1
00:00:21,226 --> 00:00:24,089
Most films were
run by men.

2
00:00:24,190 --> 00:00:28,690
Most classic sayings
were run by men.

3
00:00:29,675 --> 00:00:34,165
But 13 decades ago, in all six
continents where films are made,

4
00:00:34,266 --> 00:00:37,304
thousands of women too
have directed films.

5
00:00:39,560 --> 00:00:41,550
Some of the best.

6
00:00:43,404 --> 00:00:45,150
What films did they make?

7
00:00:45,390 --> 00:00:47,729
What techniques did they use?

8
00:00:49,121 --> 00:00:52,110
What can we learn
about cinema with them?

9
00:00:52,506 --> 00:00:57,415
Let's revisit the films through
from the eyes of the directors.

10
00:00:58,960 --> 00:01:02,529
Let's make a new one
road movie through the cinema.

11
00:01:06,060 --> 00:01:08,489
WOMEN MAKE CINEMA

12
00:01:08,590 --> 00:01:12,960
A NEW ROAD MOVIE
THROUGH THE CINEMA.

13
00:01:16,340 --> 00:01:18,589
What is easy for a writer,

14
00:01:18,690 --> 00:01:21,300
often not so much
for a filmmaker.

15
00:01:21,540 --> 00:01:24,689
A writer can write
 �she thought� or �he thought�,

16
00:01:24,790 --> 00:01:28,200
and take us instantly
to the character's mind.

17
00:01:29,040 --> 00:01:31,800
But how does a film director do this?

18
00:01:33,000 --> 00:01:39,200
35 - INNER LIFE

19
00:01:43,400 --> 00:01:45,249
In his 22nd film,

20
00:01:45,350 --> 00:01:48,600
Germaine Dulac shows us
classic mode.

21
00:01:48,900 --> 00:01:51,839
She takes the character's mouth out of the scene.

22
00:01:51,940 --> 00:01:54,519
So definitely
It is not a speaking image.

23
00:01:54,620 --> 00:02:00,110
Instead, it focuses
the brain, which we see superimposed...

24
00:02:06,340 --> 00:02:09,399
as if it were illuminated
by thoughts and images.

25
00:02:09,500 --> 00:02:13,700
A clear and concise way
to show your inner life.

26
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The film �Wings�, by Larisa Sheptiko.

27
00:02:33,140 --> 00:02:35,620
A teacher in a hallway.

28
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-All good.
-Right.

29
00:02:38,940 --> 00:02:42,100
Then the camera passes
to another hallway.

30
00:02:42,940 --> 00:02:47,459
Then she walks and passes to another
corridor. A pattern forms.

31
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School is like a maze.
Leave her confined.

32
00:02:50,800 --> 00:02:53,710
Arrange it with your right angles.

33
00:03:05,740 --> 00:03:09,010
Nadezhda. Did they find the guy?

34
00:03:09,250 --> 00:03:10,900
Oh, her face.

35
00:03:11,100 --> 00:03:14,600
A soft and...
we are over the moon!

36
00:03:15,690 --> 00:03:20,000
This woman was a pilot.
The freedom of the outdoors.

37
00:03:20,300 --> 00:03:21,700
Nadezhda Stepanovna?

38
00:03:23,140 --> 00:03:26,500
She closes her eyes
to retain the moment.

39
00:03:27,740 --> 00:03:31,510
-We get into her mind.
-Vostriakov?

40
00:03:32,490 --> 00:03:33,800
I don't know.

41
00:03:43,930 --> 00:03:47,110
At 5:30pm or 6pm. Maybe 4pm.

42
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Goodbye.

43
00:03:51,030 --> 00:03:52,300
Goodbye.

44
00:03:54,140 --> 00:03:58,000
Sheptiko gives us a glimpse
of the teacher's inner world.

45
00:03:58,360 --> 00:04:01,710
Here we glimpse
Miranda July even less so.

46
00:04:01,940 --> 00:04:04,139
She went to live
with an older man.

47
00:04:04,240 --> 00:04:07,310
He leaves for work.
American suburb.

48
00:04:20,840 --> 00:04:23,900
But then, she is alone
and what is that?

49
00:04:32,900 --> 00:04:36,100
A yellow thing seems
transform or crawl.

50
00:04:36,530 --> 00:04:38,200
A sign of her restlessness?

51
00:04:39,040 --> 00:04:43,610
From surrealist painting
by Yves Tanguy? From �Blue Velvet�?

52
00:04:47,600 --> 00:04:50,210
A small suggestion
of inner life

53
00:04:50,690 --> 00:04:52,200
to an epic.

54
00:04:52,590 --> 00:04:54,439
A couple about to kiss.

55
00:04:54,540 --> 00:04:57,900
To the left, behind them,
an unlit Ferris wheel.

56
00:04:58,200 --> 00:05:00,129
But when they kiss,

57
00:05:00,230 --> 00:05:03,539
with the neurons lit
of pleasure or desire,

58
00:05:03,640 --> 00:05:07,600
the city, Blackpool,
lights up around them.

59
00:05:11,650 --> 00:05:13,000
Magic.

60
00:05:15,740 --> 00:05:18,620
Lighting is like your synapses.

61
00:05:19,140 --> 00:05:22,399
Optimism and light
from a Gene Kelly musical.

62
00:05:22,500 --> 00:05:25,810
The world becomes colorful
through the minds of the characters.

63
00:05:26,090 --> 00:05:27,800
A pathetic fallacy.

64
00:05:32,440 --> 00:05:35,539
A milk and a little cream,
to take away.

65
00:05:35,640 --> 00:05:37,020
There's only milk.

66
00:05:38,100 --> 00:05:39,889
-No cream?
-Not to take away.

67
00:05:39,990 --> 00:05:42,910
What do you put in coffee?
No cream?

68
00:05:43,340 --> 00:05:46,459
But what if the filmmaker
Don't use such tricks?

69
00:05:46,560 --> 00:05:50,499
And if you don't use scenography,
cuts and images merging

70
00:05:50,600 --> 00:05:53,010
to show life
character's interior?

71
00:05:53,240 --> 00:05:57,400
The most
simplified is here.

72
00:05:57,880 --> 00:06:00,439
Peter Falk's growing frustration.

73
00:06:00,540 --> 00:06:03,829
The image is the same,
but his spirit is lifted up.

74
00:06:03,930 --> 00:06:08,400
-Not for sale.
-I'll pay 15 coffees, give me the cream.

75
00:06:08,540 --> 00:06:10,100
-Fifteen?
-That's right.

76
00:06:15,900 --> 00:06:18,949
The camera turns a little to the left,

77
00:06:19,050 --> 00:06:20,539
but Falk erupts.

78
00:06:20,640 --> 00:06:23,399
It is the performance that tells us
what he feels.

79
00:06:23,500 --> 00:06:26,700
Acting like the best
inside pointer.

80
00:06:27,240 --> 00:06:28,620
Give me this!

81
00:06:29,140 --> 00:06:32,410
I need to go back, get ready
for the next quarter.

82
00:06:32,790 --> 00:06:35,749
Here's a masterclass
in the same thing.

83
00:06:35,850 --> 00:06:39,100
-I didn't know it was next week.
-Listen.

84
00:06:39,500 --> 00:06:41,920
No, listen to me.

85
00:06:44,440 --> 00:06:46,500
I had a wonderful summer.

86
00:06:47,940 --> 00:06:49,400
It's true.

87
00:06:51,540 --> 00:06:53,010
I will miss you.

88
00:06:57,840 --> 00:07:01,800
The shy and problematic
poet Janet Frame.

89
00:07:01,940 --> 00:07:04,839
For the first time in my life,
she has a boyfriend.

90
00:07:04,940 --> 00:07:07,700
He's a good guy, but he leaves.

91
00:07:26,240 --> 00:07:31,320
Francesca,
Miss. Is Janet home?

92
00:07:45,280 --> 00:07:46,749
ANA ANGEL AT MY TABLE
Janet?

93
00:07:46,850 --> 00:07:49,020
DIR. JANE CAMPION, 1990

94
00:07:53,140 --> 00:07:55,010
Janet, are you there?

95
00:08:02,850 --> 00:08:04,990
The ferry leaves at noon.

96
00:08:07,700 --> 00:08:11,210
The camera goes down a little
and it's left again,

97
00:08:11,400 --> 00:08:16,199
and all the anxieties of your life,
your fears of people and emotions,

98
00:08:16,300 --> 00:08:18,200
begin to emerge.

99
00:08:18,540 --> 00:08:21,200
And the camera sneaks in.

100
00:08:21,800 --> 00:08:24,719
Actress Kerry Fox
and director Jane Campion

101
00:08:24,820 --> 00:08:27,600
show exactly what Janet feels.

102
00:08:55,990 --> 00:08:58,499
the whole seat
and she squeezed...

103
00:08:58,600 --> 00:09:00,679
Two last scenes about inner life,

104
00:09:00,780 --> 00:09:04,000
radically different
of classic cinema.

105
00:09:04,640 --> 00:09:08,059
The director and dancer's film
American Yvonne Rainer

106
00:09:08,160 --> 00:09:10,110
 �Film About a Woman Who...� 

107
00:09:10,540 --> 00:09:13,000
Photos from another movie,

108
00:09:13,140 --> 00:09:15,400
 �Psycho�, by Alfred Hitchcock.

109
00:09:15,540 --> 00:09:17,919
And a voice speaking to us
about another woman.

110
00:09:18,020 --> 00:09:20,390
and starts walking
in that direction.

111
00:09:20,640 --> 00:09:21,709
Your stomach burns

112
00:09:21,810 --> 00:09:25,519
and she has to swallow her saliva
bitterness that forms in the mouth.

113
00:09:25,620 --> 00:09:28,619
What did she feel when she saw
what we are seeing.

114
00:09:28,720 --> 00:09:30,259
The houses shook and fell silent.

115
00:09:30,360 --> 00:09:32,900
She wonders
if you will find a hotel in time.

116
00:09:33,050 --> 00:09:36,200
His disgust with the murder
from another woman?

117
00:09:36,440 --> 00:09:39,900
Hitchcock's skill
to shake our nerves?

118
00:09:40,490 --> 00:09:43,200
A writer's techniques, perhaps.

119
00:09:43,450 --> 00:09:45,400
 �She thought, she felt.� 

120
00:09:45,540 --> 00:09:47,929
Everything gives her the feeling of the moment.

121
00:09:48,030 --> 00:09:49,919
She finds an empty lot.

122
00:09:50,020 --> 00:09:54,100
He gropes his way to the door
out of a truck and vomits.

123
00:09:54,250 --> 00:09:56,500
But with austere images.

124
00:09:56,800 --> 00:10:00,169
Like a report from the interior
of the mind, like Virginia Woolf.

125
00:10:00,270 --> 00:10:03,519
And do you remember being
on the hotel street that morning,

126
00:10:03,620 --> 00:10:07,000
seeing two men on a scaffold,
painting the tank orange.

127
00:10:07,350 --> 00:10:10,400
There, she knows she is
one block away.

128
00:10:11,340 --> 00:10:14,910
Lastly, another approach
radical inner life.

129
00:10:15,900 --> 00:10:19,639
The writer and filmmaker
Algerian Assia Djebar.

130
00:10:19,740 --> 00:10:22,159
LA ZERDA
Old photos, probably

131
00:10:22,260 --> 00:10:23,979
DIR. ASSIA DJEBAR, 1982
taken by colonizers.

132
00:10:24,080 --> 00:10:25,720
French photographers.

133
00:10:25,940 --> 00:10:29,120
And heart-breaking Arabic songs.

134
00:10:29,440 --> 00:10:33,189
These images were taken
by foreigners, people from outside,

135
00:10:33,290 --> 00:10:36,620
but Djebar wants to see
inside these people.

136
00:10:59,540 --> 00:11:00,890
your people.

137
00:11:01,840 --> 00:11:04,739
soundtrack takes us
below the surface,

138
00:11:04,840 --> 00:11:07,200
in their lives, their emotions.

139
00:11:07,600 --> 00:11:11,200
The inner world here
It is not just that of an individual.

140
00:11:11,330 --> 00:11:14,800
Djebar tries to show us
the thoughts of a nation.

141
00:11:18,240 --> 00:11:22,300
What remains besides this image?

142
00:11:22,490 --> 00:11:25,939
What remains, beyond this look?

143
00:11:26,040 --> 00:11:29,000
In the 19th century, the leader
from one rebellion followed another,

144
00:11:30,810 --> 00:11:35,389
in the countryside and in cities,

145
00:11:35,490 --> 00:11:38,349
in the mountains,

146
00:11:38,450 --> 00:11:41,829
as soon as the plains were subdued,

147
00:11:41,930 --> 00:11:48,059
they came from all
the roads that led to...

148
00:11:48,160 --> 00:11:52,820
HEROES!

149
00:12:01,400 --> 00:12:03,900
And so we arrived
It is the essence of things.

150
00:12:04,060 --> 00:12:06,199
We saw cinematographic techniques

151
00:12:06,300 --> 00:12:09,159
and important things
in relationships, politics,

152
00:12:09,260 --> 00:12:11,039
work and home.

153
00:12:11,140 --> 00:12:13,300
But what about life itself?

154
00:12:14,040 --> 00:12:17,120
How do filmmakers show what she is?

155
00:12:19,600 --> 00:12:26,000
36 - THE MEANING OF LIFE

156
00:12:32,490 --> 00:12:36,029
An English pub. 50s.
Moving plane.

157
00:12:36,130 --> 00:12:41,000
TOGETHER
UNITED KINGDOM, 1956

158
00:12:43,140 --> 00:12:44,600
Ah, two guys.

159
00:12:47,530 --> 00:12:50,400
Oh, these women.
There is so much life here.

160
00:12:57,540 --> 00:12:59,800
But then comes the silence.

161
00:13:00,140 --> 00:13:02,700
As we saw in chapter 6,
the boy is deaf.

162
00:13:17,900 --> 00:13:21,800
He absorbs life visually,
flashing and alert.

163
00:13:32,840 --> 00:13:34,400
Then, the sound returns.

164
00:13:34,640 --> 00:13:36,839
Life happens all around.

165
00:13:36,940 --> 00:13:39,190
The bar is a kind
of stone pool.

166
00:13:50,550 --> 00:13:54,700
An empty space now.
A rigorous symmetric structure.

167
00:13:54,840 --> 00:13:56,939
Little Alice stopped talking,

168
00:13:57,040 --> 00:14:00,500
and was sent to school
for children with difficulties.

169
00:14:02,200 --> 00:14:03,510
This boy.

170
00:14:05,740 --> 00:14:07,200
A close-up.

171
00:14:15,460 --> 00:14:16,800
Zooms in.

172
00:14:17,900 --> 00:14:19,200
More.

173
00:14:22,160 --> 00:14:23,500
More.

174
00:14:33,890 --> 00:14:35,200
She writes it down with chalk.

175
00:14:36,300 --> 00:14:37,900
Did he make this happen?

176
00:14:38,550 --> 00:14:41,100
Are they a kind of Adam and Eve?

177
00:14:42,300 --> 00:14:44,429
Symmetry again.
And the years pass.

178
00:14:44,530 --> 00:14:46,829
BIG CHANGES

179
00:14:46,930 --> 00:14:52,790
ALICE IS 17 YEARS OLD,
TWO MONTHS AND TEN DAYS

180
00:14:56,100 --> 00:15:00,000
And they are still here.
In this kind of garden of Eden.

181
00:15:00,330 --> 00:15:02,110
Looking at the tree.

182
00:15:02,330 --> 00:15:06,000
Maybe that's what life is.
Looking as the years go by.

183
00:15:07,800 --> 00:15:11,110
Requires patience.
And sense of humor.

184
00:15:19,940 --> 00:15:22,700
At our school,
I was an excellent student.

185
00:15:23,100 --> 00:15:27,999
-More close-ups.
-I learned a trick.

186
00:15:28,100 --> 00:15:31,200
Bigger.
Like a spaghetti western.

187
00:15:31,690 --> 00:15:35,800
Life keeps passing by
The apples keep falling.

188
00:15:39,430 --> 00:15:42,819
Anna Melikyan's film
won many awards.

189
00:15:42,920 --> 00:15:47,200
MERMAID
RUSSIA, 2007

190
00:15:56,000 --> 00:15:57,600
Tell me about the planet.

191
00:15:58,900 --> 00:16:00,200
Planet.

192
00:16:03,090 --> 00:16:07,000
You've traveled a lot.
Here, here, here.

193
00:16:09,040 --> 00:16:12,100
How about this colorful world?

194
00:16:14,510 --> 00:16:16,290
You've been everywhere.

195
00:16:19,830 --> 00:16:22,300
Two different loners now,

196
00:16:22,640 --> 00:16:25,600
in �Western�, by Valeska Grisebach.

197
00:16:26,100 --> 00:16:28,059
The man in white is a German worker,

198
00:16:28,160 --> 00:16:31,100
helping to build
a plant in Bulgaria.

199
00:16:33,140 --> 00:16:35,300
The other is a local worker.

200
00:16:35,600 --> 00:16:39,500
Two men in a difficult time,
trying to make a living.

201
00:16:40,200 --> 00:16:43,200
Grisebach filmed them at night,

202
00:16:43,500 --> 00:16:45,300
with crickets on the soundtrack.

203
00:16:45,440 --> 00:16:48,800
They are like two
grizzled cowboys in a bar.

204
00:16:52,120 --> 00:16:54,790
They talk about their children,
of the situation on the planet.

205
00:16:55,140 --> 00:16:59,039
The Germans and Bulgarians
in this film they are introverts.

206
00:16:59,140 --> 00:17:01,010
But these two connect.

207
00:17:03,700 --> 00:17:07,489
And then, this.
They talk about family and loss.

208
00:17:07,590 --> 00:17:09,600
I take my family in my heart.

209
00:17:10,850 --> 00:17:12,290
My brother too.

210
00:17:14,340 --> 00:17:15,710
Mein �brat�.

211
00:17:18,040 --> 00:17:21,010
-I lost a brother.
-That's sad.

212
00:17:24,100 --> 00:17:25,500
Is he not your brother anymore?

213
00:17:26,830 --> 00:17:28,200
No, my brother...

214
00:17:32,650 --> 00:17:34,939
-He's looking from above.
-I am really sorry.

215
00:17:35,040 --> 00:17:36,410
He's here too.

216
00:17:58,930 --> 00:18:02,500
Another pause.
Another drink. Ah...

217
00:18:02,940 --> 00:18:04,410
I am your brother.

218
00:18:09,700 --> 00:18:14,000
 �Western� is about seeing life
and himself, in others.

219
00:18:26,530 --> 00:18:30,200
I want to go to school
and take care of my parents.

220
00:18:32,900 --> 00:18:36,300
I also want to put my brother
youngest at school.

221
00:18:36,540 --> 00:18:40,700
I'll tell him to try.
If you need anything, I'll help you.

222
00:18:41,100 --> 00:18:43,500
The same solidarity is here.

223
00:18:44,700 --> 00:18:49,310
The short film documentary
by Shin Daewe, from Myanmar.

224
00:18:49,520 --> 00:18:52,200
This shocking scene of the brother smoking.

225
00:19:00,900 --> 00:19:02,200
Ah, a tree.

226
00:19:05,450 --> 00:19:08,289
Now, as if we were
looking from above the tree.

227
00:19:08,390 --> 00:19:13,439
If I have a boyfriend,
I don't think it will last long.

228
00:19:13,540 --> 00:19:17,169
If he writes me letters,
I won't be able to read it.

229
00:19:17,270 --> 00:19:21,549
I'll be worried,
because I won't be able to answer.

230
00:19:21,650 --> 00:19:25,259
And he may be disappointed.

231
00:19:25,360 --> 00:19:31,920
Maybe I have to admit that I am
illiterate and see what he says.

232
00:19:33,690 --> 00:19:36,419
He studied a little.

233
00:19:36,520 --> 00:19:40,900
That's why I don't know
If I should date him.

234
00:19:45,000 --> 00:19:47,600
What she says here is revealing.

235
00:19:47,990 --> 00:19:50,700
Just like the image, the scene.

236
00:19:52,150 --> 00:19:55,429
Every time I see him,
I want to discuss.

237
00:19:55,530 --> 00:19:57,529
In the past, we didn't get along well.

238
00:19:57,630 --> 00:19:59,779
He herds cows and I herd goats.

239
00:19:59,880 --> 00:20:03,100
When we fight,
I throw the dogs at him.

240
00:20:04,140 --> 00:20:06,100
But it's all a joke.

241
00:20:13,940 --> 00:20:18,500
A rich man who doesn't drink
You must make a good husband.

242
00:20:18,800 --> 00:20:24,059
Even if he drinks, I don't care,
as long as it doesn't cause problems

243
00:20:24,160 --> 00:20:29,210
and go to sleep peacefully.

244
00:20:38,730 --> 00:20:42,319
To Chantal Akerman,
connection is one of the problems.

245
00:20:42,420 --> 00:20:43,429
ANNA'S MEETINGS, 1978

246
00:20:43,530 --> 00:20:48,990
Here Anna, whom we already know,
try a connection, an intimacy.

247
00:20:55,540 --> 00:20:56,900
Oh, no.

248
00:20:59,460 --> 00:21:02,189
The impassive image
and rigorous approach by Akerman.

249
00:21:02,290 --> 00:21:05,200
Your worldview
rigorous and impassive.

250
00:21:12,890 --> 00:21:15,700
Touching gets you nowhere.
It's a dead end.

251
00:21:25,740 --> 00:21:29,100
Anna gets up,
but the picture doesn't change.

252
00:21:32,000 --> 00:21:35,100
It's indifferent.
How indifferent life is.

253
00:21:41,240 --> 00:21:44,100
A series of open doors and windows.

254
00:21:55,820 --> 00:21:58,790
After several meetings,

255
00:21:58,940 --> 00:22:01,500
Anna is essentially alone.

256
00:22:02,000 --> 00:22:04,000
Classical existentialism.

257
00:22:42,890 --> 00:22:45,389
There is a void in Anna's void,

258
00:22:45,490 --> 00:22:49,289
but here in �Betoniyo�,
by Pirjio Honkasalo,

259
00:22:49,390 --> 00:22:53,500
despair is more shocking,
more stylized, more cosmic.

260
00:23:02,330 --> 00:23:05,400
You know the only thing
In the world what should you fear?

261
00:23:09,400 --> 00:23:10,800
Hope.

262
00:23:11,560 --> 00:23:14,710
Understand this. Hope.

263
00:23:15,040 --> 00:23:18,100
If you are free from it,
You are free from everything.

264
00:23:18,330 --> 00:23:21,300
There is no one stronger
than someone without hope.

265
00:23:23,540 --> 00:23:26,900
I don't expect much.
Normally.

266
00:23:31,990 --> 00:23:36,500
Let's see all this shit
fly in the wind, in space.

267
00:23:37,650 --> 00:23:40,100
No stone will be left unturned.

268
00:23:42,930 --> 00:23:46,010
Everything will be reduced to ashes,
as predicted.

269
00:23:48,540 --> 00:23:54,500
This shit has been going on for billions of years.
First, there was only steam and mud.

270
00:23:57,260 --> 00:24:03,019
Then came jellyfish, fish,
lizards, amoebas, all wanting

271
00:24:03,120 --> 00:24:07,109
advance at any cost
and eat everything along the way.

272
00:24:07,210 --> 00:24:11,739
That's why they developed teeth,

273
00:24:11,840 --> 00:24:16,800
to avoid animals
big ones and hunt the small ones.

274
00:24:18,340 --> 00:24:21,300
This is healthy, remember that.

275
00:24:21,990 --> 00:24:25,400
But then, something happened
and everything turned to shit.

276
00:24:25,720 --> 00:24:27,510
Humans appeared on Earth.

277
00:24:28,800 --> 00:24:30,560
Humans appeared on Earth.

278
00:24:34,050 --> 00:24:38,210
It's not just people's loneliness.
They caused chaos.

279
00:24:38,550 --> 00:24:43,219
Hankasalo's film is a fire
of fireworks and she films one,

280
00:24:43,320 --> 00:24:44,900
a small Big Bang.

281
00:25:08,320 --> 00:25:13,090
And there, we see bubbles,
as if they were the origin of the world.

282
00:25:33,640 --> 00:25:36,400
Life happening
around you in a bar.

283
00:25:36,540 --> 00:25:38,939
Or in front, as time passes,

284
00:25:39,040 --> 00:25:40,500
the apples fall,

285
00:25:40,720 --> 00:25:46,200
or the perception that empathy
and study are the key to life.

286
00:25:46,740 --> 00:25:50,700
Or maybe another experience
open the world.

287
00:25:50,920 --> 00:25:54,419
Or maybe we are
just very lonely, or worse,

288
00:25:54,520 --> 00:25:56,600
We are the problem.

289
00:25:57,390 --> 00:25:59,900
We are on the road
Does this lead nowhere?

290
00:26:08,540 --> 00:26:11,009
USA WOMAN, 2003
Signe Baumane seems to say this,

291
00:26:11,110 --> 00:26:13,290
but disguisedly, in a fable.

292
00:26:17,740 --> 00:26:22,210
The bright moon turns into a jar,
who dumps what?

293
00:26:22,730 --> 00:26:24,100
A snake?

294
00:26:31,430 --> 00:26:33,400
A mummy? A woman?

295
00:26:33,750 --> 00:26:35,100
A creation myth.

296
00:26:39,300 --> 00:26:42,800
But then she is touched by life.
By your storms.

297
00:27:02,890 --> 00:27:05,990
But your friends are ready
to catch her if she falls.

298
00:27:11,420 --> 00:27:15,410
Harsh shadows in the moonlight and life
becomes a moving plane.

299
00:27:15,820 --> 00:27:20,000
The moon, a guiding light.
This is life.

300
00:27:30,290 --> 00:27:31,800
And then, an ascent.

301
00:27:47,500 --> 00:27:50,339
But then, friends get tired.

302
00:27:50,440 --> 00:27:53,300
Their leg of the race is over.

303
00:28:14,400 --> 00:28:18,320
There, we realize that the ground
It's not what we thought it was.

304
00:28:33,440 --> 00:28:36,900
The beautiful and enigmatic
animation by Signe Baumane.

305
00:28:57,400 --> 00:29:01,239
At first glance,
 �Rue Cases N�gres� by Euzan Palzy

306
00:29:01,340 --> 00:29:02,800
it seems the opposite.

307
00:29:03,500 --> 00:29:07,889
Almost a documentary.
A man and a boy.

308
00:29:07,990 --> 00:29:11,000
Natural light.
Talking and listening.

309
00:29:13,340 --> 00:29:16,500
But what the old man says seems like a myth.

310
00:29:16,900 --> 00:29:18,300
A myth about origin.

311
00:29:20,430 --> 00:29:21,800
What is this?

312
00:29:24,100 --> 00:29:25,400
A penny weed.

313
00:29:27,220 --> 00:29:29,600
Tea from this herb cures a sore throat.

314
00:29:31,340 --> 00:29:32,710
You haven't forgotten.

315
00:29:36,030 --> 00:29:39,500
All things in creation
have their secrets.

316
00:29:40,640 --> 00:29:42,400
The earth has a secret.

317
00:29:42,940 --> 00:29:46,500
The water has a secret.
Fire has a secret.

318
00:29:47,630 --> 00:29:49,000
Life.

319
00:29:49,900 --> 00:29:53,200
Don't think that water
and fire are enemies.

320
00:29:53,630 --> 00:29:57,300
No!
They are the forces of creation.

321
00:29:58,590 --> 00:30:01,500
Each one needs the other
to create life.

322
00:30:02,250 --> 00:30:04,900
Yes! They give life.

323
00:30:11,690 --> 00:30:13,000
See this?

324
00:30:13,660 --> 00:30:15,520
-What, the ant?
-�.

325
00:30:18,390 --> 00:30:21,600
If I step on it, it's all over.

326
00:30:21,940 --> 00:30:25,300
Yes, but what then?
Try to make her continue.

327
00:30:27,100 --> 00:30:31,200
Listen to what I say.
No one should mess with life.

328
00:30:32,540 --> 00:30:36,720
Man can only destroy life,
do not recreate it.

329
00:30:38,640 --> 00:30:40,020
My son,

330
00:30:40,490 --> 00:30:43,220
let creation solve
your own things.

331
00:30:43,730 --> 00:30:45,249
And when that happens,

332
00:30:45,350 --> 00:30:48,120
we need to accept
the movement of creation.

333
00:30:48,440 --> 00:30:50,500
No crying. No sadness.

334
00:30:50,940 --> 00:30:53,220
Because it will always be a good thing.

335
00:30:54,390 --> 00:30:58,800
The meaning of life is not
we are trapped in solitude.

336
00:30:59,040 --> 00:31:01,200
We don't actually exist.

337
00:31:01,340 --> 00:31:04,920
Young man, forget your name,

338
00:31:05,740 --> 00:31:07,500
but never forget that.

339
00:31:10,830 --> 00:31:12,710
Finally, a cheer.

340
00:31:13,590 --> 00:31:15,159
A simple shoot again.

341
00:31:15,260 --> 00:31:17,539
No lighting and stylized shots.

342
00:31:17,640 --> 00:31:19,599
WHAT ELSE IS NEW DIR. TAHMINEH MILANI
A woman in Iran.

343
00:31:19,700 --> 00:31:22,489
She despairs of herself,
of your invisibility,

344
00:31:22,590 --> 00:31:24,000
its meaninglessness.

345
00:31:25,340 --> 00:31:27,400
But then, your brother...

346
00:31:27,540 --> 00:31:30,000
You are full of life.

347
00:31:30,240 --> 00:31:35,410
They keep telling me not to laugh,
don't speak loudly,

348
00:31:35,540 --> 00:31:39,120
Don't move your hands while I talk.

349
00:31:41,020 --> 00:31:45,900
I know I have many limitations,
but this is too much.

350
00:31:46,330 --> 00:31:51,300
You are free. You can enjoy
every second of your life.

351
00:31:52,290 --> 00:31:53,700
You are a happy person.

352
00:31:54,200 --> 00:31:58,400
Every moment you live,
reaches another, like a wave.

353
00:31:59,500 --> 00:32:03,010
Say that again.
Say it again!

354
00:32:05,120 --> 00:32:08,510
I am unable to give voice
to my feelings.

355
00:32:09,540 --> 00:32:11,810
But you are like flowing water,

356
00:32:12,540 --> 00:32:15,210
and wherever you go,
take joy with you.

357
00:32:15,910 --> 00:32:18,900
-Do you say that to console me?
-No, silly.

358
00:32:19,240 --> 00:32:22,189
For the first time, I can
express my feelings.

359
00:32:22,290 --> 00:32:25,200
The meaning of her life
is what impacts it,

360
00:32:25,490 --> 00:32:28,720
animates it, gives it vivacity.

361
00:32:29,840 --> 00:32:33,620
What is life
no feelings? Nothing.

362
00:32:34,840 --> 00:32:37,520
You are like a child.
Perfect and innocent.

363
00:32:40,140 --> 00:32:43,210
If what you say is true,
Why am I so confused?

364
00:32:54,840 --> 00:32:57,920
Perhaps the main theme
of cinema is love.

365
00:32:58,540 --> 00:33:01,700
Perhaps the main theme
of art is love.

366
00:33:02,400 --> 00:33:05,699
Love is the theme of this chapter
from our road movie.

367
00:33:05,800 --> 00:33:07,520
Our biggest chapter.

368
00:33:07,740 --> 00:33:10,010
Love is on the road, in the air.

369
00:33:11,900 --> 00:33:17,939
37 - LOVE

370
00:33:18,040 --> 00:33:19,800
Let's start with love.

371
00:33:20,180 --> 00:33:22,420
Perhaps with hesitation,

372
00:33:22,550 --> 00:33:26,120
maybe shyly
in the face of love, desire...

373
00:33:26,600 --> 00:33:28,599
YOUTH SACRIFICED CHINA, 1986
We are in China.

374
00:33:28,700 --> 00:33:30,900
We hear a love song.

375
00:33:31,260 --> 00:33:34,300
A couple listening, in a pastoral scene.

376
00:33:34,940 --> 00:33:39,200
The singer says that the hands of the
girlfriend are soft like bananas.

377
00:33:40,540 --> 00:33:42,410
Why aren't they intimidated?

378
00:33:43,530 --> 00:33:45,110
There's no need to be intimidated.

379
00:33:46,430 --> 00:33:49,600
It's good to say
what you feel inside.

380
00:33:56,340 --> 00:34:01,200
Different from the Han people.
We surround and are shy.

381
00:34:02,200 --> 00:34:06,600
The singer is Dai,
not of the traditional Han ethnicity.

382
00:34:07,020 --> 00:34:10,099
In the darkness of the painting,
with moonlight reflections,

383
00:34:10,200 --> 00:34:14,000
they see and hear love
being expressed directly.

384
00:34:16,500 --> 00:34:20,400
Right. I'll ask you.

385
00:34:21,260 --> 00:34:22,610
What are you thinking?

386
00:34:25,800 --> 00:34:29,510
I'm thinking it's cold
and we should go back.

387
00:34:31,750 --> 00:34:33,900
-Are you really thinking that?
-Yes.

388
00:34:35,120 --> 00:34:37,310
You're still Han.

389
00:34:40,530 --> 00:34:43,720
They are before love,
ashamed of love.

390
00:34:48,900 --> 00:34:53,110
A very similar scene
in �The Girls�, by Sumitra Peries.

391
00:35:10,690 --> 00:35:13,520
A zoom out, back to the couple,

392
00:35:15,400 --> 00:35:18,810
a shy couple again,
this time in Sri Lanka.

393
00:35:20,600 --> 00:35:23,500
Peries was great at poetic close-ups.

394
00:35:35,100 --> 00:35:38,210
Kusum, are you still
You didn't answer my question.

395
00:35:40,540 --> 00:35:43,520
-He wants to know if she loves him.
-Would you live without me?

396
00:35:44,900 --> 00:35:49,569
There, this huge zoom out.
A retreat from intimacy?

397
00:35:49,670 --> 00:35:53,100
I don't know how to say what I feel.

398
00:35:53,980 --> 00:35:58,200
My only wish is
may it be successful.

399
00:36:01,940 --> 00:36:05,399
But no, the camera gets closer.
From his hand, from his touch.

400
00:36:05,500 --> 00:36:09,810
What success can I have,
if you don't share with me?

401
00:36:13,860 --> 00:36:15,920
There, a general plan.

402
00:36:19,820 --> 00:36:21,310
There, another zoom out.

403
00:36:22,590 --> 00:36:26,910
You have nothing to say?
Is this the end?

404
00:36:28,400 --> 00:36:30,900
Here, a zoom in without cuts.

405
00:36:31,100 --> 00:36:33,910
Visual indecision and beauty.

406
00:36:34,290 --> 00:36:35,800
Let's go.

407
00:36:40,440 --> 00:36:43,189
This could be the last time
that we stayed together.

408
00:36:43,290 --> 00:36:45,120
Let's stay a little longer.

409
00:36:46,640 --> 00:36:48,010
Please.

410
00:36:50,040 --> 00:36:53,359
Another zoom in,
trying to focus on her hand,

411
00:36:53,460 --> 00:36:55,600
trying to focus on love.

412
00:36:56,930 --> 00:36:58,520
The love that scares.

413
00:37:12,500 --> 00:37:13,699
I'm not following you.

414
00:37:13,800 --> 00:37:16,839
Miranda July's character
are so afraid of love

415
00:37:16,940 --> 00:37:19,300
like the young woman from Sri Lanka.

416
00:37:19,850 --> 00:37:22,319
She just met
this guy and liked him.

417
00:37:22,420 --> 00:37:26,099
Then at the end of the next
block we will part,

418
00:37:26,200 --> 00:37:27,819
on Tyrone Street.

419
00:37:27,920 --> 00:37:30,300
The Ice Land sign is in the middle.

420
00:37:30,790 --> 00:37:33,910
It's the halfway point... of the path.

421
00:37:36,340 --> 00:37:40,749
Ice Land is like
that point in a relationship

422
00:37:40,850 --> 00:37:45,099
that you realize
that won't last forever,

423
00:37:45,200 --> 00:37:47,100
that has the end in view.

424
00:37:48,300 --> 00:37:49,710
Tyrone Street.

425
00:37:50,530 --> 00:37:52,510
Yes, but we're not there yet.

426
00:37:54,690 --> 00:37:58,329
We are in the good part, where we still
We can't get enough of each other.

427
00:37:58,430 --> 00:38:00,310
I'm not tired of you at all.

428
00:38:01,100 --> 00:38:04,200
And wow, these six months have been good.

429
00:38:05,030 --> 00:38:06,379
What? Six months?

430
00:38:06,480 --> 00:38:09,179
In simple plans
and moving backwards,

431
00:38:09,280 --> 00:38:12,899
in just 45 seconds, director July

432
00:38:13,000 --> 00:38:16,129
shows her insecure character
meeting a guy,

433
00:38:16,230 --> 00:38:18,039
and imagining, with him,

434
00:38:18,140 --> 00:38:21,100
who are in a relationship
six months ago,

435
00:38:21,310 --> 00:38:22,800
in a love story.

436
00:38:24,140 --> 00:38:25,630
I was thinking

437
00:38:26,590 --> 00:38:28,020
that Tyrone Street

438
00:38:28,720 --> 00:38:30,579
is 20 years away,
at least.

439
00:38:30,680 --> 00:38:31,949
 �?

440
00:38:32,050 --> 00:38:33,700
Okay, well...

441
00:38:33,830 --> 00:38:35,700
actually I thought

442
00:38:36,140 --> 00:38:38,900
that Tyrone Street is
when we die of old age.

443
00:38:39,200 --> 00:38:42,410
And this walk is like
a lifetime together.

444
00:38:42,840 --> 00:38:44,210
See, it's perfect.

445
00:38:44,800 --> 00:38:47,010
-Let's do it like this.
-Okay.

446
00:38:52,740 --> 00:38:57,110
Beyond the anxiety, we can see
their journey to love.

447
00:38:57,590 --> 00:39:00,210
The sidewalk is a beautiful symbol of love.

448
00:39:00,440 --> 00:39:02,099
If you are shy in love,

449
00:39:02,200 --> 00:39:05,600
maybe it's easier
act it out, pretend.

450
00:39:13,240 --> 00:39:14,989
Or dream about him.

451
00:39:15,090 --> 00:39:18,459
The depth of perspective
of a Hungarian train station.

452
00:39:18,560 --> 00:39:21,239
Yellow and blue light.
A woman and a man.

453
00:39:21,340 --> 00:39:23,610
They both work in a slaughterhouse.

454
00:39:28,600 --> 00:39:31,320
She's probably
on the autism spectrum.

455
00:39:38,840 --> 00:39:40,620
What a coincidence, right?

456
00:39:44,750 --> 00:39:49,129
Well I just want to say no
we need to be embarrassed.

457
00:39:49,230 --> 00:39:51,520
We're adults, aren't we?

458
00:39:52,760 --> 00:39:54,100
Yes.

459
00:39:56,390 --> 00:39:58,890
It's kind of funny, isn't it?

460
00:40:00,140 --> 00:40:01,510
 �.

461
00:40:04,800 --> 00:40:06,400
They are falling in love.

462
00:40:14,440 --> 00:40:18,120
Her house and geometry
of fish bait.

463
00:40:24,840 --> 00:40:26,610
The act of eating parallel...

464
00:40:48,620 --> 00:40:50,320
getting ready to sleep.

465
00:41:01,240 --> 00:41:04,959
This is Ildik's Enyed film,
 �Body and Soul�.

466
00:41:05,060 --> 00:41:07,200
BODY AND SOUL
HUNGARY, 2017

467
00:41:11,930 --> 00:41:13,469
Rigorous images

468
00:41:13,570 --> 00:41:16,700
and potential lovers
mirroring. But a...

469
00:41:19,530 --> 00:41:22,700
She dreams of deer
and so does he.

470
00:41:23,140 --> 00:41:26,320
Their bodies are not connected,
but your dreams, yes.

471
00:41:26,700 --> 00:41:28,510
A Robert Frost moment.

472
00:41:42,960 --> 00:41:44,999
From Hungary to Iran.

473
00:41:45,100 --> 00:41:47,359
We're still on the threshold of love here,

474
00:41:47,460 --> 00:41:50,299
but the people in this car
They are not innocent.

475
00:41:50,400 --> 00:41:52,899
She was addicted to drugs
and gave up the addiction.

476
00:41:53,000 --> 00:41:56,439
He was a political activist,
but now he drives a taxi.

477
00:41:56,540 --> 00:41:58,110
They both have stories.

478
00:41:58,630 --> 00:42:00,899
Simple but beautiful frames,

479
00:42:01,000 --> 00:42:03,330
lighting and faces.

480
00:42:03,900 --> 00:42:07,900
Behind is Sarah, who is HIV
positive and drug user.

481
00:42:08,090 --> 00:42:09,529
Say the main thing, we're almost there.

482
00:42:09,630 --> 00:42:11,330
Do you like me?

483
00:42:13,720 --> 00:42:16,459
I am, I said...

484
00:42:16,560 --> 00:42:17,900
Do you like me?

485
00:42:20,330 --> 00:42:22,829
How is it?

486
00:42:22,930 --> 00:42:24,610
Do you like me?

487
00:42:29,440 --> 00:42:34,410
-What question...
-Yes, or no. Do you like me?

488
00:42:40,440 --> 00:42:43,079
-Don't be afraid. Reply.
-Who's afraid?

489
00:42:43,180 --> 00:42:47,206
If you can't say
in front of someone like Sara...

490
00:42:49,060 --> 00:42:52,239
You asked the question
and now it's responding.

491
00:42:52,340 --> 00:42:54,020
You're right. Continue.

492
00:42:54,530 --> 00:42:57,310
-Reply.
-Give me a minute.

493
00:42:57,940 --> 00:43:00,010
It's not an interrogation.

494
00:43:07,520 --> 00:43:08,920
Listen...

495
00:43:09,300 --> 00:43:11,000
I don't know. Perhaps.

496
00:43:11,740 --> 00:43:13,300
I was thinking...

497
00:43:13,460 --> 00:43:17,149
If you have to think, it's obvious.

498
00:43:17,250 --> 00:43:19,800
Did you hear me say that I like her?

499
00:43:19,940 --> 00:43:22,889
I didn't say I didn't like it.
I didn't say I didn't like it.

500
00:43:22,990 --> 00:43:27,639
-I didn't say anything.
-No. I made him say what he said.

501
00:43:27,740 --> 00:43:29,919
Sometimes in life,
we need answers

502
00:43:30,020 --> 00:43:32,000
to clarify things.

503
00:43:33,900 --> 00:43:35,069
TALES
IR�, 2014

504
00:43:35,170 --> 00:43:38,049
There is a time when a person,

505
00:43:38,150 --> 00:43:40,600
need an answer in your life.

506
00:43:48,390 --> 00:43:49,810
Have you ever been through this?

507
00:43:51,500 --> 00:43:53,820
It's clear to me.

508
00:43:54,300 --> 00:43:59,200
Suppose I am in this position.

509
00:43:59,330 --> 00:44:01,359
You need to ask the question.

510
00:44:01,460 --> 00:44:03,279
-I'll ask.
-Ask.

511
00:44:03,380 --> 00:44:06,300
-And you?
-What do you have?

512
00:44:07,700 --> 00:44:11,519
-I asked...
-And you are not a question.

513
00:44:11,620 --> 00:44:16,200
I'm asking if you think

514
00:44:16,940 --> 00:44:18,810
on me from time to time.

515
00:44:22,100 --> 00:44:23,620
No.

516
00:44:26,420 --> 00:44:30,400
-Do you ever think about me?
-No.

517
00:44:35,640 --> 00:44:40,510
You... don't like me?

518
00:44:41,430 --> 00:44:42,810
No.

519
00:44:45,280 --> 00:44:46,600
Is that it?

520
00:44:49,090 --> 00:44:51,100
I don't know. �?

521
00:44:52,840 --> 00:44:54,200
 �.

522
00:44:57,990 --> 00:45:01,500
It is the action here that makes
Is the scene so touching?

523
00:45:01,680 --> 00:45:04,710
The superficiality of the focus?
Realism?

524
00:45:04,830 --> 00:45:08,700
There is the equivalent in love
Is the word realpolitik?

525
00:45:14,460 --> 00:45:19,000
But when bodies connect...
 �The Piano�, by Jane Campion.

526
00:45:19,250 --> 00:45:21,210
Like a Van Dyke painting.

527
00:45:21,890 --> 00:45:26,339
Holly Hunter's Ada plays
for Harvey Keitel's sailor,

528
00:45:26,440 --> 00:45:27,790
Baines.

529
00:45:33,450 --> 00:45:35,929
A potentially abusive situation.

530
00:45:36,030 --> 00:45:37,599
Intimate close-ups.

531
00:45:37,700 --> 00:45:39,900
Pearly light on Ada's face.

532
00:45:53,790 --> 00:45:55,190
Higher.

533
00:45:59,620 --> 00:46:00,900
Higher.

534
00:46:02,300 --> 00:46:03,700
Climb higher.

535
00:46:35,240 --> 00:46:36,600
And then, this.

536
00:46:36,730 --> 00:46:39,100
A chink in your emotional armor.

537
00:46:39,360 --> 00:46:43,400
The moment when probably
she falls in love with Baines.

538
00:46:57,880 --> 00:47:00,149
And then, love begins.

539
00:47:00,250 --> 00:47:02,820
What is it like when you live it?

540
00:47:03,300 --> 00:47:05,000
How do the filmmakers show it?

541
00:47:05,500 --> 00:47:09,310
Here is the simplest way,
It's Margaret Tait.

542
00:47:10,640 --> 00:47:12,700
She films herself first.

543
00:47:12,840 --> 00:47:15,790
Camera tilt
for the standing man.

544
00:47:20,540 --> 00:47:23,500
The camera in the familiar hand,
the silent plan.

545
00:47:23,710 --> 00:47:27,410
It seems to touch the furniture,
the cozy room.

546
00:47:27,700 --> 00:47:30,119
Then, it goes up to the man's body.

547
00:47:30,220 --> 00:47:33,100
He yawns,
but the scene is not boring.

548
00:47:34,200 --> 00:47:37,389
Show passion
by this room in Edinburgh

549
00:47:37,490 --> 00:47:40,020
and by this man, Alex Pirie.

550
00:47:40,300 --> 00:47:42,410
And the close-up shows us this.

551
00:47:45,900 --> 00:47:49,010
The simple appearance
and domesticity of love.

552
00:47:56,400 --> 00:47:59,600
Another woman looking.
Camera in hand again.

553
00:48:00,400 --> 00:48:02,400
Close-up of the man again.

554
00:48:02,590 --> 00:48:07,289
Does she look at him in love?
But then, what does he see.

555
00:48:07,390 --> 00:48:08,710
The son.

556
00:48:08,840 --> 00:48:10,809
This could be a movie
by Margaret Tait,

557
00:48:10,910 --> 00:48:15,300
but it is directed by Claire Denis
and filmed by Agnes Godard.

558
00:48:16,450 --> 00:48:18,600
The baby appears uncut.

559
00:48:26,140 --> 00:48:29,899
Slowly he lifts his eyes
and gives a small smile.

560
00:48:30,000 --> 00:48:31,799
The look of reciprocated love.

561
00:48:31,900 --> 00:48:33,510
A love triangle.

562
00:49:03,350 --> 00:49:07,210
And when love overflows,
if it overflows?

563
00:49:10,650 --> 00:49:13,420
Movies usually do it like this.

564
00:49:13,690 --> 00:49:16,500
Magical moments. A montage.

565
00:49:16,940 --> 00:49:18,730
Paris and song.

566
00:49:23,590 --> 00:49:26,700
You take off your shoes.
Life slows down.

567
00:49:32,560 --> 00:49:35,039
You take photos,
to remember forever.

568
00:49:35,140 --> 00:49:37,299
Along the Seine

569
00:49:37,400 --> 00:49:39,639
Happiness smiles

570
00:49:39,740 --> 00:49:44,139
On the pier of old Paris

571
00:49:44,240 --> 00:49:46,769
Love walks

572
00:49:46,870 --> 00:49:49,479
Looking for a nest

573
00:49:49,580 --> 00:49:53,719
The old kiosk, the beautiful flower shop

574
00:49:53,820 --> 00:49:56,010
And the world seems to dance around.

575
00:49:56,400 --> 00:49:59,369
Living poem

576
00:49:59,470 --> 00:50:04,210
On the pier of old Paris

577
00:50:04,390 --> 00:50:08,100
Bohemian love

578
00:50:10,110 --> 00:50:14,520
Why don't you shout: Life
Can't it be better than that?� 

579
00:50:15,890 --> 00:50:18,700
You barely live.

580
00:50:19,590 --> 00:50:21,600
I can't do anything.

581
00:50:22,300 --> 00:50:23,690
But would you like it?

582
00:50:24,240 --> 00:50:26,820
Yes, but I can't.

583
00:50:28,000 --> 00:50:30,549
The same composition as the previous image.

584
00:50:30,650 --> 00:50:32,700
View from above. Light and shadow.

585
00:50:32,930 --> 00:50:35,449
He is naked and happily in love.

586
00:50:35,550 --> 00:50:38,100
But she is dressed and less happy.

587
00:50:38,350 --> 00:50:41,010
Love starts to go wrong
in our history.

588
00:50:42,500 --> 00:50:45,700
It's asymmetrical here, on this diagonal.

589
00:50:47,240 --> 00:50:48,720
Asymmetry.

590
00:50:48,930 --> 00:50:52,920
An elegant way of saying
who is not loved as much as he loves.

591
00:50:56,950 --> 00:50:59,210
Bin, the bus has arrived.

592
00:51:02,500 --> 00:51:05,700
And �Mountain of Abandonment�,
by So Yong Kim again.

593
00:51:06,280 --> 00:51:09,979
We saw in chapter 11,
about discovery,

594
00:51:10,080 --> 00:51:13,600
when girls try
find out something about money.

595
00:51:13,840 --> 00:51:17,169
The mother left. Now they
They think she's coming back.

596
00:51:17,270 --> 00:51:18,600
On a bus.

597
00:51:21,200 --> 00:51:24,199
The lenses could open,
telephotograph more,

598
00:51:24,300 --> 00:51:26,200
to get away from children?

599
00:51:26,600 --> 00:51:29,699
There's barely space left in this scene,
at this moment,

600
00:51:29,800 --> 00:51:32,200
while they wait,
in your innocence.

601
00:51:32,610 --> 00:51:35,920
Love is a waiting game,
a losing game.

602
00:51:56,080 --> 00:51:57,910
And it gets even worse.

603
00:52:01,440 --> 00:52:04,000
The film �My King� by director Ma�wenn.

604
00:52:04,890 --> 00:52:06,519
A kind of crazy love.

605
00:52:06,620 --> 00:52:08,759
MY KING
FRANCE, 2015

606
00:52:08,860 --> 00:52:14,000
At the end of the film, the character of
Emmanuele goes crazy for her husband,

607
00:52:14,400 --> 00:52:16,299
directed by Vincent Cassell.

608
00:52:16,400 --> 00:52:18,020
He was charming.

609
00:52:18,740 --> 00:52:21,599
But then, it became
emotionally abusive.

610
00:52:21,700 --> 00:52:26,200
She is everywhere.
Reckless, just like the camera.

611
00:52:26,400 --> 00:52:29,679
Leaving caution aside
like a person in love,

612
00:52:29,780 --> 00:52:31,800
or maddened by love.

613
00:52:33,360 --> 00:52:34,800
Crazy Love.

614
00:52:35,000 --> 00:52:37,139
My love!

615
00:52:37,240 --> 00:52:39,610
Come on! Drug.

616
00:52:40,780 --> 00:52:43,400
-Calm.
-Where are my glasses?

617
00:52:51,730 --> 00:52:53,189
-Stop.
-Calm.

618
00:52:53,290 --> 00:52:55,990
-I have news to share.
-Without the glass.

619
00:52:57,790 --> 00:52:59,500
Listen to me.

620
00:53:00,180 --> 00:53:01,720
Sit down!

621
00:53:04,540 --> 00:53:09,110
The film captures the discomfort
of love when it goes wrong.

622
00:53:09,840 --> 00:53:12,120
Georgio, get up!

623
00:53:16,430 --> 00:53:19,110
And love can go even more wrong.

624
00:53:23,510 --> 00:53:25,010
It's good.

625
00:53:25,150 --> 00:53:29,000
You need to fix your hair.

626
00:53:29,500 --> 00:53:31,900
A woman tidies
a girl's hair.

627
00:53:32,090 --> 00:53:34,089
The sobriety of the dresses.

628
00:53:34,190 --> 00:53:36,820
Let's go out for lemonade.

629
00:53:37,800 --> 00:53:40,779
Ah, a subjective camera.
A minaret.

630
00:53:40,880 --> 00:53:45,500
MUSTANG
FRANCE-Türkiye, 2016

631
00:53:53,390 --> 00:53:56,800
And here they are,
seven magnificent girls.

632
00:53:57,090 --> 00:53:59,410
But the song is a lament.

633
00:53:59,700 --> 00:54:02,720
The girls transgressed
social codes.

634
00:54:02,900 --> 00:54:06,000
They went to a football game.
We are in Türkiye.

635
00:54:07,740 --> 00:54:10,420
And people are watching and judging.

636
00:54:10,730 --> 00:54:14,920
And then, we realized
that they are being displayed.

637
00:54:15,200 --> 00:54:16,919
Like future wives.

638
00:54:17,020 --> 00:54:18,920
Come here for a moment.

639
00:54:21,150 --> 00:54:22,900
Wait.

640
00:54:23,190 --> 00:54:26,879
-Walk to the source and come back.
-For what?

641
00:54:26,980 --> 00:54:30,510
Just walk,
while I order the lemonade.

642
00:54:31,900 --> 00:54:36,320
Grandmother loves them by doing this,
treating them like cattle?

643
00:54:41,290 --> 00:54:43,500
Does she want us to drink here?

644
00:54:43,830 --> 00:54:45,800
It's a footbath.

645
00:54:59,840 --> 00:55:05,600
 �She wanted to live
with him forever,

646
00:55:05,890 --> 00:55:10,600
while he just wanted
the pleasure of the moment.

647
00:55:10,830 --> 00:55:16,400
She poured strong wine
in a large chalice.� 

648
00:55:21,140 --> 00:55:26,100
Park Nam-ok was the first Korean
directing a domestic feature film.

649
00:55:26,380 --> 00:55:28,300
This is your debut film.

650
00:55:28,640 --> 00:55:32,200
A widow discreetly
rebel and single mother.

651
00:55:32,590 --> 00:55:35,510
She doesn't submit
to the laws of Confucius.

652
00:55:35,840 --> 00:55:39,549
The diagonal composition
that we saw earlier in this chapter.

653
00:55:39,650 --> 00:55:42,810
A quick image,
innovative, from one man.

654
00:55:47,560 --> 00:55:51,700
A longer one from the daughter.
They wander through your mind.

655
00:55:51,850 --> 00:55:53,620
She got tired of love.

656
00:56:09,060 --> 00:56:11,110
The light of love goes out.

657
00:56:32,330 --> 00:56:33,900
It's hot.

658
00:56:37,100 --> 00:56:38,939
Is this what happens here?

659
00:56:39,040 --> 00:56:41,249
The lovely movie
by Anne Hui, from Hong Kong,

660
00:56:41,350 --> 00:56:43,720
 �A Simple Life�.

661
00:56:44,140 --> 00:56:46,200
Deannie Ip had a stroke.

662
00:56:46,530 --> 00:56:49,910
He is a rich film producer,
but now take care of her.

663
00:56:50,400 --> 00:56:53,910
She was a family employee
and babysat him for decades.

664
00:56:54,440 --> 00:56:57,000
He wipes her mouth...

665
00:56:57,300 --> 00:56:58,700
Roast goose.

666
00:56:58,890 --> 00:57:00,510
Rice noodles.

667
00:57:18,890 --> 00:57:20,799
There, an image seen by her,

668
00:57:20,900 --> 00:57:24,220
and the man she cared for
most of life.

669
00:57:24,440 --> 00:57:30,420
A retreat. It's the last time she
The last time you love him?

670
00:57:31,140 --> 00:57:36,020
Deannie Ip was awarded as
best actress at the Venice Film Festival.

671
00:57:36,430 --> 00:57:40,600
 �A Simple Life� 
was Anne Hui's 26th film.

672
00:58:00,200 --> 00:58:02,649
I always worried about you.

673
00:58:02,750 --> 00:58:06,520
And finally, �Heart of a Dog�,
by Laurie Anderson.

674
00:58:06,760 --> 00:58:09,000
It's about her bitch,
Lolabelle.

675
00:58:09,490 --> 00:58:12,189
The film is meditative,
impressionist,

676
00:58:12,290 --> 00:58:14,900
chased by love
and the loss of love.

677
00:58:15,620 --> 00:58:18,110
Honest about the lack
of mother's love.

678
00:58:18,600 --> 00:58:22,800
But here comes this moment,
this search.

679
00:58:23,240 --> 00:58:28,920
Try to find a single moment
in which her mother really loved her.

680
00:58:29,100 --> 00:58:31,820
Without any reservation.

681
00:58:34,140 --> 00:58:36,310
And focus on this moment.

682
00:58:40,040 --> 00:58:43,800
Ah, imagine
that you are the mother of all,

683
00:58:45,130 --> 00:58:47,100
and they, yours.

684
00:58:53,100 --> 00:58:54,699
A Buddhist idea.

685
00:58:54,800 --> 00:58:57,800
Maximize love, multiply it.

686
00:59:00,900 --> 00:59:03,329
So which way do we go?

687
00:59:03,430 --> 00:59:07,009
No, thank you.
It's been... a privilege,

688
00:59:07,110 --> 00:59:09,520
you and your family...

689
00:59:11,090 --> 00:59:12,990
Just one more question.

690
00:59:15,440 --> 00:59:18,520
You have really arrived...
to love me?

691
00:59:24,150 --> 00:59:28,990
I was accompanied
by ghosts

692
00:59:39,940 --> 00:59:44,400
I was accompanied
by ghosts