 00:21:06,460 The Selma Court. 343 00:21:07,660 --> 00:21:08,940 The perfect stage. 344 00:21:15,933 --> 00:21:18,353 Tension and fury form a good team. 345 00:21:20,033 --> 00:21:23,546 But these people kneel and place their hands behind their heads. 346 00:21:24,286 --> 00:21:26,913 Their tactic is the opposite of the women in Beanies. 347 00:21:27,833 --> 00:21:30,359 These people are determined to resist? violence, 348 00:21:30,460 --> 00:21:32,040 no matter how much they are provoked. 349 00:21:32,173 --> 00:21:36,725 Sheriff Clark, we tried to gain access to the civil registry office, 350 00:21:36,826 --> 00:21:38,305 It's our right. 351 00:21:38,406 --> 00:21:40,979 There are many people, you know very well. 352 00:21:41,080 --> 00:21:42,846 And the camera coming back forward, 353 00:21:43,186 --> 00:21:47,946 as if to emphasize control, rigor, discipline. 354 00:21:48,520 --> 00:21:51,660 Racial segregation is now illegal in this country, sir. 355 00:21:54,833 --> 00:21:56,453 So we have the camera in our hand. 356 00:21:56,960 --> 00:21:59,366 And a lonely tone on the soundtrack. 357 00:22:00,380 --> 00:22:01,739 Come on, clear the sidewalk. 358 00:22:01,840 --> 00:22:02,799 Clear the way! 359 00:22:02,900 --> 00:22:04,359 Get out of the way, get out of the way! 360 00:22:04,460 --> 00:22:05,845 An elephant on a china shop. 361 00:22:05,946 --> 00:22:08,412 Get out of the way. Clear the sidewalk. 362 00:22:08,513 --> 00:22:10,145 I said to clear the sidewalk! 363 00:22:10,246 --> 00:22:11,739 -Okay, he's going to sit down. -He can't sit down? 364 00:22:11,840 --> 00:22:12,832 Well, you have to learn. 365 00:22:12,933 --> 00:22:14,872 -He's going to sit down. -Crap! So sit down! 366 00:22:14,973 --> 00:22:16,690 Father! 367 00:22:17,880 --> 00:22:20,540 The tension here is whether the volcano can be contained. 368 00:22:20,645 --> 00:22:21,645 I told you that he I couldn't sit down. 369 00:22:21,746 --> 00:22:23,819 -Well, what do we have here? -Wait one moment. 370 00:22:23,920 --> 00:22:25,239 What's going on here, boy? 371 00:22:25,340 --> 00:22:26,325 Jimmy, sit down! 372 00:22:26,426 --> 00:22:28,199 No, hand, I'll stay here. 373 00:22:28,300 --> 00:22:29,312 Jimmy! 374 00:22:29,413 --> 00:22:31,300 Tense like pressure. 375 00:22:31,560 --> 00:22:33,726 Like a stick about to break, 376 00:22:33,920 --> 00:22:36,093 like a balloon about to burst. 377 00:22:47,033 --> 00:22:48,853 Get that black girl! 378 00:22:50,326 --> 00:22:51,826 Get your hands off me! 379 00:22:54,806 --> 00:22:57,099 Wait, wait a second! 380 00:22:57,200 --> 00:22:59,346 Stop it! 381 00:23:08,313 --> 00:23:10,759 What a bad aunt! 382 00:23:10,860 --> 00:23:14,605 She deceives little children. 383 00:23:14,706 --> 00:23:16,579 Our final scene in this chapter is 384 00:23:16,680 --> 00:23:20,753 from one of the great filmmakers of tension, Kira Muratova. 385 00:23:21,186 --> 00:23:23,113 The tension of the real world, 386 00:23:23,506 --> 00:23:25,260 the hardest kind to watch. 387 00:23:27,800 --> 00:23:30,806 Young girls torment a man with learning difficulties. 388 00:23:31,106 --> 00:23:33,646 They surround him, confuse him. 389 00:23:34,593 --> 00:23:37,980 One of Muratova's themes is the cruelty of everyday life. 390 00:23:39,020 --> 00:23:41,719 Your anxiety increases and ours too, 391 00:23:41,820 --> 00:23:43,780 as we witness their anguish. 392 00:23:50,420 --> 00:23:54,153 A young man intervenes, Maybe he's a good Samaritan. 393 00:23:55,246 --> 00:23:57,659 Leave him alone. 394 00:23:57,760 --> 00:24:01,479 -Stop, he's sick. -You are... 395 00:24:01,580 --> 00:24:02,913 But it's too violent. 396 00:24:03,706 --> 00:24:07,000 The screams make the scene almost inaudible. 397 00:24:07,993 --> 00:24:09,172 Stop! 398 00:24:09,273 --> 00:24:11,360 Stop it! 399 00:24:16,600 --> 00:24:17,759 Help! 400 00:24:17,860 --> 00:24:19,253 Mean girls. 401 00:24:23,566 --> 00:24:24,813 And the chase... 402 00:24:28,606 --> 00:24:30,066 Help! 403 00:24:33,660 --> 00:24:34,953 I'll kill her! 404 00:24:35,900 --> 00:24:38,392 You disgusting! 405 00:24:38,493 --> 00:24:40,560 A man climbs out of a window. 406 00:24:40,690 --> 00:24:43,706 The screams increase and we have chaos. 407 00:24:44,146 --> 00:24:46,320 Another act of violence. 408 00:24:49,346 --> 00:24:51,733 And another spectator glimpses a tiny world... 409 00:24:52,606 --> 00:24:56,000 domestic, poor, cluttered. 410 00:24:56,660 --> 00:24:59,006 An entire society about to explode. 411 00:25:23,933 --> 00:25:26,206 What happens when the tension passes, 412 00:25:26,600 --> 00:25:30,306 when the violence passes, when the threat ends. 413 00:25:31,320 --> 00:25:33,713 The adrenaline and anxiety decrease. 414 00:25:34,253 --> 00:25:36,133 How does cinema show this? 415 00:25:36,560 --> 00:25:39,133 Inertia, stillness and calm. 416 00:25:40,133 --> 00:25:42,889 Films are often seen as action entertainment, 417 00:25:42,990 --> 00:25:44,266 like thrillers. 418 00:25:45,053 --> 00:25:47,545 But what do they do when you want to lower your pulse 419 00:25:47,646 --> 00:25:49,200 instead of speeding it up? 420 00:25:52,866 --> 00:26:00,020 IN�RCIA 421 00:26:03,306 --> 00:26:06,099 In chapter six, we saw part 422 00:26:06,200 --> 00:26:09,220 from Places in Cities?, by Angela Schanelec. 423 00:26:10,273 --> 00:26:11,880 Now the screen is black. 424 00:26:14,886 --> 00:26:18,720 A driving school instructor took a young woman to his apartment. 425 00:26:22,393 --> 00:26:24,453 We assume that They are having sex, 426 00:26:24,986 --> 00:26:27,293 but we don't see them, we don't even hear them. 427 00:26:28,513 --> 00:26:31,813 Radically, Schanalec does not shows none of the action. 428 00:26:32,833 --> 00:26:36,233 The hard black screen about two minutes! 429 00:26:46,193 --> 00:26:47,673 Suddenly... Cut! 430 00:26:48,720 --> 00:26:52,313 It stays there, static. The result. 431 00:26:53,293 --> 00:26:56,646 Inertia is what remains when the action is stopped. 432 00:26:58,953 --> 00:27:03,946 And then we see him, also static, also exhausted. 433 00:27:06,486 --> 00:27:10,253 Schanelec's film is similar to that of Nanouk Leopold. 434 00:27:12,446 --> 00:27:14,473 A woman also ended up to have sex. 435 00:27:15,026 --> 00:27:16,400 We are in India. 436 00:27:16,973 --> 00:27:20,252 Beginning of the day, when the sun It's not too hot, 437 00:27:20,353 --> 00:27:22,125 when the traffic It's not roaring, 438 00:27:22,226 --> 00:27:25,186 when the pulse of the city It's not beating very fast. 439 00:27:28,240 --> 00:27:29,960 Wide static shot. 440 00:27:30,506 --> 00:27:34,172 We saw the actress' character Sandra Huller alternating men 441 00:27:34,273 --> 00:27:36,166 and sexual encounters. 442 00:27:36,290 --> 00:27:38,266 But what is she really looking? 443 00:27:44,066 --> 00:27:45,300 Maybe that's it. 444 00:28:02,760 --> 00:28:04,186 Maybe loneliness. 445 00:28:04,920 --> 00:28:07,700 Time to think, time to feel. 446 00:28:08,333 --> 00:28:12,253 The calm after the storm and before another storm. 447 00:29:05,633 --> 00:29:08,686 The film Astnicah Syndrome, by Kira Muratova again. 448 00:29:09,300 --> 00:29:11,286 The whole film is a storm. 449 00:29:12,200 --> 00:29:13,359 About a society 450 00:29:13,460 --> 00:29:17,060 who has a disease, a syndrome and anxiety. 451 00:29:20,633 --> 00:29:22,232 However, watch these moments, 452 00:29:22,333 --> 00:29:23,986 which are rare in film. 453 00:29:24,740 --> 00:29:26,326 Still life. 454 00:29:26,753 --> 00:29:28,640 They are close-ups of an apartment. 455 00:29:29,346 --> 00:29:33,266 The camera doesn't move, objects don't move. 456 00:29:36,593 --> 00:29:38,400 Like a photo album. 457 00:29:53,220 --> 00:29:56,620 And then this plan shows that there is a point of view here. 458 00:29:57,773 --> 00:29:59,406 Man am I exhausted? 459 00:30:00,480 --> 00:30:02,693 He's had enough from the busy city? 460 00:30:09,013 --> 00:30:11,099 He is fascinated by the banal, 461 00:30:11,200 --> 00:30:13,440 for everyday trinkets What have you seen? 462 00:30:14,873 --> 00:30:17,053 Maybe "looking" is the keyword here. 463 00:30:17,940 --> 00:30:20,079 The woman in India was with eyes closed, 464 00:30:20,180 --> 00:30:25,546 but here, for him, inertia is it's a simple matter of looking at the world. 465 00:30:25,990 --> 00:30:29,546 Not the great things, but the common things. 466 00:30:57,933 --> 00:31:02,365 The Scottish director's short Margaret Tait shows that inertia. 467 00:31:02,466 --> 00:31:04,353 It's not just a visual thing. 468 00:31:05,220 --> 00:31:09,953 The sound of bees captures us so much as the images of poppies. 469 00:31:19,120 --> 00:31:22,233 As if the man on the couch had gone to the garden. 470 00:31:22,953 --> 00:31:26,600 Bees are hardworking, but he is the opposite of them. 471 00:31:26,960 --> 00:31:29,680 We are the opposite, we are static. 472 00:31:30,073 --> 00:31:31,800 Our thoughts were disconnected. 473 00:31:32,380 --> 00:31:33,859 Our senses do the work... 474 00:31:33,960 --> 00:31:37,320 No instruments, no equipment is required. 475 00:31:37,566 --> 00:31:39,866 Look, the light is there. 476 00:31:41,206 --> 00:31:44,965 Look at everything that is illuminated by light 477 00:31:45,066 --> 00:31:51,733 and see the notes, songs, the words, the colors and sleep. 478 00:31:52,746 --> 00:31:57,366 All colors and all dreams are there in the beam of light. 479 00:32:01,500 --> 00:32:04,860 Of course, there are hundreds of calm moments in films, 480 00:32:05,426 --> 00:32:09,006 but what happens if you join inertia to other things? 481 00:32:09,566 --> 00:32:12,386 And if you put it in unexpected places? 482 00:32:13,273 --> 00:32:16,373 This is what the Belgian director Fien Troch does it here. 483 00:32:17,190 --> 00:32:20,480 A mother discovered that your son ate sweets. 484 00:32:20,860 --> 00:32:23,593 She fights with him, She gives him a punishment. 485 00:32:23,900 --> 00:32:26,166 But how does Troch film the scene? 486 00:32:27,713 --> 00:32:28,966 So... 487 00:32:33,626 --> 00:32:36,186 And the boy's brother covers his mouth. 488 00:32:37,080 --> 00:32:38,593 Frozen moments. 489 00:32:39,593 --> 00:32:41,393 Frozen by fear of mother? 490 00:32:45,086 --> 00:32:46,960 So the camera is on the run. 491 00:32:57,580 --> 00:33:00,213 Run away from your mother? Are you with the boy? 492 00:33:00,813 --> 00:33:03,333 A real escape or would you imagine it? 493 00:33:09,120 --> 00:33:13,593 And we see the boy alone, stopped, static. 494 00:33:14,060 --> 00:33:17,026 A very innovative way to show a scolding. 495 00:33:17,766 --> 00:33:20,526 An echo of the Scottish director Bill Douglas. 496 00:33:51,620 --> 00:33:53,405 If Troch found a creative way 497 00:33:53,506 --> 00:33:55,119 of filming a static encounter, 498 00:33:55,220 --> 00:33:57,726 the Dutch director Marleen Gorris did the same. 499 00:34:00,400 --> 00:34:02,560 As we have already heard in previous chapters, 500 00:34:02,860 --> 00:34:06,180 the murdered left woman brutally a man I didn't know. 501 00:34:06,833 --> 00:34:09,260 The woman on the right It's your psychiatrist, 502 00:34:09,420 --> 00:34:11,853 whose job is to do a diagnosis of the killer. 503 00:34:16,773 --> 00:34:20,066 Their meeting is static, has no words, 504 00:34:20,706 --> 00:34:22,933 like others in this chapter. 505 00:34:28,920 --> 00:34:31,353 But the patient begins to do this. 506 00:34:51,766 --> 00:34:55,800 As if scanning the psychiatrist, taking an X-ray. 507 00:34:57,166 --> 00:34:59,032 This moment can be static, 508 00:34:59,133 --> 00:35:03,500 But there's no relaxing here or feel the moment. 509 00:35:04,513 --> 00:35:06,652 There's not much physical action here, 510 00:35:06,753 --> 00:35:10,473 but women analyze themselves with great intensity. 511 00:35:48,713 --> 00:35:50,240 My wife left me... 512 00:35:53,620 --> 00:35:56,259 Chantal Akerman uses inertia in cinema 513 00:35:56,360 --> 00:35:58,166 in an even more complex way. 514 00:36:00,213 --> 00:36:01,786 A static camera. 515 00:36:02,260 --> 00:36:05,046 A man is talking to a woman who is off-screen. 516 00:36:05,526 --> 00:36:07,026 They were lovers. 517 00:36:07,793 --> 00:36:09,746 Now he's in front from your own home. 518 00:36:10,046 --> 00:36:12,186 Almost no movement. 519 00:36:13,920 --> 00:36:16,113 He is talking about his ex-wife, 520 00:36:16,546 --> 00:36:19,060 about your calm and static life. 521 00:36:20,453 --> 00:36:22,126 Everything seemed peaceful. 522 00:36:22,246 --> 00:36:25,526 It looked like we will pass our lives together. 523 00:36:28,433 --> 00:36:33,713 True we spent weeks lying side by side 524 00:36:33,926 --> 00:36:37,420 without feeling any desire, but that didn't matter. 525 00:36:38,233 --> 00:36:39,660 And often... 526 00:36:41,726 --> 00:36:45,300 when I turned over to sleep, 527 00:36:46,086 --> 00:36:47,866 she cuddled against me. 528 00:36:48,326 --> 00:36:52,820 It was comforting dissolve into it. 529 00:36:53,026 --> 00:36:56,073 Your smell, your flesh... 530 00:36:57,320 --> 00:37:02,880 What if she fell asleep first and turn your back on me, 531 00:37:03,526 --> 00:37:06,352 I cuddled up against her 532 00:37:06,453 --> 00:37:09,733 and felt her round buttocks in the cavity of my stomach. 533 00:37:13,130 --> 00:37:16,699 Maybe another director would have moved the camera slowly, 534 00:37:16,800 --> 00:37:19,346 but Akerman stays totally immobile. 535 00:37:21,853 --> 00:37:23,259 And so we have a story 536 00:37:23,360 --> 00:37:26,420 about static lives contained in a static frame. 537 00:37:30,290 --> 00:37:32,680 And they ran away together. 538 00:38:02,766 --> 00:38:05,906 And if there isn't a story Is it obvious within the frame? 539 00:38:07,120 --> 00:38:10,473 The American artist's film Sharon Lockhart, Double Tide?. 540 00:38:11,226 --> 00:38:13,600 A woman looking for shellfish. 541 00:38:14,213 --> 00:38:15,692 She is involved in your work, 542 00:38:15,793 --> 00:38:18,600 and doesn't notice the clouds in motion. 543 00:38:19,366 --> 00:38:22,206 She's not resting either and enjoying that moment, 544 00:38:22,460 --> 00:38:25,280 like a woman who lies down on the balcony in India. 545 00:38:26,313 --> 00:38:28,146 But the image You're resting, aren't you? 546 00:38:29,066 --> 00:38:31,380 And so, we also rest. 547 00:38:32,373 --> 00:38:34,660 The film lasts 99 minutes. 548 00:38:35,320 --> 00:38:39,993 People watch an observation, a meditation. 549 00:39:24,426 --> 00:39:26,733 Will it rain or not? 550 00:39:33,520 --> 00:39:35,126 The birds are flying around here. 551 00:39:36,400 --> 00:39:37,966 That means rain. 552 00:39:39,173 --> 00:39:40,966 It's going to rain soon. 553 00:39:42,033 --> 00:39:45,545 Another meditation. We are in Paraguay. 554 00:39:45,646 --> 00:39:47,193 The sun is rising. 555 00:39:48,073 --> 00:39:49,946 The couple is just watching. 556 00:39:50,566 --> 00:39:53,686 No camera movement. The moment. 557 00:39:54,260 --> 00:39:55,673 Almost Buddhist. 558 00:40:08,146 --> 00:40:09,893 Already autumn, 559 00:40:11,486 --> 00:40:12,766 but it's still hot. 560 00:40:15,440 --> 00:40:17,166 It's not that hot. 561 00:40:22,726 --> 00:40:25,833 Our child must be dying of thirst. 562 00:40:28,873 --> 00:40:30,699 I wonder if he is cold. 563 00:40:30,800 --> 00:40:32,473 Cold? 564 00:40:33,266 --> 00:40:34,773 But it's hot! 565 00:40:35,173 --> 00:40:37,726 Well, he took the poncho. 566 00:40:38,893 --> 00:40:40,340 I don't think you'll get cold. 567 00:40:44,853 --> 00:40:46,480 I miss him. 568 00:40:49,373 --> 00:40:50,786 I want him to come back. 569 00:40:52,586 --> 00:40:54,800 But another place invades their moment. 570 00:40:55,493 --> 00:40:56,893 They think about their son... 571 00:41:06,986 --> 00:41:08,260 and then, in war. 572 00:41:08,780 --> 00:41:10,580 That disgusting war... 573 00:41:12,020 --> 00:41:13,440 It doesn't make sense. 574 00:41:18,266 --> 00:41:20,720 That dog never will shut up! 575 00:41:21,380 --> 00:41:25,626 Inertia, a place to stay and think. 576 00:41:25,900 --> 00:41:30,346 So swing the net if it bothers you so much! 577 00:41:32,860 --> 00:41:34,666 The heat bothers me more. 578 00:41:35,393 --> 00:41:39,593 But you just said which is not so hot. 579 00:41:49,160 --> 00:41:53,073 And, of course, the greatest inertia of all... 580 00:41:53,846 --> 00:41:55,053 death. 581 00:42:00,473 --> 00:42:03,439 The director's first feature Pakistani Sabiha Sumar, 582 00:42:03,540 --> 00:42:06,189 Silent Waters?, won the best film award 583 00:42:06,290 --> 00:42:08,726 and best director at the Locarno film festival. 584 00:42:13,946 --> 00:42:16,966 Sumar studied history and political thought, 585 00:42:17,150 --> 00:42:20,520 so many of his films are analyzes of social issues. 586 00:42:21,300 --> 00:42:24,820 We saw a scene from this movie in chapter 11 about discovery. 587 00:42:25,786 --> 00:42:29,466 Now the character of Sumar Gently roll up the scarf. 588 00:42:38,466 --> 00:42:40,173 The light of dawn appears again. 589 00:42:40,800 --> 00:42:42,946 It looks like it was made for inertia. 590 00:42:43,580 --> 00:42:45,246 A still life scene. 591 00:42:49,390 --> 00:42:51,793 Then we look for the people of solitude. 592 00:42:56,360 --> 00:42:57,805 Then we are far away. 593 00:42:57,906 --> 00:43:00,460 We have another image like a painting. So... 594 00:43:07,306 --> 00:43:08,540 The dark. 595 00:43:09,066 --> 00:43:11,126 The void. Her death. 596 00:43:15,750 --> 00:43:18,085 But death doesn't have to be something so serious, 597 00:43:18,186 --> 00:43:19,640 as this scene shows. 598 00:43:30,513 --> 00:43:33,686 Wide frontal plane, like a theater scene. 599 00:43:34,433 --> 00:43:36,546 Behind her there is a mummified body. 600 00:43:37,266 --> 00:43:38,760 We are in Indonesia. 601 00:43:42,186 --> 00:43:43,746 We see a side shot. 602 00:43:43,926 --> 00:43:45,380 Theatrical again. 603 00:43:45,560 --> 00:43:47,073 At precise angles. 604 00:43:47,593 --> 00:43:50,353 Inertia directors love rigorous geometry. 605 00:43:50,880 --> 00:43:53,340 No music, no dialogue. 606 00:43:53,620 --> 00:43:55,120 Almost no sound. 607 00:43:56,026 --> 00:43:58,226 Maybe a touch of Tarantino... 608 00:43:58,490 --> 00:44:02,486 But Mouly Surya's film has a tone of black humor. 609 00:44:04,986 --> 00:44:06,500 How it shows! 610 00:44:25,766 --> 00:44:27,866 We now see a body without a head! 611 00:44:28,026 --> 00:44:30,013 A man who tried rape a woman. 612 00:44:37,780 --> 00:44:41,806 The calm of this close-up. Should we laugh now? 613 00:45:16,160 --> 00:45:17,466 Now the four of them are together. 614 00:45:17,713 --> 00:45:21,346 A broad picture, macabre, aesthetic... 615 00:45:34,713 --> 00:45:36,906 Leaving the tranquility for something similar. 616 00:45:37,606 --> 00:45:39,706 "Less is more", they say. 617 00:45:40,186 --> 00:45:42,033 How does this work in the movies? 618 00:45:42,793 --> 00:45:46,519 What happens when filmmakers exclude things from scenes 619 00:45:46,620 --> 00:45:47,913 or the story on purpose? 620 00:45:51,266 --> 00:45:58,380 EXCLUSIVE 621 00:45:58,600 --> 00:46:01,165 When you run out of money, 622 00:46:01,266 --> 00:46:04,059 when you don't have another penny. 623 00:46:04,160 --> 00:46:08,219 So sell everything, settle the cattle and put an end to everything. 624 00:46:08,320 --> 00:46:11,646 Kira Muratova's brilliant film, Chekov?s Motifs?. 625 00:46:12,033 --> 00:46:16,446 We heard a family fight. It's been going on forever. 626 00:46:17,033 --> 00:46:20,006 But we just focus in the baby of the family. 627 00:46:20,900 --> 00:46:22,846 Muratova leaves others from outside in this scene. 628 00:46:23,340 --> 00:46:24,966 The storm around the child, 629 00:46:25,180 --> 00:46:26,759 the storm which does not appear on the screen. 630 00:46:26,860 --> 00:46:28,766 A magnetic storm. 631 00:46:28,993 --> 00:46:32,619 Can't you see that I'm not there anymore used to these things? 632 00:46:32,720 --> 00:46:38,046 I could handle it before, but now I can't anymore. 633 00:46:38,200 --> 00:46:41,532 The child, who is falling asleep, you hardly see or hear 634 00:46:41,633 --> 00:46:43,553 what is happening. 635 00:46:50,420 --> 00:46:52,520 See, that's what matters. 636 00:46:57,380 --> 00:46:58,613 Move your hand. 637 00:47:00,680 --> 00:47:03,846 Now we see a man, in black and white again. 638 00:47:04,120 --> 00:47:06,485 It was filmed from the same angle as the baby. 639 00:47:06,586 --> 00:47:09,253 But something very different is happening here. 640 00:47:10,286 --> 00:47:12,026 He is a truck driver. 641 00:47:12,273 --> 00:47:14,533 A woman opens the zipper of your pants. 642 00:47:14,920 --> 00:47:16,780 She starts to masturbate him. 643 00:47:17,086 --> 00:47:20,032 But director Chantal Akerman does not show us the woman, 644 00:47:20,133 --> 00:47:22,233 neither the groin nor the action. 645 00:47:23,006 --> 00:47:24,960 Almost everything is excluded, 646 00:47:27,766 --> 00:47:30,260 including the feeling of your racing pulse. 647 00:47:33,846 --> 00:47:35,680 It's getting hot. 648 00:47:39,160 --> 00:47:40,380 It's getting harder. 649 00:47:49,926 --> 00:47:52,620 As we saw in chapter 19 about sex, 650 00:47:53,190 --> 00:47:55,860 Akerman is certainly not afraid to show sex scenes. 651 00:47:56,160 --> 00:47:58,779 But here she leaves out the most obvious images. 652 00:47:58,880 --> 00:48:00,866 Therefore, we focus on his face, 653 00:48:01,300 --> 00:48:06,013 in something rigorous, in a void, like Andy Warhol. 654 00:48:13,390 --> 00:48:15,986 It will be very big and break through the skin. 655 00:48:27,153 --> 00:48:28,860 Another black and white film. 656 00:48:29,646 --> 00:48:31,986 But we go back almost 50 years. 657 00:48:42,000 --> 00:48:44,993 Close-ups of the father-in-law and daughter-in-law. 658 00:48:47,413 --> 00:48:48,873 She retreats. 659 00:48:49,393 --> 00:48:51,566 Melodramatic performance of the time. 660 00:48:52,246 --> 00:48:53,693 He's going to rape her. 661 00:48:57,586 --> 00:48:59,073 But something happens. 662 00:49:00,213 --> 00:49:01,633 A bucket falls. 663 00:49:02,073 --> 00:49:05,826 And we cut to his wife, who heard the commotion. 664 00:49:09,246 --> 00:49:12,020 We hope to return ? shocking part, 665 00:49:12,386 --> 00:49:14,639 but the director Olga Preobrazhenskaya 666 00:49:14,740 --> 00:49:17,880 leaves us with his wife while she slowly surveys the place. 667 00:49:29,566 --> 00:49:30,960 Are you in the rain? 668 00:49:40,113 --> 00:49:42,540 The horse shivering from the cold made the noise? 669 00:49:49,993 --> 00:49:52,186 The textures of these images. 670 00:49:52,613 --> 00:49:56,866 Off screen, deleted, the rape continues, 671 00:49:57,160 --> 00:49:59,000 while the search of the wife follows. 672 00:50:08,533 --> 00:50:09,920 She goes to the door now. 673 00:50:10,240 --> 00:50:11,566 The crime scene. 674 00:50:25,120 --> 00:50:28,626 Her accusing look. Their eyes meet. 675 00:50:38,846 --> 00:50:40,866 The assaulted woman is in shock. 676 00:50:41,486 --> 00:50:42,973 And the image is blurred. 677 00:50:45,933 --> 00:50:49,153 Probably the rape was not shown because of censorship, 678 00:50:49,613 --> 00:50:51,600 but also for a question of teaching. 679 00:50:53,280 --> 00:50:57,126 Maybe the scene is richer for his absence. 680 00:51:01,326 --> 00:51:03,546 Wadjda?, by Haifaa Al-Mansour. 681 00:51:06,326 --> 00:51:07,700 Girls at school. 682 00:51:08,300 --> 00:51:11,306 A world painted yellow which looks like a prison. 683 00:51:14,253 --> 00:51:16,960 Let's change places, men can see us here. 684 00:51:17,780 --> 00:51:20,259 Why? Are they supermen? 685 00:51:20,360 --> 00:51:23,993 If you can see them, they can see it too. 686 00:51:24,273 --> 00:51:26,919 decent girls flight in. 687 00:51:27,020 --> 00:51:29,700 The rest will stay here where men can see them. 688 00:51:34,653 --> 00:51:37,466 Women must become invisible in this world. 689 00:51:38,113 --> 00:51:40,580 And most girls become invisible. 690 00:51:41,533 --> 00:51:43,313 Wadja, 10 years old, is not like that. 691 00:51:43,880 --> 00:51:45,480 She is visible. 692 00:51:45,820 --> 00:51:47,640 She doesn't want to conspire. 693 00:51:51,480 --> 00:51:53,912 As in the previous scene from Russian film, 694 00:51:54,013 --> 00:51:56,846 what is not seen here It has a feminist dimension. 695 00:52:11,480 --> 00:52:13,540 Where does a moment like this come from? 696 00:52:14,473 --> 00:52:15,700 Maybe from here? 697 00:52:17,280 --> 00:52:20,246 The Iranian film The Sealed Soil? again. 698 00:52:20,886 --> 00:52:23,360 In chapter 18, about bodies, 699 00:52:23,513 --> 00:52:25,959 we saw the main character take off your blouse 700 00:52:26,060 --> 00:52:28,746 and enjoy the feeling of the rain on your skin. 701 00:52:29,640 --> 00:52:31,560 This scene happens before that. 702 00:52:32,393 --> 00:52:33,993 For more than half an hour, 703 00:52:34,413 --> 00:52:37,059 director Marva Nabili refuses to show us 704 00:52:37,160 --> 00:52:38,653 the face of his people. 705 00:52:39,706 --> 00:52:41,573 Her camera here is wide, 706 00:52:41,866 --> 00:52:43,799 then it would be difficult see the faces, 707 00:52:43,900 --> 00:52:45,573 but that's not all. 708 00:52:46,340 --> 00:52:48,693 There is a shady area the left 709 00:52:49,086 --> 00:52:52,400 and in the bible it makes up the majority It happens in the shadows. 710 00:52:52,973 --> 00:52:55,113 Then the woman sitting is not visible. 711 00:52:58,346 --> 00:53:00,513 The person in red stands up 712 00:53:00,980 --> 00:53:03,813 and before that, she was hardly seen. 713 00:53:12,360 --> 00:53:14,266 Distance and shadow. 714 00:53:14,480 --> 00:53:16,460 It's on the screen, but also outside of it. 715 00:53:16,640 --> 00:53:18,333 Hidden inside the frame. 716 00:53:34,333 --> 00:53:37,792 He told me this, So I did what I was told. 717 00:53:37,893 --> 00:53:40,012 Even my children had have to do the same thing. 718 00:53:40,113 --> 00:53:42,973 Maybe this moment is even more feminist. 719 00:53:43,380 --> 00:53:45,332 A girl and her mother are talking. 720 00:53:45,433 --> 00:53:48,539 But it is not good to have circumcision, someone could die. 721 00:53:48,640 --> 00:53:52,546 No, no, our culture allows let there be circumcision. 722 00:53:52,680 --> 00:53:56,472 The eldest forced her daughter to suffer female genital mutilation. 723 00:53:56,573 --> 00:53:58,325 I felt pain at the time. 724 00:53:58,426 --> 00:54:01,199 When she was being circumcised, I called her: Mother, mother! 725 00:54:01,300 --> 00:54:03,565 Why did you tell me to be quiet? 726 00:54:03,666 --> 00:54:06,339 Told you to be quiet, because in our culture, 727 00:54:06,440 --> 00:54:09,740 the person surrounded You must not cry or scream. 728 00:54:10,560 --> 00:54:13,005 A filming of classic documentary. 729 00:54:13,106 --> 00:54:16,486 No extra lights, camera in hand. 730 00:54:16,820 --> 00:54:21,340 The mother does not apologize, but he wants his daughter's forgiveness. 731 00:54:21,633 --> 00:54:24,612 This is our culture, you cannot eliminate it. 732 00:54:24,713 --> 00:54:27,119 But you shouldn't follow religion? 733 00:54:27,220 --> 00:54:30,019 Religion allows circumcision. 734 00:54:30,120 --> 00:54:34,719 But it's not mandatory. You can be circumcised or not. 735 00:54:34,820 --> 00:54:37,799 Yes, but I follow Somali culture. 736 00:54:37,900 --> 00:54:39,679 I'm Somalian, I have to follow my culture. 737 00:54:39,780 --> 00:54:41,419 This is the daughter's response. 738 00:54:41,520 --> 00:54:45,600 If you want me to forgive you, do not circumcise Fartu. 739 00:54:46,112 --> 00:54:47,112 Fartu? 740 00:54:47,213 --> 00:54:50,493 -Then I won't circumcise her. -Okay, I forgive her. 741 00:54:50,893 --> 00:54:52,353 She forgave her. 742 00:54:53,166 --> 00:54:55,786 She uses her power to remove something. 743 00:54:56,206 --> 00:54:58,466 Removes the threat from your sister. 744 00:54:59,520 --> 00:55:01,119 We see a contract being born. 745 00:55:01,220 --> 00:55:03,572 God doesn't allow it. I think on the day of final judgment, 746 00:55:03,673 --> 00:55:07,225 they will ask me if she forgave me in this world. 747 00:55:07,326 --> 00:55:10,619 But the day of judgment is at hand, and God is the one who asks me. 748 00:55:10,720 --> 00:55:12,726 I don't know what I'm going to say. 749 00:55:13,473 --> 00:55:18,106 So far in this chapter, we saw an item off screen. 750 00:55:18,486 --> 00:55:21,120 But what happens if we have two? 751 00:55:26,360 --> 00:55:30,826 The film Baxter, Vera Baxter, from author and filmmaker Marguerite Duras. 752 00:55:33,200 --> 00:55:34,840 Beginning of the film. 753 00:55:36,413 --> 00:55:38,312 We are in a bar. 754 00:55:38,413 --> 00:55:40,799 A waiter talks with a woman off-screen. 755 00:55:40,900 --> 00:55:43,366 They managed to build, but something happened. 756 00:55:44,773 --> 00:55:46,240 They never came back... 757 00:55:47,780 --> 00:55:51,920 Then we heard a voice on the right. A man making a call. 758 00:55:52,906 --> 00:55:54,790 Allah? 759 00:55:58,320 --> 00:56:00,492 The real estate agent also tried calling. 760 00:56:00,593 --> 00:56:02,625 The bartender's voice sounds like an echo, 761 00:56:02,726 --> 00:56:06,833 but the woman's voice is recorded closer and more clearly. 762 00:56:07,180 --> 00:56:10,660 -What's her name? -Baxter. 763 00:56:12,440 --> 00:56:14,020 Vera Baxter. 764 00:56:15,453 --> 00:56:19,366 Vera Baxter. I don't know her. 765 00:56:21,186 --> 00:56:22,672 Like he was at the bar 766 00:56:22,773 --> 00:56:24,465 and she was in a recording booth 767 00:56:24,566 --> 00:56:26,446 or perhaps in the film itself. 768 00:56:29,106 --> 00:56:32,526 So we have a person on the screen and two off-screen. 769 00:56:35,020 --> 00:56:37,453 The camera barely moves. 770 00:56:40,320 --> 00:56:42,140 I said you are a journalist. 771 00:56:43,340 --> 00:56:47,006 The guy on the phone moves, from the outside to the inside of the screen. 772 00:56:53,366 --> 00:56:55,573 And he is the young man Gerard Depardieu. 773 00:56:55,860 --> 00:56:57,086 True. 774 00:56:57,633 --> 00:56:59,746 She is not yet answering the phone. 775 00:57:02,493 --> 00:57:03,706 Are you going there? 776 00:57:09,713 --> 00:57:10,920 I don't know. 777 00:57:17,786 --> 00:57:18,993 I don't know. 778 00:57:24,586 --> 00:57:29,166 This scene is even richer. The blind photographer Martin. 779 00:57:34,273 --> 00:57:36,280 Your dog passes by Andy, 780 00:57:36,486 --> 00:57:38,766 which describes the photographs for him. 781 00:57:39,380 --> 00:57:42,940 Then go to Celia, Martin's maid, 782 00:57:43,326 --> 00:57:45,733 who is a little obsessed by the photographer. 783 00:57:47,420 --> 00:57:48,640 Bill. 784 00:57:54,006 --> 00:57:55,240 Bill. 785 00:57:56,566 --> 00:57:57,800 Bill! 786 00:57:59,000 --> 00:58:01,706 Russell Crowe's Andy is between the two. 787 00:58:02,166 --> 00:58:03,406 Another trio. 788 00:58:04,140 --> 00:58:07,766 Precise use of on-screen steering by director Jocelyn Moorehouse. 789 00:58:14,586 --> 00:58:16,666 Martin is lost without your dog. 790 00:58:17,233 --> 00:58:19,200 The world is off-screen. 791 00:58:24,066 --> 00:58:27,232 Then the reference comes out that completes the scene, 792 00:58:27,333 --> 00:58:28,540 that completes the story. 793 00:58:33,000 --> 00:58:35,920 And the woman left. It also left the screen. 794 00:58:50,473 --> 00:58:54,026 Finally, in this chapter, are we here? Second World War. 795 00:58:54,566 --> 00:58:57,533 Our hero Ivan is fighting against the Germans. 796 00:58:58,066 --> 00:59:01,493 A dark gray around of the lens surrounds him. 797 00:59:03,033 --> 00:59:04,446 A little to the right... 798 00:59:08,853 --> 00:59:10,065 a little to the right. 799 00:59:10,166 --> 00:59:13,433 The frame has the same shape of his crawling body. 800 00:59:14,940 --> 00:59:16,680 He looks at his watch. 801 00:59:17,933 --> 00:59:19,166 And it says... 802 00:59:19,713 --> 00:59:24,260 Happy New Year, citizens of the world! Best wishes. 803 00:59:25,190 --> 00:59:29,006 When you look at us and greet us, 804 00:59:29,473 --> 00:59:33,806 It reminds us who is really off-screen: The public. 805 00:59:34,326 --> 00:59:36,346 I'm not a warrior. 806 00:59:36,533 --> 00:59:39,779 Damn Hitler, Goering, Goebbels, Ribbentrop and all fascism. 807 00:59:39,880 --> 00:59:41,689 They give you some vodka. Is this good? 808 00:59:41,790 --> 00:59:43,549 I prefer vodka once every three days. 809 00:59:43,650 --> 00:59:46,605 So I can taste it and really feel it. 810 00:59:46,706 --> 00:59:50,166 And there's a snowstorm here. Forgive me, God. 811 00:59:50,700 --> 00:59:53,746 Where are you, fascist scum?