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 00:01:18,086 --> 00:01:20,926 Now we are 3/4 from our road movie. 14 00:01:21,320 --> 00:01:24,726 We saw how to edit films, create images 15 00:01:24,920 --> 00:01:27,673 and deal with some of the main matters of life... 16 00:01:27,980 --> 00:01:32,720 politics, home, bodies, religion and relationships. 17 00:01:33,400 --> 00:01:34,933 Did we have revelations? 18 00:01:36,080 --> 00:01:41,020 At this stage of a story, there should be revelations. 19 00:01:41,533 --> 00:01:43,046 Which raises the question: 20 00:01:43,390 --> 00:01:46,753 Like good filmmakers do they make revelations? 21 00:01:50,480 --> 00:01:57,000 REVELATIONS 22 00:01:59,050 --> 00:02:06,220 Well you've got your diamond And your pretty clothes. 23 00:02:06,506 --> 00:02:10,546 The driver drives his car. 24 00:02:10,726 --> 00:02:14,613 You let everyone know. 25 00:02:14,820 --> 00:02:16,252 But don't joke... 26 00:02:16,353 --> 00:02:19,039 The most obvious way of discovery in a film 27 00:02:19,140 --> 00:02:21,900 and with a camera showing us things. 28 00:02:25,746 --> 00:02:28,626 Cinematic TV of the 21st century. 29 00:02:29,613 --> 00:02:34,006 The co-creator of the series Westworld, Lisa Joy, direct this scene. 30 00:02:34,646 --> 00:02:38,746 We start in a circular way and abstract, and then we leave. 31 00:02:39,246 --> 00:02:41,452 A road movie through an apartment. 32 00:02:41,553 --> 00:02:44,446 Dropped things. Furniture and glass. 33 00:02:44,613 --> 00:02:46,659 Good taste and high style. 34 00:02:46,760 --> 00:02:49,020 A touch of American Psycho, maybe? 35 00:02:49,513 --> 00:02:52,872 Like a long take inside from the minds of those who live here. 36 00:02:52,973 --> 00:02:54,899 Let's discover them as we track. 37 00:02:55,000 --> 00:02:57,279 They are rich, sporty and exhibitionists. 38 00:02:57,380 --> 00:02:59,640 Designer, maybe everything designed. 39 00:03:01,260 --> 00:03:07,493 Your old man took your diamonds And to top it off, the tiaras. 40 00:03:07,850 --> 00:03:12,019 Now she kicks Stepney. 41 00:03:12,120 --> 00:03:16,213 No longer in Knightsbridge. 42 00:03:16,446 --> 00:03:23,050 So don't play with me Because you're playing with fire. 43 00:03:28,020 --> 00:03:29,486 And then we see who it is. 44 00:03:32,906 --> 00:03:35,473 We saw it, we discovered it, 45 00:03:35,650 --> 00:03:38,340 this man, this robot. 46 00:03:44,566 --> 00:03:48,473 The next most common revelation It is the revelation of history. 47 00:03:48,746 --> 00:03:50,625 Here is a classic way to do this... 48 00:03:50,726 --> 00:03:53,666 A panoramic view of a square of a city in Albania. 49 00:04:03,080 --> 00:04:05,700 And then these three boys watching, curious. 50 00:04:05,920 --> 00:04:08,799 Their point of view, now closer to the square, 51 00:04:08,900 --> 00:04:10,720 a zoom to bring us closer. 52 00:04:10,946 --> 00:04:13,440 One of the boys You think you know something. 53 00:04:13,880 --> 00:04:16,480 They are not meeting... 54 00:04:16,850 --> 00:04:18,799 Let's get closer so they don't disappear... 55 00:04:18,900 --> 00:04:22,760 Then a shot of this man who is an obscure character. 56 00:04:23,100 --> 00:04:24,780 The hero of the film, 57 00:04:24,886 --> 00:04:27,492 this good man that we see from behind, 58 00:04:27,593 --> 00:04:29,805 walk towards to the dark character. 59 00:04:29,906 --> 00:04:31,939 So this freezing and the music grows! 60 00:04:32,040 --> 00:04:33,625 And a close-up of the boy... 61 00:04:33,726 --> 00:04:36,712 Take me too. I have a problem... 62 00:04:36,813 --> 00:04:38,719 That he had his suspicions. 63 00:04:38,820 --> 00:04:42,740 The two men did not speak to each other, but they changed something. 64 00:04:42,890 --> 00:04:49,373 A moment that reveals that the hero Maybe he's not a hero after all... 65 00:04:55,726 --> 00:04:58,699 A leap from the film in black and white from the communist era, 66 00:04:58,800 --> 00:05:00,620 by Xanfise Keko, for this one. 67 00:05:01,680 --> 00:05:04,126 The film seems to turn a blind eye. 68 00:05:13,300 --> 00:05:15,306 A young woman with her man. 69 00:05:27,093 --> 00:05:28,580 She kisses her lover. 70 00:05:36,620 --> 00:05:38,766 And then this, a wound. 71 00:05:44,593 --> 00:05:46,493 Her hand touching his. 72 00:05:51,000 --> 00:05:55,906 THE ROMANCE OF MOVERN CALLAR 73 00:05:56,246 --> 00:05:57,826 The title of the film and... 74 00:05:58,080 --> 00:05:59,453 We have an open plan 75 00:05:59,633 --> 00:06:02,680 and the blinker makes sense: Christmas tree lights. 76 00:06:05,913 --> 00:06:08,700 Is that blood in the kitchen? Yes. 77 00:06:09,046 --> 00:06:12,006 And the shock when we realized that he is dead. 78 00:06:12,440 --> 00:06:15,280 The love scene is also a death scene. 79 00:06:15,893 --> 00:06:18,226 A woman whose man is dead. 80 00:06:43,900 --> 00:06:45,972 Leap to the Soviet Union decades before 81 00:06:46,073 --> 00:06:47,580 and we have something similar. 82 00:06:48,140 --> 00:06:49,453 Second World War. 83 00:06:49,966 --> 00:06:51,706 This woman was kidnapped. 84 00:06:51,890 --> 00:06:55,520 They said your husband It's in the town square. 85 00:06:56,320 --> 00:06:59,526 She has a son from an unknown father. 86 00:07:01,226 --> 00:07:02,540 I know... 87 00:07:03,126 --> 00:07:06,489 But I will gather all my strength to tell my sorrows, 88 00:07:06,590 --> 00:07:08,533 all my sufferings. 89 00:07:10,920 --> 00:07:12,579 What a romantic image. 90 00:07:12,680 --> 00:07:15,993 Clouds in the background, open plan, silver light and silhouettes. 91 00:07:18,786 --> 00:07:20,992 I brought you my shame and my suffering, 92 00:07:21,093 --> 00:07:23,460 a son of an unknown father. 93 00:07:23,986 --> 00:07:27,026 Kill us or save our lives. 94 00:07:28,020 --> 00:07:32,566 So this crane jack reveals that her man is dead, 95 00:07:32,720 --> 00:07:35,033 like the man of Morven Callar was. 96 00:07:35,746 --> 00:07:39,793 The music grows under a mother-of-pearl sky... 97 00:07:57,560 --> 00:07:58,786 You're back. 98 00:07:59,045 --> 00:08:00,045 I'm ready. 99 00:08:00,146 --> 00:08:03,153 Can I get it? Thanks. 100 00:08:03,550 --> 00:08:07,272 The address is G. Allison, Camp Johnson, right? 101 00:08:07,373 --> 00:08:08,593 Yes. 102 00:08:08,833 --> 00:08:13,353 His parents can't know that he will receive my letter. 103 00:08:13,873 --> 00:08:15,713 The question is... 104 00:08:16,750 --> 00:08:19,826 After your baby died, no more money came... 105 00:08:20,293 --> 00:08:24,186 From the revelation of death for the revelation of love. 106 00:08:24,653 --> 00:08:26,589 Here, Kinuyo Tanaka 107 00:08:26,690 --> 00:08:29,880 use a curtain to hide what we want to know. 108 00:08:30,640 --> 00:08:33,973 A man hears a woman's voice behind the curtain. 109 00:08:34,333 --> 00:08:37,800 Is it the woman he loved? Could it be her? 110 00:08:38,413 --> 00:08:42,453 The curtain hides it and the position of the camera too. 111 00:08:44,786 --> 00:08:48,399 Then we cut to her, but only for the letter, 112 00:08:48,500 --> 00:08:51,960 the gloves, the dress, the bag. 113 00:08:52,440 --> 00:08:54,393 Thank you very much. 114 00:08:56,433 --> 00:08:59,400 Back to the man. Was this a revelation? 115 00:08:59,690 --> 00:09:03,253 We only saw a little. Perhaps a partial revelation. 116 00:09:03,720 --> 00:09:05,200 A revelation of love. 117 00:09:06,086 --> 00:09:10,706 In chapter 10, about travel, We saw what happens next... 118 00:09:20,960 --> 00:09:25,280 From a curtain to a door and another love reveals itself. 119 00:09:25,486 --> 00:09:28,819 One of our reference films, Ryazan women. 120 00:09:28,920 --> 00:09:32,039 Directed by Olga Preobrazhenskaya, 121 00:09:32,140 --> 00:09:36,593 the dancer who became an educator and director and made 15 films. 122 00:09:39,173 --> 00:09:43,153 A woman opens a door. Doors reveal things, of course. 123 00:09:43,533 --> 00:09:46,972 She introduces a shy young girl, whose head is bowed. 124 00:09:47,073 --> 00:09:48,413 Eyes down. 125 00:09:49,553 --> 00:09:51,286 A group around a table. 126 00:09:51,653 --> 00:09:55,466 A young man? table He also has his eyes downcast. 127 00:09:56,000 --> 00:09:58,460 She is being presented? room. 128 00:10:00,346 --> 00:10:02,706 An arrangement scene of marriage. 129 00:10:03,373 --> 00:10:06,220 The young woman is introduced, evaluated. 130 00:10:26,313 --> 00:10:29,046 The young man still looks away. 131 00:10:29,693 --> 00:10:32,632 Why should they get married if they don't even know each other? 132 00:10:32,733 --> 00:10:35,020 It's all a matter of lack of eye contact. 133 00:10:36,313 --> 00:10:37,546 Then he looks... 134 00:10:40,053 --> 00:10:41,526 And what smile is that? 135 00:10:46,960 --> 00:10:49,933 And it moves, but the camera doesn't. 136 00:10:58,866 --> 00:11:00,193 Then, her eyes. 137 00:11:00,690 --> 00:11:01,900 The revelation. 138 00:11:02,466 --> 00:11:04,460 Each sees the other 139 00:11:05,126 --> 00:11:10,020 and what do boring adults they don't know, they already know each other 140 00:11:10,286 --> 00:11:12,146 and they are in love. 141 00:11:14,940 --> 00:11:19,419 Preobrazhenskaya, one of the first female directors in the world, 142 00:11:19,520 --> 00:11:23,380 breaks it all down into fragments, in a mosaic. 143 00:11:34,646 --> 00:11:38,086 The plot reveals, death reveals, 144 00:11:38,253 --> 00:11:40,033 love reveals. 145 00:11:40,440 --> 00:11:44,280 Advancing a little further and we have something a little more abstract... 146 00:11:44,873 --> 00:11:46,700 A revelation from God. 147 00:11:46,950 --> 00:11:49,652 As we saw in chapter 21, about religion, 148 00:11:49,753 --> 00:11:54,093 Christine has multiple sclerosis and uses a wheelchair. 149 00:11:55,193 --> 00:11:58,259 Unlike the mosaic style from Preobrazhenskaya, 150 00:11:58,360 --> 00:12:01,799 director Jessica Hausner here just do one take, 151 00:12:01,900 --> 00:12:04,093 approaching, in silence. 152 00:12:15,586 --> 00:12:17,373 And Christine sits... 153 00:12:30,260 --> 00:12:31,966 What a revelation... 154 00:12:32,553 --> 00:12:34,353 She seems cured. 155 00:12:34,920 --> 00:12:37,073 She turns over in bed. 156 00:12:47,246 --> 00:12:51,040 The slow and silent movement, the shock of others 157 00:12:56,140 --> 00:12:59,713 and the Virgin Mary in the bottom corner of the frame. 158 00:13:34,160 --> 00:13:35,712 Social revelations, 159 00:13:35,813 --> 00:13:39,205 Revelations of history, Revelations of love, of death, 160 00:13:39,306 --> 00:13:41,093 Religious revelations. 161 00:13:41,546 --> 00:13:43,993 Each of these happened. 162 00:13:44,753 --> 00:13:47,040 But what about when we're not sure? 163 00:13:47,473 --> 00:13:51,160 What if a revelation is partial or questioned? 164 00:13:54,860 --> 00:13:57,532 I thought that actor in the play... 165 00:13:57,633 --> 00:13:59,459 The beautiful documentary by Sarah Polley, 166 00:13:59,560 --> 00:14:00,852 Stories We Tell. 167 00:14:00,953 --> 00:14:02,605 A film about your family. 168 00:14:02,706 --> 00:14:06,565 Interviews and 8mm footage, as you would expect. 169 00:14:06,666 --> 00:14:08,673 narrated by his father. 170 00:14:09,246 --> 00:14:13,153 But about half an hour later, there is the beginning of a question... 171 00:14:13,566 --> 00:14:15,532 Is he really her father? 172 00:14:15,633 --> 00:14:17,085 ...that could be this other guy. 173 00:14:17,186 --> 00:14:18,752 And then, at some point, 174 00:14:18,853 --> 00:14:22,065 because we had dinner together on weekends, 175 00:14:22,166 --> 00:14:24,832 probably Johnny said... 176 00:14:24,933 --> 00:14:26,685 "You don't look much like with your father." 177 00:14:26,786 --> 00:14:29,692 I think it was Johnny, I mean it was Johnny 178 00:14:29,793 --> 00:14:32,892 and now, thinking about it, I know that Johnny was the first of us 179 00:14:32,993 --> 00:14:34,319 who knew he must It must have been Johnny. 180 00:14:34,420 --> 00:14:39,333 I stupidly mentioned Is this for Mark? I thought. 181 00:14:43,853 --> 00:14:47,166 My lawyer said I don't need it talk to you and therefore 182 00:14:47,413 --> 00:14:49,013 I won't say anything more. 183 00:14:49,673 --> 00:14:55,949 I remember Johnny saying that someone thought that their father 184 00:14:56,050 --> 00:14:58,752 could be someone with whom Mom acted in a play. 185 00:14:58,853 --> 00:15:00,672 I told him not to say nothing to anyone, 186 00:15:00,773 --> 00:15:02,640 but they turned it in a joke. 187 00:15:02,886 --> 00:15:05,560 And I wasn't in on the joke, Did I participate? 188 00:15:05,726 --> 00:15:07,025 I don't think so. 189 00:15:07,126 --> 00:15:09,819 I remember we talked about how you didn't look like a father 190 00:15:09,920 --> 00:15:11,299 and he played with it... 191 00:15:11,400 --> 00:15:12,646 I always thought... 192 00:15:13,540 --> 00:15:17,285 She looks like me, has a straight nose... 193 00:15:17,386 --> 00:15:20,880 Yes, this is all nonsense, but it's fun. 194 00:15:21,000 --> 00:15:23,613 Who do you think your father is this week, Sarah? 195 00:15:24,573 --> 00:15:26,339 And the joke got bigger and bigger 196 00:15:26,440 --> 00:15:30,319 because each of us compared you with one of the three actors. 197 00:15:30,420 --> 00:15:32,972 Everyone knew these three actors... 198 00:15:33,073 --> 00:15:35,086 What a sequence! 199 00:15:35,780 --> 00:15:40,019 And it ends with her father reading a script written by the daughter, 200 00:15:40,120 --> 00:15:45,610 director Polley, revealing that he is not her father. 201 00:15:46,426 --> 00:15:49,489 The sequence is funny, insecure and beautifully edited, 202 00:15:49,590 --> 00:15:51,280 like a pinball machine. 203 00:15:51,733 --> 00:15:54,946 A revelation about fatherhood in the past 204 00:15:55,060 --> 00:15:56,969 becomes a second revelation, 205 00:15:57,070 --> 00:15:59,659 about who said what, who was right 206 00:15:59,760 --> 00:16:01,012 and whoever was not, 207 00:16:01,113 --> 00:16:03,973 in the present, in Polley's film. 208 00:16:04,500 --> 00:16:08,092 Two Revelations, teetering on the edge... 209 00:16:08,193 --> 00:16:11,493 ...well, that depends on whether he This is just will, I think. 210 00:16:11,920 --> 00:16:14,289 I think it was Geoff Bowes. 211 00:16:14,390 --> 00:16:16,152 I think the consensus was that it was Geoff Bowes. 212 00:16:16,253 --> 00:16:18,839 I think there was an actor called Geoff Bowes. 213 00:16:18,940 --> 00:16:20,193 Geoff Bowes... 214 00:16:24,906 --> 00:16:29,199 What the film will be like: Geoff Bowes? and ?Geoff Bowes?. 215 00:16:29,300 --> 00:16:33,912 Our latest revelation goes further of love, death or family 216 00:16:34,013 --> 00:16:36,306 and takes us into the realm of myth. 217 00:16:36,690 --> 00:16:39,089 The Wonders, by Alice Rohrwacher, 218 00:16:39,190 --> 00:16:42,449 tells the story of a family of Italian beekeepers. 219 00:16:42,550 --> 00:16:45,526 A camel, a panorama to the left 220 00:16:49,186 --> 00:16:53,186 and the family is strangely sleeping outside in the mud. 221 00:16:54,806 --> 00:16:56,665 Times are difficult, lack of money. 222 00:16:56,766 --> 00:16:59,813 as if they were on a raft in a sea of mud. 223 00:17:07,206 --> 00:17:08,765 Mommy! 224 00:17:08,866 --> 00:17:10,080 Look! 225 00:17:13,486 --> 00:17:15,006 Don't be mad. 226 00:17:15,540 --> 00:17:17,073 Neither do you. 227 00:17:17,500 --> 00:17:18,766 Leave me here. 228 00:17:19,593 --> 00:17:20,826 There she is! 229 00:17:30,100 --> 00:17:31,480 There's room, come. 230 00:17:45,946 --> 00:17:48,840 We are worried, but not much. 231 00:17:50,966 --> 00:17:52,826 Gel omina, do you know what I thought? 232 00:17:54,586 --> 00:17:55,886 Well... 233 00:17:56,613 --> 00:17:59,900 We should hide something in the house. 234 00:18:00,750 --> 00:18:02,920 Maybe under the floor. 235 00:18:03,720 --> 00:18:07,352 And this secret thing, many years from now, 236 00:18:07,453 --> 00:18:09,040 be found by someone. 237 00:18:13,260 --> 00:18:15,840 Gelso, what are you thinking? 238 00:18:21,173 --> 00:18:25,766 The daughter whistles and then pan to the right. 239 00:18:26,126 --> 00:18:27,526 Did you hear that? 240 00:18:28,150 --> 00:18:29,606 A ghost! 241 00:18:50,226 --> 00:18:53,220 And then, without cutting, come back again and... 242 00:18:56,700 --> 00:18:58,093 The family is gone! 243 00:19:09,786 --> 00:19:11,813 The house is closed, abandoned. 244 00:19:12,190 --> 00:19:16,740 We move forward in time. Weeks? Months? Years? 245 00:19:16,940 --> 00:19:18,600 What is revealed here? 246 00:19:19,593 --> 00:19:22,660 The decline of rural life in Italy? 247 00:19:23,240 --> 00:19:25,653 That everything comes to an end? 248 00:20:03,046 --> 00:20:07,266 We already have 9 hours in our history 14 hours about filmmakers. 249 00:20:07,420 --> 00:20:08,706 We've seen a lot of things... 250 00:20:08,840 --> 00:20:12,053 How women started the films, viewed them, 251 00:20:12,180 --> 00:20:15,000 connected them to the great themes of life, 252 00:20:15,193 --> 00:20:18,052 played with genders movies and much more. 253 00:20:18,153 --> 00:20:21,466 We traveled kilometers and saw hundreds of movie scenes. 254 00:20:23,160 --> 00:20:25,189 So far, in any story, 255 00:20:25,290 --> 00:20:27,545 maybe we can start looking back. 256 00:20:27,646 --> 00:20:28,886 For memory. 257 00:20:29,320 --> 00:20:35,840 MEMORY 258 00:20:38,126 --> 00:20:40,679 Cinema is like a time machine. 259 00:20:40,780 --> 00:20:42,866 perfect with memory. 260 00:20:43,050 --> 00:20:45,180 He has sophisticated manners to explore it, 261 00:20:45,393 --> 00:20:47,800 but let's start with simpler forms. 262 00:20:48,286 --> 00:20:52,212 The award-winning documentary by Petra Costa, Elena. 263 00:20:52,313 --> 00:20:55,500 Here, her mother speaks about Petra's sister. 264 00:20:55,773 --> 00:20:57,719 A simple reminiscence. 265 00:20:57,820 --> 00:21:01,653 Someone talking about the past, describing your memories. 266 00:21:02,373 --> 00:21:06,746 Her look in the top corner of the screen is so intense 267 00:21:06,866 --> 00:21:10,393 which is as if the memory were There, before her eyes. 268 00:21:11,206 --> 00:21:14,825 Petra's camera films more sideways than expected. 269 00:21:14,926 --> 00:21:16,813 Don't disturb your mother. 270 00:21:18,533 --> 00:21:22,840 Mother's daughter, Elena, Petra's sister, killed herself. 271 00:22:10,440 --> 00:22:13,172 In fiction films, There are many conventional ways 272 00:22:13,273 --> 00:22:14,780 to reproduce the memory. 273 00:22:15,433 --> 00:22:18,232 Here is a rare example in a traditional way 274 00:22:18,333 --> 00:22:20,033 to go to the past. 275 00:22:21,340 --> 00:22:24,040 A man returned to the village where he grew up. 276 00:22:24,453 --> 00:22:26,745 Your fingers caress the names on the rocks 277 00:22:26,846 --> 00:22:30,549 and the past begins to be invoked as if he were the genius 278 00:22:30,650 --> 00:22:32,246 and the rocks were the lamp. 279 00:22:33,780 --> 00:22:35,906 The past moves smoothly. 280 00:22:36,040 --> 00:22:37,380 And we around him. 281 00:22:38,413 --> 00:22:41,920 My father's house was next to the Vampire house. 282 00:22:43,666 --> 00:22:48,560 Director Maria Plata She was the first female filmmaker in Greece. 283 00:22:49,300 --> 00:22:52,066 This was the second of his 21 films. 284 00:22:53,180 --> 00:22:58,693 They talk about trauma and have complex design and editing. 285 00:23:00,713 --> 00:23:04,666 Filmmakers sometimes get tired from fusco tradition to memory. 286 00:23:04,813 --> 00:23:08,820 Here, Mary Lambert tries something more economical or daring. 287 00:23:10,873 --> 00:23:13,539 The story of Stephen King Is it about the dead coming back? life, 288 00:23:13,640 --> 00:23:15,300 a kind of metaphor for memory. 289 00:23:17,146 --> 00:23:18,685 An elderly man, Jud, 290 00:23:18,786 --> 00:23:21,033 start counting a story about the past. 291 00:23:21,290 --> 00:23:23,699 He looks to the left and we follow your gaze. 292 00:23:23,800 --> 00:23:25,886 He was the junk who told me about the place, 293 00:23:26,660 --> 00:23:28,333 he was half indigenous. 294 00:23:28,820 --> 00:23:30,265 An attraction of focus 295 00:23:30,366 --> 00:23:33,353 which again seems a metaphor for remembrance. 296 00:23:33,940 --> 00:23:38,813 And then, through the window and uncut, we are in the past. 297 00:23:38,980 --> 00:23:40,873 Her clothes tell us that. 298 00:23:41,973 --> 00:23:46,593 Long-range lens at the beginning, She often talks about the past... 299 00:23:50,820 --> 00:23:52,280 I could still see the marks on it... 300 00:23:53,780 --> 00:23:55,480 And then the lens changes. 301 00:23:55,973 --> 00:23:57,486 We made the jump. 302 00:23:57,820 --> 00:24:00,940 We are no longer looking to the past, we are in it. 303 00:24:01,860 --> 00:24:05,012 And this is the old man, a young boy now. 304 00:24:05,113 --> 00:24:06,059 Spot! 305 00:24:06,160 --> 00:24:07,980 He was no longer the dog that I knew... 306 00:24:08,420 --> 00:24:09,640 Spot! 307 00:24:10,050 --> 00:24:12,089 He died peacefully that second time 308 00:24:12,190 --> 00:24:14,353 and I buried him in the Cursed Cemetery... 309 00:24:14,590 --> 00:24:16,946 Where, as you saw, your bones are still there. 310 00:24:17,486 --> 00:24:20,126 A man doesn't always know Why do you do certain things, Lewis... 311 00:24:21,026 --> 00:24:22,366 I think I did this 312 00:24:22,573 --> 00:24:25,546 because your daughter is not ready for her favorite animal to die. 313 00:24:26,693 --> 00:24:29,500 Maybe in time she will discover What death really is... 314 00:24:30,213 --> 00:24:33,900 That's where the pain stops and the good memories begin. 315 00:24:34,660 --> 00:24:36,873 Has anyone already buried anyone there? 316 00:24:38,613 --> 00:24:41,906 For God's sake, no! Who would do this? 317 00:24:47,280 --> 00:24:49,433 ...and there's the hoop on the rafter. 318 00:24:49,766 --> 00:24:52,639 Your crib was here and your mother hung you 319 00:24:52,740 --> 00:24:57,720 in this same bank there is a lot, a long time. 320 00:24:58,386 --> 00:25:02,853 Another man remembering, visiting his village after years away. 321 00:25:03,266 --> 00:25:07,560 The camera approaches. And the sound of the past begins... 322 00:25:12,333 --> 00:25:16,053 His mother is singing. It seems to attract his eyes. 323 00:25:17,186 --> 00:25:21,840 Then, pictures from the past. No hole, no dissolved image. 324 00:25:26,006 --> 00:25:27,973 There is almost no camera movement. 325 00:25:28,153 --> 00:25:30,649 A series of pictorial images. 326 00:25:30,750 --> 00:25:33,386 Each one of them a haiku of love or death. 327 00:25:59,986 --> 00:26:04,413 You can almost guess that the film was directed by Yuliya Solntseva, 328 00:26:04,566 --> 00:26:09,093 the pictorial romanticism that appears frequently in this road movie. 329 00:26:14,080 --> 00:26:16,080 Mother's music was the trigger, 330 00:26:16,550 --> 00:26:19,480 the transport device in The Poem of the Sea. 331 00:26:19,920 --> 00:26:23,806 The words on the stone were the time capsule in Greek film. 332 00:26:24,926 --> 00:26:28,426 Sometimes a memory It is triggered when you see something. 333 00:26:29,150 --> 00:26:33,060 And very often in A Time to Die, by Dorota Kedzierzawska. 334 00:26:36,860 --> 00:26:39,346 Aniela uses binoculars. 335 00:26:39,706 --> 00:26:41,660 She sees children dancing. 336 00:26:42,920 --> 00:26:46,546 A long road ahead. A lifetime away. 337 00:26:47,866 --> 00:26:49,540 Closer to her now. 338 00:26:54,713 --> 00:26:56,480 And then this transformation. 339 00:26:56,973 --> 00:26:59,813 Her gaze is inward. Flickering light. 340 00:27:00,290 --> 00:27:04,920 Then your own youthful dance. As if reflected in a lake. 341 00:27:06,526 --> 00:27:10,006 Here the memory is light for director Kedzierzawska. 342 00:27:10,260 --> 00:27:12,980 Light from a distant star, maybe. 343 00:27:13,200 --> 00:27:16,413 A distant life, a distant lens. 344 00:27:58,893 --> 00:28:02,526 Vera Chytilov's film? about an aging man at sea. 345 00:28:02,850 --> 00:28:05,533 Shaky camera, as if he were on a boat. 346 00:28:12,633 --> 00:28:13,840 And then this. 347 00:28:16,453 --> 00:28:17,913 He finds an earring. 348 00:28:19,646 --> 00:28:21,933 And we cut to your old lovers. 349 00:28:22,320 --> 00:28:24,926 The camera now films like waves. 350 00:28:25,160 --> 00:28:27,466 Your memory comes in waves. 351 00:28:28,190 --> 00:28:32,213 We saw the memory triggered by touch, audio and gaze. 352 00:28:32,613 --> 00:28:35,760 Here is an object from the past. 353 00:28:35,933 --> 00:28:38,060 Happier times they intrude. 354 00:28:38,290 --> 00:28:42,020 They were your entry into this gift, in your afternoon. 355 00:28:49,773 --> 00:28:54,040 No, no magazines. This would take years. 356 00:28:54,520 --> 00:28:56,246 Like last time. 357 00:28:59,006 --> 00:29:03,385 Often in life and in the cinema, the memories arrive, 358 00:29:03,486 --> 00:29:07,300 unwanted, uninvited, as fragments. Flashes. 359 00:29:08,600 --> 00:29:12,219 Look at this remarkable scene of Loving Couples, 360 00:29:12,320 --> 00:29:13,626 by Mai Zetterling... 361 00:29:14,173 --> 00:29:15,553 A woman running. 362 00:29:16,293 --> 00:29:18,706 She's in a hospital, waiting to give? light. 363 00:29:24,233 --> 00:29:28,006 And then a slow merger into another race she did previously. 364 00:29:28,453 --> 00:29:29,880 Where is she going? 365 00:29:41,453 --> 00:29:42,760 To see your lover. 366 00:29:43,190 --> 00:29:46,089 Then slow fusion back to the hospital, 367 00:29:46,190 --> 00:29:48,000 where she is running away. 368 00:29:58,100 --> 00:30:00,020 And then the magic begins. 369 00:30:00,366 --> 00:30:01,559 A close-up. 370 00:30:01,660 --> 00:30:04,820 Your past spreads to the present as a new one. 371 00:30:05,180 --> 00:30:06,493 And then disappears again. 372 00:30:07,520 --> 00:30:09,632 A set of phases. 373 00:30:09,733 --> 00:30:11,820 No forced instructions here. 374 00:30:20,886 --> 00:30:24,740 No broken glass, until a glass breaks. 375 00:30:25,506 --> 00:30:28,832 Zetterling used techniques traditional memory in films, 376 00:30:28,933 --> 00:30:32,120 but reinvented them, gave them life. 377 00:30:38,306 --> 00:30:41,699 So far, our characters were individuals, 378 00:30:41,800 --> 00:30:45,146 men and women Thinking about your past. 379 00:30:47,680 --> 00:30:50,946 But what if it's not just an individual souvenir? 380 00:30:53,106 --> 00:30:54,493 What would that be like? 381 00:30:55,046 --> 00:30:56,780 Something like that, maybe. 382 00:30:56,953 --> 00:30:59,506 Director Yuliya Solntseva again... 383 00:31:01,053 --> 00:31:03,400 This taken through the sunflowers. 384 00:31:03,613 --> 00:31:06,866 How to get to the land of Oz. Slow motion. 385 00:31:07,020 --> 00:31:10,346 A time when life she was beautiful, idealized. 386 00:31:10,786 --> 00:31:13,906 It's not so much a person remembering, but one doesn't. 387 00:31:14,280 --> 00:31:18,160 A flashback of an almost mythical Ukraine. 388 00:31:36,913 --> 00:31:38,999 The writer, Alexander Dovzhenko, 389 00:31:39,100 --> 00:31:41,359 was portraying your own childhood, 390 00:31:41,460 --> 00:31:44,180 but filtered through the lens of no. 391 00:31:45,293 --> 00:31:47,793 Ukraine has never been so paradisiacal, 392 00:31:48,313 --> 00:31:52,566 but she wanted this fable and maybe he needed it. 393 00:31:57,673 --> 00:32:01,806 Let us move this mythical memory ahead, where does it take us? 394 00:32:02,000 --> 00:32:03,220 Can you guess? 395 00:32:19,846 --> 00:32:25,826 To the dubious cinema of memory from the Nazi era by Leni Riefenstahl. 396 00:32:32,140 --> 00:32:34,460 Her subject is the Olympics 397 00:32:34,673 --> 00:32:38,165 and it's only fair to start with the misty classical past 398 00:32:38,266 --> 00:32:39,853 where the Olympics began. 399 00:32:40,220 --> 00:32:42,892 Greek sculpture and then its personification... 400 00:32:42,993 --> 00:32:46,433 A disc launcher in slow motion and against the sky. 401 00:32:55,673 --> 00:32:57,806 She loves those bodies, of course, 402 00:32:57,953 --> 00:33:01,692 but your suggestion is that they are in the memory of their culture, 403 00:33:01,793 --> 00:33:03,065 in muscle memory. 404 00:33:03,166 --> 00:33:05,793 They are your lineage, their ancestors. 405 00:33:13,393 --> 00:33:14,519 as if she was thinking 406 00:33:14,620 --> 00:33:17,199 in the German writer's phrase Friedrich Schiller... 407 00:33:17,300 --> 00:33:19,246 The Greeks are what we were; 408 00:33:19,553 --> 00:33:21,793 That's what we should be again. 409 00:33:49,573 --> 00:33:51,080 This is something richer. 410 00:33:51,533 --> 00:33:54,266 A man is walking in a snowy landscape. 411 00:33:57,360 --> 00:33:58,726 Do you recognize him? 412 00:34:04,173 --> 00:34:06,293 If you are a fan of cinema, maybe yes. 413 00:34:06,733 --> 00:34:11,599 He is Magaye Niang, protagonist of one of the greatest African films, 414 00:34:11,700 --> 00:34:15,673 Touki Bouki, made in 1973, 40 years earlier. 415 00:34:16,220 --> 00:34:19,213 He was so full of life and fun in this movie, 416 00:34:19,353 --> 00:34:20,953 but now it's turning gray. 417 00:34:27,560 --> 00:34:31,049 Then, in the distance, also in the snow, long range lens, 418 00:34:31,150 --> 00:34:32,906 we see a naked woman. 419 00:34:35,853 --> 00:34:38,139 For those who remember from the original film, 420 00:34:38,240 --> 00:34:41,446 his actress, Mareme Niang, also appears nude. 421 00:34:41,813 --> 00:34:44,320 She was so outlier and punk. 422 00:34:44,640 --> 00:34:47,740 They were in love at that time in a hot climate. 423 00:34:48,093 --> 00:34:50,913 Now there is love in a cold climate? 424 00:34:51,553 --> 00:34:53,373 What kind of memory is this? 425 00:34:57,846 --> 00:34:59,693 The director of this film � Mati Diop, 426 00:34:59,950 --> 00:35:03,893 Touki director's niece Bouki, Djibril Diop Mamb? ty. 427 00:35:04,320 --> 00:35:06,293 And this is a documentary. 428 00:35:09,500 --> 00:35:16,513 You think you're back home and realizes he's not at home. 429 00:35:18,886 --> 00:35:21,592 Magaye I'm not interpreting a new character, 430 00:35:21,693 --> 00:35:23,560 or even any character. 431 00:35:24,066 --> 00:35:27,340 And yet, this scene evokes the previous film. 432 00:35:27,750 --> 00:35:30,550 This is a memory of the film. 433 00:35:32,453 --> 00:35:35,293 You mean I have a home as long as you don't go there? 434 00:35:38,120 --> 00:35:43,240 You don't have a home until you get out of it. 435 00:35:44,466 --> 00:35:47,093 And as soon as you're gone, can't go back. 436 00:35:57,560 --> 00:35:59,873 Try to stay in the present, darling! 437 00:36:02,600 --> 00:36:05,360 But sometimes it's better stay in the present. 438 00:36:05,913 --> 00:36:08,879 The acclaimed film by Liza Johnson, Return, 439 00:36:08,980 --> 00:36:12,153 about a soldier who returned of the War in Iraq. 440 00:36:13,360 --> 00:36:16,449 She finds it difficult to return your old life 441 00:36:16,550 --> 00:36:18,740 and just participated of a therapy session. 442 00:36:19,273 --> 00:36:21,293 She walks in the distance. 443 00:36:21,666 --> 00:36:23,966 City life continues around you. 444 00:36:24,186 --> 00:36:26,405 Many filmmakers they would do a flashback here, 445 00:36:26,506 --> 00:36:28,926 for moments from his war experience, 446 00:36:29,226 --> 00:36:32,849 but director Johnson resist and try. 447 00:36:32,950 --> 00:36:35,220 It stays in the here and now. 448 00:36:35,586 --> 00:36:38,472 The soldier's memories are invisible to everyone, 449 00:36:38,573 --> 00:36:39,893 except for her, 450 00:36:40,353 --> 00:36:42,526 so we don't see them either. 451 00:37:09,473 --> 00:37:12,585 In the last six chapters of this film, 452 00:37:12,686 --> 00:37:14,666 we will get to the heart of the matter. 453 00:37:14,886 --> 00:37:17,473 We will see the time, the inner life, 454 00:37:17,590 --> 00:37:19,066 the meaning of life, 455 00:37:19,206 --> 00:37:23,833 love, death, the endings and the caneles. 456 00:37:24,533 --> 00:37:26,139 First, the time. 457 00:37:26,240 --> 00:37:33,400 TIME 458 00:37:35,940 --> 00:37:39,160 See how easy it is to change the speed of the film. 459 00:37:41,733 --> 00:37:44,486 An outlet can be an express train 460 00:37:47,320 --> 00:37:48,646 or a heartbeat. 461 00:37:55,593 --> 00:37:58,845 A touching moment from one of the first directors, 462 00:37:58,946 --> 00:38:00,580 Alice Guy Blach. 463 00:38:01,060 --> 00:38:02,439 The leaves are falling, 464 00:38:02,540 --> 00:38:05,485 but little Trixie tries tie them to the branches, 465 00:38:05,586 --> 00:38:07,326 to reverse time. 466 00:38:07,773 --> 00:38:10,766 Stop time, stop the decay. 467 00:38:11,500 --> 00:38:14,166 Your sister is dying of tuberculosis. 468 00:38:14,680 --> 00:38:16,745 Trixie wants a time machine, 469 00:38:16,846 --> 00:38:19,513 but Alice Guy Blach It's whoever had one. 470 00:38:19,993 --> 00:38:21,240 The cinema. 471 00:38:27,613 --> 00:38:32,166 And 66 years later, Chantal Akerman filmed this scene... 472 00:38:32,550 --> 00:38:35,780 the opening scene of your film Anna's Encounters. 473 00:38:36,533 --> 00:38:37,800 The arrival of a train. 474 00:38:54,006 --> 00:38:55,420 We hear footsteps. 475 00:39:02,293 --> 00:39:03,526 Travelers. 476 00:39:05,600 --> 00:39:08,346 No camera movement. No plot. 477 00:39:08,773 --> 00:39:11,900 Is the space changing? No. 478 00:39:12,586 --> 00:39:14,746 Is the light there? No. 479 00:39:14,950 --> 00:39:18,246 Is the sound there? A little, but not much. 480 00:39:19,146 --> 00:39:22,120 What is really changing It's the time. 481 00:39:22,993 --> 00:39:28,099 Every second of the scene, everyone in it, everything in it 482 00:39:28,200 --> 00:39:29,700 He is a second older. 483 00:39:30,050 --> 00:39:33,280 A shot like this It is an image of time. 484 00:39:59,500 --> 00:40:01,580 In films with more plots, 485 00:40:01,980 --> 00:40:05,746 There are times when we can hear also the ticking of the clock. 486 00:40:07,620 --> 00:40:12,600 The beautiful My 20th Century, from Hungarian director Ildik? Enyedi. 487 00:40:13,206 --> 00:40:16,160 Minutes before midnight on the last night of the year. 488 00:40:16,766 --> 00:40:18,620 Two trains stop at the station. 489 00:40:21,680 --> 00:40:24,426 People look at each other through the ice. 490 00:40:25,793 --> 00:40:27,949 A great way to call pay attention to the time 491 00:40:28,050 --> 00:40:29,593 It's stop him. 492 00:40:30,180 --> 00:40:31,779 When nothing is happening, 493 00:40:31,880 --> 00:40:33,966 we notice that the time is happening. 494 00:40:34,346 --> 00:40:36,440 Quietude. The clock. 495 00:40:37,046 --> 00:40:39,646 A frozen world in various ways. 496 00:40:58,106 --> 00:41:01,046 Do you notice time when nothing else happens... 497 00:41:20,566 --> 00:41:23,426 And this opposite moment confirms this. 498 00:41:25,300 --> 00:41:29,273 When you do many things, doesn't understand time. 499 00:41:30,420 --> 00:41:32,440 Thumbelina with a butterfly. 500 00:41:32,733 --> 00:41:33,946 Darkens the screen. 501 00:41:39,320 --> 00:41:40,706 Then an insect appears. 502 00:41:49,073 --> 00:41:51,533 Black screen. A bird. 503 00:41:57,226 --> 00:42:01,205 Black. She's joking. Oblivious to time. 504 00:42:01,306 --> 00:42:04,346 Absorbed by the fun, the moment, the event. 505 00:42:05,340 --> 00:42:08,173 The darkenings seem to say that time is passing. 506 00:42:08,620 --> 00:42:11,000 A delicately ambiguous scene. 507 00:42:35,306 --> 00:42:36,885 These last three excerpts 508 00:42:36,986 --> 00:42:39,120 were about real time, let's say so. 509 00:42:39,373 --> 00:42:43,580 Let's see next what could be called lifetime. 510 00:42:44,200 --> 00:42:48,253 How movies sum up a life in a few hours? 511 00:42:48,826 --> 00:42:52,932 So I believed with all my heart that I would never put myself down... 512 00:42:53,033 --> 00:42:55,313 Here's a brilliant way to do this. 513 00:42:55,466 --> 00:42:58,565 The opening of Monster: Murderous Desire, by Patty Jenkins, 514 00:42:58,666 --> 00:43:00,225 who also directed Wonder Woman. 515 00:43:00,326 --> 00:43:03,433 That all these people They still didn't know who I would be. 516 00:43:03,953 --> 00:43:06,280 One day, they would all see. 517 00:43:06,706 --> 00:43:09,479 I heard that Marylin Monroe was discovered in a diner 518 00:43:09,580 --> 00:43:11,965 and I thought it might be like that. 519 00:43:12,066 --> 00:43:16,273 That's why I started going out at a young age. and always secretly searching 520 00:43:16,380 --> 00:43:18,126 who would discover me. 521 00:43:18,326 --> 00:43:19,666 Could it be this guy? 522 00:43:22,506 --> 00:43:23,933 Or maybe this one? 523 00:43:25,226 --> 00:43:27,249 To the extent that the character main grows, 524 00:43:27,350 --> 00:43:29,140 the image also grows. 525 00:43:29,386 --> 00:43:32,446 The past summarized, telescopic. 526 00:43:33,533 --> 00:43:38,073 ...they saw me as I was and they considered me beautiful, 527 00:43:40,880 --> 00:43:42,420 like a rough diamond. 528 00:43:44,193 --> 00:43:49,486 They would give me a new life, a new world, 529 00:43:50,006 --> 00:43:51,953 where everything would be different. 530 00:43:55,553 --> 00:43:56,773 Yes... 531 00:43:58,306 --> 00:44:00,940 I lived like this for a long time, a long time. 532 00:44:01,446 --> 00:44:04,432 In my head, dreaming like this. 533 00:44:04,533 --> 00:44:06,326 A cut for the present. 534 00:44:06,906 --> 00:44:08,520 One day it all ended. 535 00:44:20,626 --> 00:44:21,833 Ripening. 536 00:44:22,390 --> 00:44:24,626 Many films try to show this. 537 00:44:24,786 --> 00:44:28,726 Many films are about lives and, therefore, about time. 538 00:44:31,740 --> 00:44:34,220 How to portray an entire life? 539 00:44:34,906 --> 00:44:37,706 How to move forward, as long as life takes us? 540 00:44:38,800 --> 00:44:42,039 YULA, 10 YEARS OLD. 541 00:44:42,140 --> 00:44:44,966 Hanna Polak does it brilliantly. 542 00:44:45,466 --> 00:44:48,059 This is her documentary about a girl, Yula, 543 00:44:48,160 --> 00:44:52,086 who lives in a garbage dump 21km from the center of Moscow. 544 00:44:52,706 --> 00:44:54,746 Polak cuts to birds, 545 00:44:54,953 --> 00:44:56,646 for Yula's dreams of escape. 546 00:44:57,333 --> 00:45:00,200 another mountain of rubbish than a garbage dump. 547 00:45:20,586 --> 00:45:26,689 But there are other signs... 12 years, 13 and then this... 548 00:45:26,790 --> 00:45:29,286 14 YEARS OLD 549 00:45:29,430 --> 00:45:32,286 -Have we had enough of this yet? -Yes, we drink a lot! 550 00:45:32,833 --> 00:45:35,270 Indoor, camera in hand. 551 00:45:35,960 --> 00:45:38,619 Yula's face rounded since we met her. 552 00:45:38,720 --> 00:45:41,233 Hanna, don't film that! 553 00:45:41,426 --> 00:45:43,580 Your mother, alcoholic, 554 00:45:43,790 --> 00:45:45,653 She is still alive, thank God. 555 00:45:46,006 --> 00:45:47,246 Like this? 556 00:45:47,500 --> 00:45:49,799 It's not the vodka that they sell in the store. 557 00:45:49,900 --> 00:45:52,205 At least this bottle has a label. 558 00:45:52,306 --> 00:45:54,740 -Usually it doesn't even have a label. -What's the difference? 559 00:45:55,506 --> 00:45:57,925 I arrived at Misha and I asked him... 560 00:45:58,026 --> 00:45:59,939 "Want to poison your own workers?” 561 00:46:00,040 --> 00:46:03,192 When Misha found out how many workers from our brigade 562 00:46:03,293 --> 00:46:05,632 they had died with your Vodka without a label, 563 00:46:05,733 --> 00:46:08,520 and he still had three boxes, 564 00:46:08,820 --> 00:46:12,720 he returned and exchanged them for other certified ones. 565 00:46:16,086 --> 00:46:17,300 Suddenly, this. 566 00:46:17,420 --> 00:46:19,092 Another symbol of flight, 567 00:46:19,193 --> 00:46:21,753 elsewhere and a pan down. 568 00:46:26,553 --> 00:46:31,073 I have to fix it the shit they did. 569 00:46:32,173 --> 00:46:33,433 Close-up of the mother. 570 00:46:33,850 --> 00:46:35,353 She's still here. 571 00:46:36,550 --> 00:46:38,173 I'm not going to take care of any grandchildren! 572 00:46:46,406 --> 00:46:49,173 Let them figure out what to do, They are adults now. 573 00:47:00,466 --> 00:47:02,252 Yula aged 21. 574 00:47:02,353 --> 00:47:05,659 She has an apartment, but he had to give the baby away. 575 00:47:05,760 --> 00:47:10,232 If I had stayed with her, He would be five years old now. 576 00:47:10,333 --> 00:47:13,600 Would be running for air, already in kindergarten, 577 00:47:15,200 --> 00:47:17,180 if I had stayed with my baby. 578 00:47:17,326 --> 00:47:21,272 If I had a time machine, 579 00:47:21,373 --> 00:47:26,672 I would go back to 16 to 17 years old, 580 00:47:26,773 --> 00:47:30,409 I would take my daughter and bring her back with me, 581 00:47:30,510 --> 00:47:34,039 back to my present time. 582 00:47:34,140 --> 00:47:35,452 23 YEARS OLD 583 00:47:35,553 --> 00:47:38,886 Polak has been filming for 11 years. 584 00:47:39,500 --> 00:47:41,773 Yula talks about time. 585 00:47:42,106 --> 00:47:44,893 One of the few interviews directly in the film. 586 00:47:46,146 --> 00:47:49,580 Polak has a time machine. Your camera. 587 00:47:49,873 --> 00:47:53,385 In total, she filmed Yula for 14 years. 588 00:47:53,486 --> 00:47:58,046 ...when you saw children and adults, what did you feel? 589 00:48:01,860 --> 00:48:04,646 Here is a very different way to show a girl growing up. 590 00:48:05,120 --> 00:48:07,025 The Gold Diggers, by Sally Potter. 591 00:48:07,126 --> 00:48:08,480 Camera stopped. 592 00:48:08,720 --> 00:48:11,385 A girl circles an isolated cabin. 593 00:48:11,486 --> 00:48:15,080 Classically framed. A contrasting robot. 594 00:48:20,680 --> 00:48:22,573 Suddenly, the girl grew old. 595 00:48:22,700 --> 00:48:23,945 Years passed, 596 00:48:24,046 --> 00:48:27,400 but the socket hasn't changed, neither the music nor the light. 597 00:48:27,820 --> 00:48:30,593 And then a little more open and the same girl. 598 00:48:30,880 --> 00:48:32,253 There is no music now. 599 00:48:35,526 --> 00:48:38,406 And the girl is a woman. Julie Christi. 600 00:48:39,866 --> 00:48:42,120 20 years in 40 seconds. 601 00:48:52,220 --> 00:48:54,419 Potter was using the magic of cinema, 602 00:48:54,520 --> 00:48:56,032 your magic box. 603 00:48:56,133 --> 00:48:58,273 There are many tricks, of course. 604 00:48:59,120 --> 00:49:02,059 The opposite of compressing time 605 00:49:02,160 --> 00:49:04,600 and stretch it like mozzarella. 606 00:49:04,750 --> 00:49:08,320 what does Antonia Bird do here in his film Starving. 607 00:49:09,080 --> 00:49:11,472 Robert Carlyle is a cannibal 608 00:49:11,573 --> 00:49:14,372 determined to do whatever you want with Guy Pearce. 609 00:49:14,473 --> 00:49:16,633 Upbeat music and interleaved cutting. 610 00:49:27,040 --> 00:49:28,266 Suddenly, this... 611 00:49:30,573 --> 00:49:31,826 Fall. 612 00:49:32,180 --> 00:49:33,920 Fall. Fall. 613 00:49:34,200 --> 00:49:36,420 A longer fall than you expected. 614 00:49:36,880 --> 00:49:40,013 And all these sockets falling from trees. 615 00:49:40,150 --> 00:49:42,246 More time consuming than they would actually take. 616 00:49:50,806 --> 00:49:53,379 And roll... roll... roll... 617 00:49:53,480 --> 00:49:56,613 More takes, more time than it would actually take. 618 00:49:59,420 --> 00:50:03,260 Bird and his team increase time by repetition, 619 00:50:04,046 --> 00:50:07,226 changing the scene size and multiplying the action. 620 00:50:20,573 --> 00:50:23,393 The Hudson River, Filmed by Marie Menken. 621 00:50:23,650 --> 00:50:25,473 Accelerated like this 622 00:50:25,860 --> 00:50:27,520 It's a kind of highway. 623 00:50:27,940 --> 00:50:30,312 Time flies, smoke flies. 624 00:50:30,413 --> 00:50:32,580 Boats rushing, like bumper cars. 625 00:50:37,013 --> 00:50:39,280 Suddenly we are looking to an avenue. 626 00:50:39,513 --> 00:50:41,233 New Yorkers on the run. 627 00:50:50,280 --> 00:50:53,499 This movie box trick makes things crazy. 628 00:50:53,600 --> 00:50:55,279 And it's easy to do that. 629 00:50:55,380 --> 00:50:58,960 You film slowly and then projects at normal speed. 630 00:51:08,833 --> 00:51:10,919 Greek director Maria Plyta 631 00:51:11,020 --> 00:51:13,179 I loved the time machine of cinema 632 00:51:13,280 --> 00:51:15,706 and loved manipulating time. 633 00:51:15,980 --> 00:51:18,340 His film The She-Wolf again. 634 00:51:18,980 --> 00:51:21,032 Pan left with an old lady. 635 00:51:21,133 --> 00:51:23,073 Your moans of sadness. 636 00:51:29,360 --> 00:51:30,519 Your friend... 637 00:51:30,620 --> 00:51:33,920 You will continue to sit, my friend? 638 00:51:34,740 --> 00:51:36,886 A close-up of her, upset. 639 00:51:37,093 --> 00:51:39,160 My little daughter I sat there... 640 00:51:40,233 --> 00:51:43,086 She loved that shade... 641 00:51:43,480 --> 00:51:46,012 And then cut to the person who is watching all this, 642 00:51:46,113 --> 00:51:47,320 this woman. 643 00:51:47,480 --> 00:51:51,225 A fusion for memories of the young woman's past. 644 00:51:51,326 --> 00:51:52,979 So far very conventional. 645 00:51:53,080 --> 00:51:56,953 Suddenly this strange fusion to the past, 646 00:51:57,260 --> 00:51:59,293 with a little action. 647 00:51:59,433 --> 00:52:01,200 A lapse of time. 648 00:52:03,413 --> 00:52:07,186 Another merger back for the souvenir of the gift 649 00:52:07,446 --> 00:52:11,526 and then we cut to the man who is remembering the fact! 650 00:52:12,320 --> 00:52:16,320 A time lapse within a flashback within a flashback! 651 00:52:21,426 --> 00:52:24,613 But there are reasons in history for these time changes. 652 00:52:24,780 --> 00:52:28,226 At the beginning of the same film, we have something more abstract. 653 00:52:28,566 --> 00:52:30,886 A young man walking down a hill... 654 00:52:32,753 --> 00:52:35,400 The camera tilts to the floor 655 00:52:40,200 --> 00:52:42,286 and then again to heaven. 656 00:52:46,373 --> 00:52:48,726 And then, five phases! 657 00:52:51,026 --> 00:52:52,993 We must not forget our friendship! 658 00:52:57,366 --> 00:53:00,039 There are small defects in the film projection, 659 00:53:00,140 --> 00:53:01,846 we can hear changes in the music. 660 00:53:02,386 --> 00:53:06,645 But the effect is small moments of time or consciousness, 661 00:53:06,746 --> 00:53:09,119 overlapping but not flowing. 662 00:53:09,220 --> 00:53:11,360 A touch of cubism, perhaps. 663 00:53:24,760 --> 00:53:27,860 It's hard to resist this game of time and mind. 664 00:53:28,786 --> 00:53:32,932 In his film The Future, filmmaker Miranda July 665 00:53:33,033 --> 00:53:34,413 can't resist. 666 00:53:34,966 --> 00:53:39,019 Your character is about giving more news to her boyfriend. 667 00:53:39,120 --> 00:53:40,633 He doesn't want to hear... 668 00:53:44,226 --> 00:53:48,093 I don't know what is happening, but... 669 00:53:49,850 --> 00:53:52,605 If you will say something very bad, 670 00:53:52,706 --> 00:53:54,233 Can you wait a minute? 671 00:53:54,700 --> 00:53:57,059 So, literally, there is a pause in time. 672 00:53:57,160 --> 00:54:00,906 If I need some time before of you saying what you are going to say. 673 00:54:01,846 --> 00:54:03,360 I just want you to know... 674 00:54:13,920 --> 00:54:18,180 Silhouette shot in low light, like a Victorian cutout. 675 00:54:22,353 --> 00:54:26,206 And in this frozen time, anything can happen. 676 00:54:34,726 --> 00:54:36,779 The moon can talk to you. 677 00:54:36,880 --> 00:54:38,626 You can ask her for advice. 678 00:54:40,513 --> 00:54:42,153 So, what now? 679 00:54:45,886 --> 00:54:48,186 What is your plan for the future? 680 00:54:50,966 --> 00:54:55,333 I think we need to retread this one when it no longer works. 681 00:54:55,980 --> 00:54:59,200 But you can't stay curling for a long time. 682 00:55:00,940 --> 00:55:02,960 For how long Will it keep her paralyzed? 683 00:55:04,920 --> 00:55:07,286 That time of holiday comedies. 684 00:55:15,213 --> 00:55:18,132 We analyze real time in the cinema, the time of a lifetime, 685 00:55:18,233 --> 00:55:21,600 the magic time of the film, but beyond that, 686 00:55:21,793 --> 00:55:24,126 there is a kind of mythical time. 687 00:55:24,886 --> 00:55:26,380 And we see it here. 688 00:55:26,853 --> 00:55:30,553 Orlando's adaptation by Virginia Woolf by Sally Potter. 689 00:55:32,133 --> 00:55:34,013 We are in the year 1750. 690 00:55:34,386 --> 00:55:36,826 A war plane appears, which is impossible. 691 00:55:42,080 --> 00:55:44,439 And suddenly, we are in the UK, 692 00:55:44,540 --> 00:55:47,206 in a bombing raid in the 40s. 693 00:55:47,346 --> 00:55:50,213 Almost 200 years in a single cut. 694 00:55:50,920 --> 00:55:54,672 Orlando is a passenger of time, a passenger of this kind, 695 00:55:54,773 --> 00:55:56,033 a Doctor Who. 696 00:55:56,533 --> 00:55:57,865 The smoke of war. 697 00:55:57,966 --> 00:55:59,240 Traveling to the right. 698 00:56:36,260 --> 00:56:40,886 BIRTH 699 00:56:42,726 --> 00:56:44,646 And then, with a thud, 700 00:56:44,786 --> 00:56:47,993 we are in the glass and in 80s chrome. 701 00:56:48,150 --> 00:56:50,226 Another 40 years in one cut. 702 00:56:51,506 --> 00:56:52,926 Really very good... 703 00:56:54,693 --> 00:56:56,700 Orlando has barely aged, 704 00:56:56,826 --> 00:56:59,732 but the story took a leap impressive. 705 00:56:59,833 --> 00:57:01,025 I think it will sell. 706 00:57:01,126 --> 00:57:04,140 Woolf's novel I was begging for the cinema. 707 00:57:05,780 --> 00:57:09,073 ...increase interest for romance, give a happy ending... 708 00:57:10,253 --> 00:57:11,466 By the way, 709 00:57:11,746 --> 00:57:13,380 how long Did it take you long on this draft? 710 00:57:24,786 --> 00:57:28,919 Our last stretch is a one of the simplest technically, 711 00:57:29,020 --> 00:57:30,573 but one of the best. 712 00:57:31,886 --> 00:57:34,173 One girl, one lollipop. 713 00:57:35,120 --> 00:57:36,785 Why does she look over your shoulder? 714 00:57:36,886 --> 00:57:38,280 Your friend. 715 00:57:38,393 --> 00:57:40,233 Simple sockets, plan and counter plan. 716 00:58:00,826 --> 00:58:02,060 Then she walks away. 717 00:58:02,550 --> 00:58:05,060 They said today she would become a woman. 718 00:58:06,433 --> 00:58:07,906 That when it's noon, 719 00:58:08,020 --> 00:58:10,693 when a branch doesn't do more shade, 720 00:58:11,040 --> 00:58:12,900 your childhood ends. 721 00:58:14,886 --> 00:58:18,200 It's almost shadowless. Quick! 722 00:58:19,126 --> 00:58:21,060 The little solar clock. 723 00:58:21,766 --> 00:58:25,380 A simple thing speaks of big changes in your life. 724 00:58:26,380 --> 00:58:31,033 Director Marziyeh Meshkini gets real acting. 725 00:58:37,160 --> 00:58:38,380 Take... 726 00:58:38,640 --> 00:58:41,993 Suddenly, the person she he looked over his shoulder. 727 00:58:42,306 --> 00:58:43,526 Your mother. 728 00:58:45,106 --> 00:58:46,326 The last one. 729 00:58:49,333 --> 00:58:51,726 A lollipop, a stick... 730 00:59:00,566 --> 00:59:02,053 and now a chador. 731 00:59:13,786 --> 00:59:17,446 Hasan, there is no more shadow. Goodbye. 732 00:59:31,033 --> 00:59:32,246 Three objects, 733 00:59:32,833 --> 00:59:34,053 the time 734 00:59:34,866 --> 00:59:36,813 and a boat's siren.