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
00:01:18,750 --> 00:01:21,200
The films are
so full of life.

14
00:01:21,500 --> 00:01:23,500
But what are they like in death?

15
00:01:24,200 --> 00:01:27,759
We've all seen shootings
and deathbed scenes,

16
00:01:27,860 --> 00:01:31,599
but what about creative forms,
unusual, or talented

17
00:01:31,700 --> 00:01:34,099
that death has been
represented in cinema?

18
00:01:34,200 --> 00:01:36,400
And what can we learn
with them?

19
00:01:40,340 --> 00:01:46,739
38 - DEATH

20
00:01:46,840 --> 00:01:50,510
Let's start right before death.
With your fascination.

21
00:01:51,100 --> 00:01:54,900
The camera follows a woman
in the dark corridor of a clinic.

22
00:01:55,990 --> 00:01:58,420
She has breast cancer
and is dying.

23
00:02:03,260 --> 00:02:07,169
Now she looks at us,
as we retreat.

24
00:02:07,270 --> 00:02:10,660
THE ETERNAL BREAST
JAPAN, 1955

25
00:02:12,840 --> 00:02:15,800
There, this expressionist plan.

26
00:02:16,090 --> 00:02:19,400
She follows a corpse
on the way to the morgue.

27
00:02:23,260 --> 00:02:24,800
Rifts of light.

28
00:02:25,000 --> 00:02:27,239
It's as if she were sleepwalking.

29
00:02:27,340 --> 00:02:29,810
Fascinated by death,
attracted to her.

30
00:02:30,140 --> 00:02:36,300
A beautiful rhythm in this scene,
directed by Kinuyo Tanaka.

31
00:03:04,690 --> 00:03:07,420
Death calls, and then it happens.

32
00:03:21,500 --> 00:03:22,820
MORGUE

33
00:03:34,850 --> 00:03:37,010
So many ways to show it.

34
00:03:37,800 --> 00:03:41,879
How about this one, from the director
Wang Ping in 1965?

35
00:03:41,980 --> 00:03:43,299
THE EAST IS RED, 1965

36
00:03:43,400 --> 00:03:45,110
A choreographed fight.

37
00:03:47,440 --> 00:03:50,419
Workers on the left,
against capitalists on the right.

38
00:03:50,520 --> 00:03:51,910
A dance.

39
00:03:53,460 --> 00:03:55,400
Then, a man runs.

40
00:03:57,560 --> 00:03:58,920
Drums.

41
00:04:06,340 --> 00:04:09,910
And his heroic stance, when
life begins to leave your body.

42
00:04:24,840 --> 00:04:26,410
Another shot...

43
00:04:43,540 --> 00:04:46,900
and a panoramic
is composed like a painting.

44
00:04:47,540 --> 00:04:50,900
It's as if he had died
in a fresco or tapestry.

45
00:05:05,800 --> 00:05:08,299
A death too
unconventional.

46
00:05:08,400 --> 00:05:13,020
The huge balloon that floated
over the city falls to the ground.

47
00:05:16,330 --> 00:05:17,900
The villagers cheer.

48
00:05:20,800 --> 00:05:23,210
But then, the police shoot.

49
00:05:23,800 --> 00:05:28,900
And now, the director's metaphor
Bulgarian Binka Zhelyazkova.

50
00:05:29,190 --> 00:05:31,300
The balloon is like a whale.

51
00:05:31,530 --> 00:05:33,600
Giant, gentle,

52
00:05:34,030 --> 00:05:35,410
murdered.

53
00:05:36,450 --> 00:05:38,000
A boy crying.

54
00:05:58,390 --> 00:06:03,100
It empties, like hope
and the happiness of the villagers.

55
00:06:03,950 --> 00:06:06,200
The killing becomes frenetic.

56
00:06:15,540 --> 00:06:19,220
Of stylized deaths
It's simple.

57
00:06:20,550 --> 00:06:22,700
 �Le Lit�, by Marian Hansel.

58
00:06:23,050 --> 00:06:24,600
The dying man.

59
00:06:24,900 --> 00:06:26,410
A still image.

60
00:06:26,680 --> 00:06:28,810
And there, your last breath.

61
00:06:42,550 --> 00:06:45,699
Now, we are at his feet,
like a Renaissance painting.

62
00:06:45,800 --> 00:06:48,800
The camera approaches,
and a single voice.

63
00:06:56,740 --> 00:06:59,459
We say that the spirit
leaves the body,

64
00:06:59,560 --> 00:07:01,700
but here, we get closer to it.

65
00:07:15,940 --> 00:07:17,890
Then a veil comes in the way.

66
00:07:26,900 --> 00:07:29,000
They move
on the other side of the veil.

67
00:07:37,590 --> 00:07:39,310
Just like the camera.

68
00:07:53,800 --> 00:07:56,259
Less dramatic
this scene is still

69
00:07:56,360 --> 00:07:58,959
by the American director
Liza Johnson,

70
00:07:59,060 --> 00:08:00,399
from �Amores Inversos�.

71
00:08:00,500 --> 00:08:03,959
INVERSE LOVES
USA, 2013

72
00:08:04,060 --> 00:08:05,399
Johanna?

73
00:08:05,500 --> 00:08:08,410
-I am here.
-Yes.

74
00:08:08,890 --> 00:08:11,300
Kirsten Wilg plays
a caregiver.

75
00:08:11,540 --> 00:08:14,620
An immobile camera.
No music.

76
00:08:14,790 --> 00:08:16,600
No special climate.

77
00:08:20,000 --> 00:08:22,900
I would like to use
my blue dress.

78
00:08:23,250 --> 00:08:24,499
Yes, ma'am.

79
00:08:24,600 --> 00:08:27,559
The camera cuts to the old woman
to another angle,

80
00:08:27,660 --> 00:08:29,290
another static plane.

81
00:08:46,300 --> 00:08:49,410
But when we came back,
the lady is dead.

82
00:08:49,900 --> 00:08:51,500
His years are over.

83
00:08:59,730 --> 00:09:01,200
No drums.

84
00:09:04,980 --> 00:09:06,510
No change in the world.

85
00:09:58,580 --> 00:10:02,310
After someone dies,
loved ones need to know.

86
00:10:02,540 --> 00:10:04,169
It was a Friday afternoon,

87
00:10:04,270 --> 00:10:07,739
when I came back and saw a crowd
in front of our house.

88
00:10:07,840 --> 00:10:09,149
A crowd.

89
00:10:09,250 --> 00:10:12,020
It merges.
Move away. One finger.

90
00:10:12,400 --> 00:10:14,849
Then we move on to his hat

91
00:10:14,950 --> 00:10:18,100
and we went up the stairs,
to where the grandmother died.

92
00:10:20,890 --> 00:10:25,500
Caroline's trademark
Leaf, your blurry images.

93
00:10:28,430 --> 00:10:30,999
-Your grandmother died.
-Where's mom?

94
00:10:31,100 --> 00:10:32,429
In the room with...

95
00:10:32,530 --> 00:10:35,290
- It's better if you don't go in.
-I want to see her.

96
00:10:38,290 --> 00:10:39,339
Don't come in here.

97
00:10:39,440 --> 00:10:42,600
And blurry people,
wallpaper, voices.

98
00:10:42,900 --> 00:10:44,300
Finger painting?

99
00:10:44,800 --> 00:10:47,600
In brown and gray,
like a cave painting?

100
00:10:49,540 --> 00:10:51,410
Grandma left some jewelry.

101
00:10:51,930 --> 00:10:55,539
The necklace is for Brefka
and the ring is for his wife.

102
00:10:55,640 --> 00:10:57,100
Who will get married?

103
00:10:58,760 --> 00:11:01,400
How else
Do we know that someone died?

104
00:11:02,030 --> 00:11:04,710
It can hardly be
more creative than this.

105
00:11:05,140 --> 00:11:08,100
The camera advances. Soft colors.

106
00:11:08,590 --> 00:11:11,410
We are entering a world.
What world?

107
00:11:13,400 --> 00:11:17,000
CRULIC - THE WAY FORWARD
DIRECTED BY: ANCA DAMIAN

108
00:11:23,540 --> 00:11:25,900
Flat images.
The phone rings.

109
00:11:26,340 --> 00:11:31,259
A stylized narrated documentary
by the deceased protagonist,

110
00:11:31,360 --> 00:11:32,799
a Romanian in real life,

111
00:11:32,900 --> 00:11:35,959
who died in a strike
of famine in Poland in 2008,

112
00:11:36,060 --> 00:11:38,079
when protesting his arrest.

113
00:11:38,180 --> 00:11:41,220
He claims to be an ambassador
Romanian in Warsaw.

114
00:11:41,330 --> 00:11:43,099
He wants my uncle Leontescu

115
00:11:43,200 --> 00:11:47,710
confirm the relationship
with Claudiu Crulic, who is me.

116
00:11:48,530 --> 00:11:52,500
Then, he informs my uncle
that I'm dead.

117
00:11:55,440 --> 00:11:58,779
And asks for 2,500 euros
to take me home

118
00:11:58,880 --> 00:12:00,710
and be cremated.

119
00:12:02,000 --> 00:12:06,110
No, the consulate cannot
help with repatriation.

120
00:12:09,390 --> 00:12:13,869
A similar look
in �El Camino�, by Ana Mariscal.

121
00:12:13,970 --> 00:12:15,600
THE PATH
SPAIN, 1963

122
00:12:16,840 --> 00:12:20,200
Two descending planes,
towards the coffin.

123
00:12:25,790 --> 00:12:27,610
But then, this.

124
00:12:27,940 --> 00:12:30,600
There are no cuts
at this unforeseen time.

125
00:12:34,240 --> 00:12:35,710
Sorry, Tiny.

126
00:12:37,110 --> 00:12:40,200
The boy is at the same time
fearless and scared.

127
00:12:50,400 --> 00:12:52,400
Let's go to another funeral.

128
00:12:52,540 --> 00:12:56,220
In the Albanian mountains.
With a lot of men.

129
00:12:57,340 --> 00:12:58,789
PROMISED VIRGIN

130
00:12:58,890 --> 00:13:01,920
ITALY, SWITZERLAND, GERMANY,
ALBONIA, KOSOVO, FRANCE - 1968

131
00:13:06,740 --> 00:13:10,910
Ah, the woman with short hair,
the promised virgin of the title.

132
00:13:12,040 --> 00:13:14,400
The camera follows the coffin.

133
00:13:15,490 --> 00:13:16,920
And then, this.

134
00:14:01,840 --> 00:14:04,989
Almost a rough documentary
of a burial ritual.

135
00:14:05,090 --> 00:14:06,439
Sadness, lamentations,

136
00:14:06,540 --> 00:14:10,000
but it's also like they tried
bring him back from death.

137
00:14:11,190 --> 00:14:14,490
Then, she kisses her stepfather.

138
00:14:26,540 --> 00:14:28,869
From one screaming scene to another.

139
00:14:28,970 --> 00:14:32,900
THE SELFISH GIANT
DIRECTED: CLIO BARNARD

140
00:14:33,290 --> 00:14:36,139
The boy's friend
died a horrible death.

141
00:14:36,240 --> 00:14:38,810
Man is the most responsible.

142
00:14:39,780 --> 00:14:43,520
Release him! Release him!

143
00:14:43,800 --> 00:14:46,299
Fury, camera in hand.
A storm of pain.

144
00:14:46,400 --> 00:14:49,920
Damn bastard!
I'll kill you! Rascal!

145
00:14:51,930 --> 00:14:53,399
Chaotic images.

146
00:14:53,500 --> 00:14:56,210
Let me go!

147
00:15:00,340 --> 00:15:03,500
And the boy is carried.
Exploding.

148
00:15:07,640 --> 00:15:09,600
He is trapped in the container.

149
00:15:13,120 --> 00:15:15,910
The shock wave
destructive of death.

150
00:15:44,320 --> 00:15:48,400
And when the wave passes?
Another one comes.

151
00:15:48,620 --> 00:15:50,200
Subsequent shocks.

152
00:15:52,140 --> 00:15:54,010
A man turns off the TV.

153
00:15:58,000 --> 00:16:01,000
Your son died on a road,
riding a bike.

154
00:16:01,440 --> 00:16:06,900
On TV, there are images of the accident,
but he can't bear to look.

155
00:16:12,400 --> 00:16:14,600
A blue world of action.

156
00:16:17,120 --> 00:16:21,600
But then, he comes back.
The head is fully framed.

157
00:16:24,380 --> 00:16:27,900
The place, the clover,
seconds before it happens.

158
00:16:30,900 --> 00:16:35,410
Empty street. There, up there,
a glimpse of the boy.

159
00:16:44,090 --> 00:16:45,990
No, son.

160
00:16:47,240 --> 00:16:49,400
It freezes the image, of course.

161
00:16:49,760 --> 00:16:52,700
You wouldn't do that,
to stop the past?

162
00:17:07,880 --> 00:17:10,010
Or I would put it in slow motion...

163
00:17:12,830 --> 00:17:15,220
seconds before the tornado?

164
00:17:30,300 --> 00:17:31,710
No.

165
00:17:32,990 --> 00:17:34,710
No.

166
00:17:37,560 --> 00:17:41,120
The candidate Dutch director
to the Oscar, Paula Van der Oest

167
00:17:41,230 --> 00:17:43,299
and actor Pierre Bokma

168
00:17:43,400 --> 00:17:46,600
take us every time
closer to the moment,

169
00:17:46,730 --> 00:17:48,100
of agony.

170
00:18:05,630 --> 00:18:08,510
So cut
and we stand on the other side,

171
00:18:08,710 --> 00:18:10,320
in the darkness.

172
00:18:16,360 --> 00:18:18,500
But it is possible
come out of the darkness.

173
00:18:19,120 --> 00:18:20,920
Our last death scene.

174
00:18:21,300 --> 00:18:24,220
The Polish lady
that we knew before.

175
00:18:24,550 --> 00:18:26,620
She lay down to die.

176
00:18:29,700 --> 00:18:31,610
Holding your third.

177
00:18:32,530 --> 00:18:35,400
About those branches
that tremble against the cold.

178
00:18:36,640 --> 00:18:40,020
Choirs in ruins, where late
sweet birds sang.

179
00:18:41,290 --> 00:18:44,520
-In me, you...
-The candle dims.

180
00:18:45,040 --> 00:18:49,810
Like after the sun
sets in the west,

181
00:18:50,480 --> 00:18:56,710
that little by little
the dark night carries.

182
00:18:57,140 --> 00:18:58,949
But then, she revives.

183
00:18:59,050 --> 00:19:01,369
TIME TO DIE
POLAND, 2007

184
00:19:01,470 --> 00:19:04,199
...that wraps it all up.

185
00:19:04,300 --> 00:19:07,300
That funeral plan from the bedroom.

186
00:19:08,230 --> 00:19:10,810
That makes your love stronger,

187
00:19:12,240 --> 00:19:14,400
makes you love so well.

188
00:19:15,850 --> 00:19:20,700
And there, the view from above,
also called coffin view.

189
00:19:20,840 --> 00:19:22,300
And then...

190
00:19:23,560 --> 00:19:26,110
-She comes back!
-Are you crazy?

191
00:19:28,140 --> 00:19:31,299
-To die?
-As if waking up from a dream.

192
00:19:31,400 --> 00:19:32,800
No chance.

193
00:19:46,740 --> 00:19:51,300
There are 39 chapters,
more than 13 hours ago,

194
00:19:51,490 --> 00:19:54,910
we asked how it's done
a great opening to a film.

195
00:19:57,900 --> 00:20:02,400
Now, near the end of the story,
we asked about the ending.

196
00:20:06,460 --> 00:20:12,419
39 - FINALS

197
00:20:12,520 --> 00:20:14,179
I was in the temple.

198
00:20:14,280 --> 00:20:16,400
Let's look at some unusual ones.

199
00:20:17,500 --> 00:20:20,739
In �Hotel Very Welcome�,
by Sonja Heiss,

200
00:20:20,840 --> 00:20:25,200
Svenja doesn't want her stranger
adventure in Bangkok ends.

201
00:20:25,530 --> 00:20:27,679
She speaks
with the travel agent,

202
00:20:27,780 --> 00:20:30,369
and although he is
somewhat incompetent,

203
00:20:30,470 --> 00:20:32,979
and probably
never met,

204
00:20:33,080 --> 00:20:35,039
they don't want
until the call ends.

205
00:20:35,140 --> 00:20:38,859
-Me too. I didn't see you.
-I didn't even see you.

206
00:20:38,960 --> 00:20:43,700
I need to... go back.
I'm on the waiting list.

207
00:20:44,000 --> 00:20:45,889
Then I'm going back to Washington.

208
00:20:45,990 --> 00:20:47,439
-Washington?
-�.

209
00:20:47,540 --> 00:20:50,710
I will miss
to talk to you.

210
00:20:50,890 --> 00:20:53,010
I know.

211
00:20:53,190 --> 00:20:58,329
-Come with me.
-I can't, I...

212
00:20:58,430 --> 00:21:00,889
You can... come with me.

213
00:21:00,990 --> 00:21:03,219
-I'm at the airport.
-Airport?

214
00:21:03,320 --> 00:21:06,189
 �, airport. Today. Now.

215
00:21:06,290 --> 00:21:09,210
Today? Now?

216
00:21:10,000 --> 00:21:12,889
-I'll give you my number in Washington.
-Washington?

217
00:21:12,990 --> 00:21:14,819
-�.
-No.

218
00:21:14,920 --> 00:21:19,810
-I'll go... with you.
-How cute.

219
00:21:21,140 --> 00:21:22,900
I want to see you.

220
00:21:23,740 --> 00:21:26,359
-I can't...
-Don't cry!

221
00:21:26,460 --> 00:21:28,800
-I cry.
-Don't cry.

222
00:21:30,940 --> 00:21:34,199
Cuts between simple takes,
natural light.

223
00:21:34,300 --> 00:21:36,020
Final postponed.

224
00:21:38,360 --> 00:21:39,700
What did you say?

225
00:21:41,280 --> 00:21:44,979
-No, no, no.
-No, no, no?

226
00:21:45,080 --> 00:21:47,810
-No, no, no.
-Yes, yes, yes.

227
00:21:56,060 --> 00:21:58,700
I don't understand Thai.
Sorry, Mick.

228
00:21:59,390 --> 00:22:02,989
-�Rak khun.� 
-�Rak khun.� 

229
00:22:03,090 --> 00:22:04,609
 �Rak khun� � �I love you�.

230
00:22:04,710 --> 00:22:06,379
 �Rak khun� � I love you�?

231
00:22:06,480 --> 00:22:10,739
-I thought it was �see you soon�.
-No, it's "see you later."

232
00:22:10,840 --> 00:22:13,020
-Goodbye.
-No.

233
00:22:13,140 --> 00:22:14,520
Goodbye.

234
00:22:14,860 --> 00:22:16,380
An almost ending.

235
00:22:16,800 --> 00:22:18,809
-Stay on the line.
-Stay in line?

236
00:22:18,910 --> 00:22:20,410
Stay on the line.

237
00:22:21,650 --> 00:22:23,000
Forever?

238
00:22:23,860 --> 00:22:25,799
-Forever?
-Forever?

239
00:22:25,900 --> 00:22:27,800
-Forever?
-Forever.

240
00:22:34,140 --> 00:22:36,649
The most common endings
They are optimistic.

241
00:22:36,750 --> 00:22:41,220
In Hollywood and Bollywood,
the ending is often happy.

242
00:22:41,740 --> 00:22:45,289
 �The Homeland of Electricity�,
by Larissa Shepitko

243
00:22:45,390 --> 00:22:47,049
is far from Hollywood,

244
00:22:47,150 --> 00:22:50,320
but it has a happy ending.

245
00:22:51,840 --> 00:22:54,249
Ukrainian peasants
built a bomb

246
00:22:54,350 --> 00:22:56,620
to irrigate
its parched fields.

247
00:22:56,820 --> 00:23:00,110
But the bomb exploded
and now, they are crying.

248
00:23:00,440 --> 00:23:04,000
The splendid faces
Shepitko diffuse.

249
00:23:04,240 --> 00:23:05,610
The solemnity.

250
00:23:09,140 --> 00:23:11,000
Will the harvest be lost again?

251
00:23:11,150 --> 00:23:14,600
But there, we see
it starts to rain.

252
00:23:14,800 --> 00:23:16,500
The harvest will be saved.

253
00:23:21,590 --> 00:23:25,420
They are too exhausted to
celebrate. No synchronized sounds.

254
00:23:25,640 --> 00:23:28,600
Just some of the best
close-ups of the cinema.

255
00:23:30,000 --> 00:23:33,500
A happy ending like a rescue,
a sacrament,

256
00:23:33,740 --> 00:23:35,359
almost a revelation.

257
00:23:35,460 --> 00:23:39,530
...but people
they didn't feel the rain,

258
00:23:39,900 --> 00:23:43,500
because they had left
to wait for her to come.

259
00:23:44,440 --> 00:23:49,700
They hadn't noticed,
hoping to survive,

260
00:23:49,890 --> 00:23:52,569
who had become
hope incarnate,

261
00:23:52,670 --> 00:23:57,000
helping them do what they can
and yet, impossible.

262
00:23:57,460 --> 00:24:00,389
How hope became
part of a greater hope,

263
00:24:00,490 --> 00:24:03,220
a hope for a world
communist future,

264
00:24:03,620 --> 00:24:08,220
a part of a greater hope
they needed to live.

265
00:24:08,400 --> 00:24:13,400
And this hope only
He maintained his humanity.

266
00:24:15,640 --> 00:24:19,300
Let's move on from happy endings
for something like this.

267
00:24:19,440 --> 00:24:22,900
Kusum has been unhappy
in love and is running away.

268
00:24:28,310 --> 00:24:29,710
Zoom out.

269
00:24:30,990 --> 00:24:35,410
A film full of increasing zooms
and decreasing sadness and joy.

270
00:24:38,400 --> 00:24:40,510
But then, we stay with it.

271
00:24:40,840 --> 00:24:42,310
And your tears.

272
00:24:51,240 --> 00:24:52,590
And zoom in.

273
00:24:55,550 --> 00:24:57,799
There, this frozen close-up,

274
00:24:57,900 --> 00:25:00,299
for a plan
at the beginning of the film.

275
00:25:00,400 --> 00:25:03,010
And her voice off
update us.

276
00:25:03,340 --> 00:25:04,920
And they came back...

277
00:25:06,930 --> 00:25:09,900
Nothing official.

278
00:25:11,550 --> 00:25:13,920
I couldn't
enter university

279
00:25:15,900 --> 00:25:19,000
and joined the ranks
of the unemployed.

280
00:25:22,000 --> 00:25:25,200
That was the end of my
twelve years of studies?

281
00:25:34,050 --> 00:25:36,700
Just the cheek
and a slow zoom.

282
00:25:37,050 --> 00:25:39,710
The beautiful tones
in black and white...

283
00:25:42,200 --> 00:25:46,349
and then we get closer again.
From what? Of her face in the mirror?

284
00:25:46,450 --> 00:25:49,600
Yes, but also
of a blurry image.

285
00:25:51,000 --> 00:25:52,610
A question mark.

286
00:25:54,490 --> 00:25:57,000
That's all
What does life have in store for me?

287
00:25:59,600 --> 00:26:03,110
One of the most uncertain endings
and daring people of cinema.

288
00:26:03,520 --> 00:26:08,000
THE GIRLS
DIRECTED BY: SUMITRA PERIES

289
00:26:09,800 --> 00:26:13,220
This ending is uncertain
in a different way.

290
00:26:13,950 --> 00:26:16,800
She was hit by a car
and is in the hospital.

291
00:26:17,040 --> 00:26:19,900
Whiteness and softness
of this image.

292
00:26:20,140 --> 00:26:23,400
But then, cut
to her supposed lover.

293
00:26:23,900 --> 00:26:27,620
In a car, in the dark,
in a kind of hell.

294
00:26:32,530 --> 00:26:36,660
LOVE LETTERS
DIRECTED: KINUYO TANAKA

295
00:26:42,440 --> 00:26:44,500
Now she moves her head.

296
00:26:52,100 --> 00:26:54,210
Now, he holds his.

297
00:27:03,920 --> 00:27:07,600
And her eyes open.
An almost celestial image.

298
00:27:13,760 --> 00:27:16,200
And the music changes tone.

299
00:27:27,240 --> 00:27:29,900
Was it a happy ending, or a sad one?

300
00:27:30,300 --> 00:27:33,389
Both. There was a transfer.

301
00:27:33,490 --> 00:27:36,500
A rebalance.
An incursion for free.

302
00:27:41,590 --> 00:27:42,900
Come on, champion.

303
00:27:43,440 --> 00:27:45,710
-Let's go home.
-Yes.

304
00:27:47,040 --> 00:27:50,649
In many endings, the world
seems to judge the characters.

305
00:27:50,750 --> 00:27:52,679
Or history judges them,

306
00:27:52,780 --> 00:27:55,300
or images.

307
00:27:56,140 --> 00:27:58,609
Claire Trevor,
a controlling mother,

308
00:27:58,710 --> 00:28:00,229
got what he wanted.

309
00:28:00,330 --> 00:28:01,720
This is yours.

310
00:28:02,750 --> 00:28:04,300
You won.

311
00:28:05,000 --> 00:28:06,410
A trophy.

312
00:28:06,740 --> 00:28:08,310
But at what cost?

313
00:28:12,530 --> 00:28:15,500
Of her dignity?
Of respect from others?

314
00:28:17,300 --> 00:28:18,690
Florence!

315
00:28:28,600 --> 00:28:30,120
You won't forget...

316
00:28:31,100 --> 00:28:32,420
are you going?

317
00:28:43,080 --> 00:28:46,439
It gets dark and she stays
cradling the trophy,

318
00:28:46,540 --> 00:28:48,810
the only thing he has left.

319
00:28:51,240 --> 00:28:54,989
So this wide-angle lens
moves away and loses sight of her,

320
00:28:55,090 --> 00:28:58,259
and finds the papers falling,
the cold wind

321
00:28:58,360 --> 00:29:01,910
and the emptiness of the world
and from her heart.

322
00:29:09,390 --> 00:29:14,539
END

323
00:29:14,640 --> 00:29:18,459
END

324
00:29:18,560 --> 00:29:21,720
END

325
00:29:22,240 --> 00:29:25,310
This fight will not end
in terrorism and violence.

326
00:29:26,340 --> 00:29:29,510
Much more radical
and determined is this ending.

327
00:29:30,440 --> 00:29:33,339
A radio announcer
feminist in New York.

328
00:29:33,440 --> 00:29:34,999
Well framed.

329
00:29:35,100 --> 00:29:37,820
Your bold message,
but conciliatory.

330
00:29:38,640 --> 00:29:40,199
...in light.

331
00:29:40,300 --> 00:29:43,510
This is the moment of awaited
change for all of us.

332
00:29:44,240 --> 00:29:48,239
This is Isabella from Radio Phoenix,
saying goodbye until tomorrow.

333
00:29:48,340 --> 00:29:50,300
We've gone too far.

334
00:29:50,700 --> 00:29:54,789
Then cut to this man,
in formal attire,

335
00:29:54,890 --> 00:29:57,029
how they are filmed
the TV reporters.

336
00:29:57,130 --> 00:30:00,239
We can't ignore
our monumental inflation.

337
00:30:00,340 --> 00:30:04,710
Nor tolerate rampant abuse
in our social programs.

338
00:30:05,230 --> 00:30:08,200
In this country, we are
trapped by bureaucracy.

339
00:30:08,500 --> 00:30:11,500
He expresses a fear
common on the right.

340
00:30:11,650 --> 00:30:16,439
Management fears that socialization
has transformed our democracy

341
00:30:16,540 --> 00:30:18,430
in a welfare state.

342
00:30:18,600 --> 00:30:21,039
If we want our
ideals survive,

343
00:30:21,140 --> 00:30:23,419
we need to consider
its implications.

344
00:30:23,520 --> 00:30:26,420
But then, the shock.
He is interrupted by...

345
00:30:29,750 --> 00:30:32,920
An explosion overhead
of the twin towers,

346
00:30:33,100 --> 00:30:36,420
eighteen years before
to actually explode.

347
00:30:38,040 --> 00:30:41,210
A shocking ending.
A destruction.

348
00:30:46,630 --> 00:30:49,859
Claire Denis's ending
in �35 Shots of Rum� 

349
00:30:49,960 --> 00:30:53,220
It's the visual opposite
of exploding towers.

350
00:30:53,520 --> 00:30:56,210
The father we already know.

351
00:30:56,500 --> 00:30:58,510
Your daughter just got married.

352
00:30:58,700 --> 00:31:00,500
He will see her less now.

353
00:31:00,690 --> 00:31:03,600
They lived together,
happy, tenderly.

354
00:31:05,740 --> 00:31:07,700
There, cut to this image.

355
00:31:07,820 --> 00:31:11,900
No face, no emotion
Obviously, no goodbyes.

356
00:31:13,500 --> 00:31:15,810
The red pan is on the left.

357
00:31:16,240 --> 00:31:20,910
But later, he discovers another
rice cooker she bought.

358
00:31:21,700 --> 00:31:25,999
Director Denis loves the ending
from the film by Yasujiro Ozu,

359
00:31:26,100 --> 00:31:29,410
in which a lonely man
peel an apple.

360
00:31:29,840 --> 00:31:32,339
This is its equivalent
to peel the apple.

361
00:31:32,440 --> 00:31:34,500
The bitterness of objects.

362
00:31:35,100 --> 00:31:38,510
Children's drawings
in the daughter's pan.

363
00:31:39,100 --> 00:31:43,600
The second pan was not used
and perhaps it never will be.

364
00:31:43,920 --> 00:31:47,120
A lovely note.
A zen ending.

365
00:31:55,400 --> 00:31:59,690
RITUAL IN TRANSFIGURED TIME
DIRECTED BY: MAYA DEREN

366
00:32:00,140 --> 00:32:03,200
What could be less
Hollywood, minus Bollywood?

367
00:32:03,340 --> 00:32:04,810
Maybe this...

368
00:32:06,540 --> 00:32:10,990
A woman running away from a man.
The dance of desire, in a way.

369
00:32:35,040 --> 00:32:37,800
She spins. But then, this.

370
00:32:42,200 --> 00:32:46,140
It turns white, sinks,
falls, in slow motion.

371
00:32:46,390 --> 00:32:49,710
She is underwater,
or in the opposite position?

372
00:33:14,810 --> 00:33:18,510
We reached the end of the road,
our last chapter.

373
00:33:19,840 --> 00:33:21,800
Let's finish on a high note.

374
00:33:24,660 --> 00:33:27,099
It's good to finish
with music and dance.

375
00:33:27,200 --> 00:33:29,589
Along with car racing
and shootings,

376
00:33:29,690 --> 00:33:33,510
the musical numbers are the scenes
most elaborate in cinema.

377
00:33:37,300 --> 00:33:41,199
40 - MUSIC AND DANCE

378
00:33:41,300 --> 00:33:44,689
We've all seen the classics.
They are more or less like this.

379
00:33:44,790 --> 00:33:50,489
An artist is missing and then,
a replacement, some newbie

380
00:33:50,590 --> 00:33:52,620
need to go instead.

381
00:33:55,360 --> 00:33:57,100
The music plays.

382
00:34:00,630 --> 00:34:05,000
This disturbs her.
So, she is pushed.

383
00:34:11,800 --> 00:34:14,000
Geez. She's good.

384
00:34:15,230 --> 00:34:16,600
A whirlwind.

385
00:34:20,690 --> 00:34:24,320
The wide-eyed look upon entering
on stage for the first time.

386
00:34:26,190 --> 00:34:28,239
Applause. Heads turn.

387
00:34:28,340 --> 00:34:31,200
Suddenly,
everyone looks at her.

388
00:34:40,040 --> 00:34:41,610
A star is born.

389
00:34:49,650 --> 00:34:52,490
She does some more,
and applaud more.

390
00:34:59,390 --> 00:35:04,189
A classic unremarkable moment
Chinese film by Huang Shu-gin,

391
00:35:04,290 --> 00:35:06,400
 �Woman, Demon, Human�.

392
00:35:09,390 --> 00:35:13,010
Huang borrows
of theater and opera, of course,

393
00:35:13,240 --> 00:35:15,620
like many musicals do.

394
00:35:17,730 --> 00:35:21,939
Soviet director Vera Stroeva
do this explicitly

395
00:35:22,040 --> 00:35:27,810
in his 1954 adaptation of the opera
by Mussorgsky, �Boris Godunov�.

396
00:35:30,690 --> 00:35:33,010
A truly Muscovite exterior.

397
00:35:35,230 --> 00:35:36,710
A procession.

398
00:35:41,690 --> 00:35:46,200
And then, this wide-angle lens,
which looks like a medieval painting.

399
00:35:46,590 --> 00:35:49,010
Theatrical, decorous.

400
00:35:49,690 --> 00:35:52,120
Whites, reds and blues.

401
00:35:52,340 --> 00:35:57,110
Maybe not completely
cinematographic. But this plan, yeah.

402
00:35:57,450 --> 00:35:59,300
Long live Boris Fedorovich!

403
00:36:02,890 --> 00:36:05,489
And the cut
to the choir of the crowd.

404
00:36:05,590 --> 00:36:06,999
Long life and happiness!

405
00:36:07,100 --> 00:36:08,800
Praise him!

406
00:36:20,750 --> 00:36:23,800
And this angle is
very cinematic.

407
00:36:24,280 --> 00:36:28,249
Emotion and the crowd
in an opera, but with proximity.

408
00:36:28,350 --> 00:36:30,089
Dramatic foreground.

409
00:36:30,190 --> 00:36:31,549
Glorious setting.

410
00:36:31,650 --> 00:36:35,329
Thirty-three years later
of Stroeva making her film,

411
00:36:35,430 --> 00:36:37,720
it was shown at Cannes.

412
00:36:56,640 --> 00:37:00,229
Cinema took over traditions
theater and opera musicals,

413
00:37:00,330 --> 00:37:02,900
but it increased your sense
of movement,

414
00:37:03,100 --> 00:37:05,190
its emphasis on movement.

415
00:37:05,810 --> 00:37:09,090
Here Margaret Tait
doesn't even use the camera.

416
00:37:09,200 --> 00:37:11,890
She paints directly on the film.

417
00:37:16,040 --> 00:37:18,779
Movement in two dimensions,
trembling, pure.

418
00:37:18,880 --> 00:37:20,810
The origins of films.

419
00:37:36,130 --> 00:37:37,899
In its beginnings,

420
00:37:38,000 --> 00:37:42,100
Alice Guy showed the so-called
of music in cinema.

421
00:37:42,750 --> 00:37:48,000
An ordinary bourgeois family,
the wife, the husband and the maid.

422
00:37:48,490 --> 00:37:53,000
But then, the wife hears something
and raises his left hand.

423
00:37:53,330 --> 00:37:57,800
She raises both hands,
gets up and the maid listens.

424
00:37:59,440 --> 00:38:01,159
Then, he also gets up.

425
00:38:01,260 --> 00:38:04,210
They're like puppets.
They need to dance.

426
00:38:08,900 --> 00:38:13,010
Music is the common thread.
The guiding thread of cinema.

427
00:38:57,950 --> 00:39:01,600
Yesterday

428
00:39:02,490 --> 00:39:06,200
This woman is dressed
like a Greek statue.

429
00:39:06,500 --> 00:39:08,739
Director Marion Hansel

430
00:39:08,840 --> 00:39:11,739
made his film in slow motion,

431
00:39:11,840 --> 00:39:15,089
so we can see
tissue movement,

432
00:39:15,190 --> 00:39:19,310
the illusion that the sculptors
classics hope to achieve.

433
00:39:23,090 --> 00:39:26,110
Billie Holiday sings.
Fascinating.

434
00:39:30,330 --> 00:39:32,200
She is like a sea anemone.

435
00:39:32,740 --> 00:39:34,310
We are at the top.

436
00:39:34,650 --> 00:39:36,539
The background is dark brown.

437
00:39:36,640 --> 00:39:40,959
Body and clothes almost as abstract
as Margaret Tait's film.

438
00:39:41,060 --> 00:39:43,400
And love

439
00:39:46,840 --> 00:39:52,900
Then the festive youth
it was mine

440
00:39:55,240 --> 00:39:57,100
She seems to float.

441
00:39:57,340 --> 00:39:58,800
Float.

442
00:39:58,920 --> 00:40:03,339
Many musical scenes in the cinema
try to remove gravity,

443
00:40:03,440 --> 00:40:07,000
and pass into a state of lightness,
of weightlessness.

444
00:40:12,030 --> 00:40:16,610
This is the �Elena� documentary,
by Brazilian director Petra Costa,

445
00:40:16,740 --> 00:40:20,790
about your sister who went to New York
and then committed suicide.

446
00:40:23,090 --> 00:40:25,989
The lightness of those
left behind,

447
00:40:26,090 --> 00:40:27,810
of the floating world.

448
00:40:44,490 --> 00:40:48,300
Many musical numbers
they aspire to a floating world.

449
00:41:13,450 --> 00:41:14,919
This kind of world.

450
00:41:15,020 --> 00:41:18,679
Girls together in a room.
It's late, but they're not tired.

451
00:41:18,780 --> 00:41:21,310
They are moved by music. Light.

452
00:41:35,890 --> 00:41:37,549
Director Edith Carlmar

453
00:41:37,650 --> 00:41:41,300
and the director of photography
Mattis Mathiesen follows them.

454
00:41:41,510 --> 00:41:43,100
Keep them in frame.

455
00:41:48,920 --> 00:41:51,239
The camera does not get too close.

456
00:41:51,340 --> 00:41:55,190
We want to see all the movement,
feel all the movement.

457
00:42:03,930 --> 00:42:08,939
I just want to feel
true love

458
00:42:09,040 --> 00:42:10,810
And speaking of feelings,

459
00:42:10,930 --> 00:42:13,669
a firefighter,
a community center.

460
00:42:13,770 --> 00:42:18,879
Because I have a lot of life
running through your veins

461
00:42:18,980 --> 00:42:21,190
We don't need
get away from us this time.

462
00:42:21,500 --> 00:42:22,900
A close-up is enough.

463
00:42:24,400 --> 00:42:27,279
It's like the Gene Kelly movie,

464
00:42:27,380 --> 00:42:30,500
waiting to make your number
in �Singing in the Rain�.

465
00:42:30,820 --> 00:42:34,010
Music makes you happy
in a world of its own.

466
00:42:36,320 --> 00:42:39,800
I'm getting ready
to leave her

467
00:42:41,160 --> 00:42:43,320
The eyes are closed, of course.

468
00:42:43,800 --> 00:42:46,400
He dances like no one else
was looking.

469
00:42:46,580 --> 00:42:50,589
A simple dance scene.
The most adorable of all.

470
00:42:50,690 --> 00:42:53,400
Before I arrive

471
00:42:55,100 --> 00:42:58,100
I already saw myself coming

472
00:43:00,290 --> 00:43:04,539
I just want to feel
true love

473
00:43:04,640 --> 00:43:07,380
Feel the house I live in

474
00:43:09,650 --> 00:43:11,800
Because I have a lot of life

475
00:43:12,090 --> 00:43:14,210
Running through your veins

476
00:43:14,490 --> 00:43:16,690
Going to the trash

477
00:43:18,890 --> 00:43:23,229
And I need to feel
true love

478
00:43:23,330 --> 00:43:28,099
Palms raised to the universe
as we shine with the moon

479
00:43:28,200 --> 00:43:29,739
We feel the heat

480
00:43:29,840 --> 00:43:31,949
It's as if she were
looking at him.

481
00:43:32,050 --> 00:43:33,409
We are diamonds in the sky

482
00:43:33,510 --> 00:43:35,999
You are a shooting star

483
00:43:36,100 --> 00:43:39,500
Then, she gets up,
as if to join him.

484
00:43:39,930 --> 00:43:43,759
I'm alive
we are like diamonds in the sky

485
00:43:43,860 --> 00:43:49,400
-Soon I felt the energy
-The famous scene in �Girls�.

486
00:43:49,650 --> 00:43:54,300
Four young people from the suburbs of Paris
in a hotel room.

487
00:43:54,640 --> 00:44:00,420
-The weekend party.
-Tonight, you and me

488
00:44:01,440 --> 00:44:04,749
Director Sciamma and Director
photographer Crystel Fournier

489
00:44:04,850 --> 00:44:06,410
keep the close up.

490
00:44:06,840 --> 00:44:08,610
And blue again.

491
00:44:09,040 --> 00:44:11,839
They are loose,
these dancers.

492
00:44:11,940 --> 00:44:15,419
Escaped from their bonds
of Paris and its problems.

493
00:44:15,520 --> 00:44:17,600
Shine like a diamond

494
00:44:17,990 --> 00:44:20,700
Shine like a diamond

495
00:44:20,949 --> 00:44:21,949
They are floating.

496
00:44:22,050 --> 00:44:26,039
-Like diamonds in the sky.
-Diamonds in the sky.

497
00:44:26,140 --> 00:44:29,109
Shine like a diamond

498
00:44:29,210 --> 00:44:31,939
Another classic use
of music in cinema.

499
00:44:32,040 --> 00:44:36,119
We are beautiful
like diamonds in the sky

500
00:44:36,220 --> 00:44:38,729
Shine like a diamond

501
00:44:38,830 --> 00:44:41,289
Shine like a diamond

502
00:44:41,390 --> 00:44:44,300
Shine like a diamond

503
00:44:44,650 --> 00:44:47,480
So shine

504
00:44:47,650 --> 00:44:49,949
Tonight

505
00:44:50,050 --> 00:44:53,010
You and me

506
00:44:53,290 --> 00:44:57,410
We are beautiful
like diamonds in the sky

507
00:44:57,850 --> 00:45:00,400
Eye to eye

508
00:45:08,140 --> 00:45:12,720
One of the first directors
Brazilian women, Gilda de Abreu,

509
00:45:13,150 --> 00:45:15,099
took this further.

510
00:45:15,200 --> 00:45:18,989
Singer, dancer, composer,
writer and director,

511
00:45:19,090 --> 00:45:21,099
she directs her husband here,

512
00:45:21,200 --> 00:45:25,110
in one of the Brazilian films
most famous, �O �brio�.

513
00:45:25,700 --> 00:45:29,119
He is a decent man
who fakes his own death

514
00:45:29,220 --> 00:45:31,320
and reappears as an alcoholic.

515
00:45:31,460 --> 00:45:34,890
A static picture.
A melancholic song.

516
00:45:39,590 --> 00:45:42,700
And then when he turns
head a little,

517
00:45:42,900 --> 00:45:45,900
the camera turns
for children looking at the bar.

518
00:45:56,220 --> 00:46:00,700
It's almost a static set,
bound by repentance.

519
00:46:08,650 --> 00:46:12,400
Oh, this beautiful graphic image
and she turns her head.

520
00:46:17,040 --> 00:46:21,010
What's going on here?
Everyone listens carefully.

521
00:46:21,180 --> 00:46:23,539
A community
temporary form.

522
00:46:23,640 --> 00:46:25,700
Time seems to have stopped,

523
00:46:26,140 --> 00:46:29,490
or the rest of the world,
disappeared.

524
00:46:29,840 --> 00:46:32,700
All that remains is the song, the moment,

525
00:46:32,920 --> 00:46:34,310
the music.

526
00:46:52,400 --> 00:46:56,509
Director Ebreu captures the look
aware of a musical number,

527
00:46:56,610 --> 00:46:59,910
the ecstatic tension of the moment.

528
00:47:08,140 --> 00:47:12,459
Four decades later, the filmmaker
American Joan Micklin Silver

529
00:47:12,560 --> 00:47:16,000
uses the same idea
in �Love � Second Sight�.

530
00:47:16,590 --> 00:47:19,029
It's the birthday
of the protagonist, Izzy.

531
00:47:19,130 --> 00:47:22,300
Her family sang
congratulations on the phone.

532
00:47:22,940 --> 00:47:25,289
Your colleagues
intellectuals sang,

533
00:47:25,390 --> 00:47:27,300
accompanied on the cello.

534
00:47:27,550 --> 00:47:30,599
But in the night itself,
will not be with her,

535
00:47:30,700 --> 00:47:34,700
So, she pretends to go
to a fancy restaurant.

536
00:47:35,230 --> 00:47:38,679
She's in a diner
busy, where they play rap.

537
00:47:38,780 --> 00:47:41,010
Almost a scene from a documentary.

538
00:47:41,140 --> 00:47:43,510
A charming night

539
00:47:44,290 --> 00:47:46,690
But then, this woman arrives.

540
00:47:47,400 --> 00:47:49,529
You see a stranger

541
00:47:49,630 --> 00:47:52,100
And the guy stops playing the rap.

542
00:47:52,490 --> 00:47:55,799
And somehow, you know

543
00:47:55,900 --> 00:48:00,700
Eyes turn to the singer
and the camera moves towards you.

544
00:48:00,920 --> 00:48:02,959
And again

545
00:48:03,060 --> 00:48:05,200
A charming night

546
00:48:05,350 --> 00:48:07,720
You'll hear him laughing

547
00:48:08,140 --> 00:48:11,429
The moment, again.
Not everyone is paralyzed,

548
00:48:11,530 --> 00:48:14,200
but the objective
cinematic is clear.

549
00:48:15,240 --> 00:48:17,069
And make it yours

550
00:48:17,170 --> 00:48:21,400
A musical number is
an imposition on the real world.

551
00:48:21,740 --> 00:48:24,589
An imposition of strangers,
many times.

552
00:48:24,690 --> 00:48:26,449
Nonconformists.

553
00:48:26,550 --> 00:48:28,300
Never let him go

554
00:48:28,680 --> 00:48:30,899
When you find it

555
00:48:31,000 --> 00:48:37,090
Never let him go

556
00:48:43,980 --> 00:48:47,419
One last example of how
music is used in cinema

557
00:48:47,520 --> 00:48:49,199
in the traditional sense.

558
00:48:49,300 --> 00:48:51,710
Angola, 1961.

559
00:48:51,850 --> 00:48:55,189
The protagonist of the film,
the protester Domingos,

560
00:48:55,290 --> 00:48:56,790
was murdered.

561
00:48:57,230 --> 00:49:01,300
The camera goes up to your friends,
who mourn him.

562
00:49:01,420 --> 00:49:05,210
They sing.
The community sense of music.

563
00:49:05,620 --> 00:49:07,010
From pain.

564
00:49:08,600 --> 00:49:12,800
The song unites them.
The images unite them.

565
00:49:13,200 --> 00:49:17,429
A series of close-ups and movements
linking one image to another.

566
00:49:17,530 --> 00:49:19,410
A kind of guiding thread.

567
00:49:55,200 --> 00:49:59,929
But many filmmakers wanted
challenge the conventions of music,

568
00:50:00,030 --> 00:50:01,810
or deconstruct them.

569
00:50:06,400 --> 00:50:08,600
Let's look at five examples.

570
00:50:09,200 --> 00:50:13,300
First this one. �The Connection�,
by Shirley Clark.

571
00:50:13,630 --> 00:50:15,790
It starts in a conventional way,

572
00:50:18,900 --> 00:50:22,039
but then we see
the shadow of the camera on the wall.

573
00:50:22,140 --> 00:50:25,900
And we see the man
who wants to avoid the light.

574
00:50:26,140 --> 00:50:28,000
Come on, man.

575
00:50:28,130 --> 00:50:30,310
Get this away from me.

576
00:50:30,530 --> 00:50:34,210
The song is filmed
in a single plane,

577
00:50:34,350 --> 00:50:38,039
uncut,
almost like an MGM musical,

578
00:50:38,140 --> 00:50:42,699
but the content is like
a making-of, a documentary,

579
00:50:42,800 --> 00:50:45,469
an essay in which we see
cables being tied

580
00:50:45,570 --> 00:50:48,100
and the lights being adjusted.

581
00:50:48,530 --> 00:50:52,429
Clark's scene sets the mood,
but it also breaks it.

582
00:50:52,530 --> 00:50:55,210
She is ambivalent
about the musical moment.

583
00:51:08,190 --> 00:51:11,800
Agn�s Varda does something similar
in �The Two Faces of Happiness�.

584
00:51:12,030 --> 00:51:14,700
The man in the story
dance with a woman.

585
00:51:14,830 --> 00:51:18,900
But then, Varda passes the camera
behind a tree.

586
00:51:27,820 --> 00:51:31,010
There, another displacement,
in the opposite direction.

587
00:51:33,950 --> 00:51:36,410
Now he's dancing
with another woman.

588
00:51:53,440 --> 00:51:55,800
And he dances
with a third woman.

589
00:51:58,140 --> 00:52:00,000
Still uncut.

590
00:52:01,890 --> 00:52:05,200
Varda creates the moment and breaks it.

591
00:52:07,440 --> 00:52:11,100
The unity of music
and the image, without cuts,

592
00:52:11,300 --> 00:52:14,200
but the disunity of man's life.

593
00:52:19,320 --> 00:52:24,590
The lightness of music and the camera,
the weight of the pain he causes.

594
00:52:26,840 --> 00:52:31,420
Now the film about the American Dorothy
Arzner, �Life is a Dance�.

595
00:52:31,650 --> 00:52:34,600
Maureen O�Hara
pushed onto the stage.

596
00:52:36,400 --> 00:52:38,310
A turbulent public.

597
00:52:41,720 --> 00:52:44,410
She tries to be graceful
and ballet dancing.

598
00:52:46,940 --> 00:52:49,800
Stole the clothes
from Tiger Lily, girl?

599
00:52:50,030 --> 00:52:52,100
A defect in clothing.

600
00:53:09,240 --> 00:53:11,300
She is part
of a burlesque show.

601
00:53:11,450 --> 00:53:14,189
Another dancer's outfit
falls on the stage,

602
00:53:14,290 --> 00:53:16,100
as if he was undressing.

603
00:53:17,450 --> 00:53:19,900
Alright, we can handle it!

604
00:53:23,050 --> 00:53:25,500
She goes to her mother's house.

605
00:53:29,630 --> 00:53:34,200
There, the furious close-up of O�Hara.
She notices the joke.

606
00:53:34,690 --> 00:53:37,749
The woman who wrote
the story, Vicki Baum,

607
00:53:37,850 --> 00:53:39,939
she was a boxer, in real life.

608
00:53:40,040 --> 00:53:42,200
What are you going to do now? To cry?

609
00:53:43,340 --> 00:53:45,100
A fighting speech.

610
00:53:45,740 --> 00:53:49,500
A speech that deconstructs
Hollywood and the patriarchy.

611
00:53:51,340 --> 00:53:53,600
You can look.
I'm not ashamed.

612
00:53:53,900 --> 00:53:57,110
Laugh, get your money's worth.
No one will harm them.

613
00:53:58,200 --> 00:54:01,900
I know they want to see me ripped apart,
for your 50 cents to count

614
00:54:02,030 --> 00:54:06,000
the privilege of looking at a girl
like their wives don't let them.

615
00:54:06,830 --> 00:54:08,939
What do you think we think
of you here?

616
00:54:09,040 --> 00:54:12,610
With their pretentious smiles,
that would embarrass their mothers?

617
00:54:12,830 --> 00:54:16,489
We know it's fashionable
elegant men laugh at us.

618
00:54:16,590 --> 00:54:20,509
We would laugh at you, but we are
paid to roll your eyes

619
00:54:20,610 --> 00:54:23,300
and make your comments
so intelligent.

620
00:54:23,540 --> 00:54:25,199
What is this for?

621
00:54:25,300 --> 00:54:29,049
To go to the end of the show
strutting in front of women

622
00:54:29,150 --> 00:54:31,600
and play at being
the stronger sex?

623
00:54:36,190 --> 00:54:39,200
I'm sure they see
through you like us.

624
00:54:42,800 --> 00:54:47,800
The dance stops,
challenging film norms.

625
00:54:52,440 --> 00:54:56,200
Sliding under the bridges
from Amsterdam

626
00:54:56,890 --> 00:55:01,069
On a Dutch tourist boat

627
00:55:01,170 --> 00:55:05,229
Go pregnant women

628
00:55:05,330 --> 00:55:09,420
We, ladies,
us ladies

629
00:55:09,640 --> 00:55:13,890
Back to Varda, to the room
challenge of music norms.

630
00:55:14,520 --> 00:55:17,600
Floating camera.
Floating music.

631
00:55:17,740 --> 00:55:21,239
But the lyrics take us
to a new territory.

632
00:55:21,340 --> 00:55:25,939
An abortive cruise

633
00:55:26,040 --> 00:55:29,290
Women are in Amsterdam
to have abortions.

634
00:55:32,930 --> 00:55:38,149
The boat is not romantic

635
00:55:38,250 --> 00:55:40,649
The classic way
of a musical number,

636
00:55:40,750 --> 00:55:42,800
but with a content
very different.

637
00:55:44,640 --> 00:55:47,310
The scene is still
about solidarity...

638
00:55:54,450 --> 00:55:58,389
like the song of mourning
of men in �Sambizanga�,

639
00:55:58,490 --> 00:56:02,149
but Varda squeezes
a lemon in the lyrics,

640
00:56:02,250 --> 00:56:04,039
to give more astringency.

641
00:56:04,140 --> 00:56:08,559
Our children, our eggs

642
00:56:08,660 --> 00:56:10,939
We laugh and throw away

643
00:56:11,040 --> 00:56:14,600
Without fear of ridicule

644
00:56:14,890 --> 00:56:19,039
On a fancy flag boat

645
00:56:19,140 --> 00:56:22,850
Full of women who abort

646
00:56:23,060 --> 00:56:28,200
That abort

647
00:56:34,890 --> 00:56:36,600
How about that?

648
00:56:36,800 --> 00:56:40,100
 �Attenberg�,
by Athina Rachel Tsangari.

649
00:56:40,790 --> 00:56:43,510
The protagonist puts on a song.

650
00:56:43,690 --> 00:56:45,800
The father is
in a hospital bed.

651
00:56:54,090 --> 00:56:57,700
An immobile camera,
unusual for a music scene.

652
00:56:58,050 --> 00:57:02,410
And lights and dark colors.
A kind of death scene.

653
00:57:06,350 --> 00:57:08,200
This song is about life.

654
00:57:10,840 --> 00:57:12,410
Real life.

655
00:57:14,840 --> 00:57:17,500
It's like she's going to run.

656
00:57:21,040 --> 00:57:23,600
Frustrated by not being able to dance.

657
00:57:23,720 --> 00:57:28,000
Music in films usually
put the world into action,

658
00:57:28,200 --> 00:57:30,229
but a lot is static here.

659
00:57:30,330 --> 00:57:33,010
The impotence of music
and dance.

660
00:57:42,550 --> 00:57:44,920
We can finish
with this theme here?

661
00:57:45,100 --> 00:57:47,000
Or should we end this?

662
00:57:47,600 --> 00:57:50,410
Beyonc's visual album,
 �Lemonade�.

663
00:57:52,130 --> 00:57:54,300
 �They Don�t Love You Like I Do.� 

664
00:57:54,430 --> 00:57:57,549
A kind of rebirth
mythical of music and dance.

665
00:57:57,650 --> 00:58:03,329
They don't love you like I do

666
00:58:03,430 --> 00:58:09,060
Slowly, they don't
love you like me

667
00:58:09,340 --> 00:58:12,790
She is Oshun, the Yoruba warrior,

668
00:58:13,040 --> 00:58:16,200
dressed in yellow
and in a state of fury.

669
00:58:16,690 --> 00:58:20,500
She is happy while destroying,
in this urban setting.

670
00:58:20,780 --> 00:58:24,410
She's like Gene Kelly
in �Singing in the Rain�, on the street.

671
00:58:24,640 --> 00:58:27,030
And then, she looks at us.

672
00:58:27,330 --> 00:58:29,390
Are you going to crush us too?

673
00:58:31,930 --> 00:58:36,149
I jump out of bed
and pick up my stuff

674
00:58:36,250 --> 00:58:39,110
I look in the mirror and say, what's up?

675
00:58:39,950 --> 00:58:42,100
What's up?

676
00:58:48,000 --> 00:58:49,400
So, that's it.

677
00:58:49,650 --> 00:58:53,510
With the camera being broken,
our road movie comes to an end.

678
00:58:53,890 --> 00:58:56,490
Hundreds of great
examples from cinema.

679
00:58:56,650 --> 00:58:59,100
Fourteen hours on the road.

680
00:58:59,800 --> 00:59:02,400
What have we seen in these 14 hours?

681
00:59:02,950 --> 00:59:04,510
All.

682
00:59:05,380 --> 00:59:07,410
Form and content,

683
00:59:07,690 --> 00:59:09,600
violence and tenderness,

684
00:59:09,840 --> 00:59:11,400
love and loss.

685
00:59:12,450 --> 00:59:16,620
Bravery and documentary.
We saw the world.

686
00:59:23,130 --> 00:59:27,410
There were fewer car accidents
and battle scenes

687
00:59:28,450 --> 00:59:30,610
than if they were directors.

688
00:59:31,250 --> 00:59:33,629
But we fear generalizations.

689
00:59:33,730 --> 00:59:37,789
One of the few differences
clear between our films

690
00:59:37,890 --> 00:59:41,229
and the history of cinema
dominated by men is this...

691
00:59:41,330 --> 00:59:44,600
The movies we saw
There are more female protagonists.

692
00:59:45,920 --> 00:59:49,300
Much more women
at the center of the films.

693
00:59:49,420 --> 00:59:51,320
Let's toast to that.

694
00:59:54,410 --> 00:59:56,300
Women make films.

695
00:59:56,540 --> 00:59:58,120
Great films.

696
00:59:58,840 --> 01:00:01,600
They do this
since cinema was born.

697
01:00:03,320 --> 01:00:08,500
This helped define
the anarchic, androgynous rectangle...

698
01:00:09,240 --> 01:00:12,300
in the cinema, or on the TV screen.

699
01:00:43,820 --> 01:00:46,020
Translation:
SANDRA JONES