Original subtitles

Thank you.

The first time I ever saw a movie at the Cinémathèque Française, I thought,

only the French, only the French would house a cinema inside a palace.

The movie was Sam Fuller's shock corridor.

Its images were so powerful, it was like being hypnotized.

I was 20 years old.

It was the late 60s, and I'd come to Paris for a year to study French.

But it was here that I got my real education.

I became a member of what in those days was kind of a Freemasonry.

The Freemasonry of cinephiles, what we'd call.

Film buffs.

I was one of the insatiables. The ones you'd always find sitting closest to the

screen.

Why do we sit so close?

Maybe it was because we wanted to receive the images first.

When they were still new.

Still fresh.

Before they cleared the hurdles of the rows behind us.

Before they had been laid back from row to row, spectator to spectator, until

worn out, secondhand, the size of a postage stamp, they returned to the

projectionist's cabin.

Maybe, too, the screen really was a screen.

It screened us from the world.

But there was one evening in the spring of 1968 when the world finally burst

through the screen.

Sous des prétextes bureaucratiques, les pires ennemis de la culture ont

reconquis ce bastion de la liberté.

Ne vous laissez pas faire.

La liberté ne se reçoit pas. Elle se prend.

Tous ceux qui aiment le cinéma, en France et dans le monde, sont avec vous.

Sont avec Henri Leroy.

It was Henri Langlois who created the Cinémathèque, and it was because he

liked to show movies instead of letting them rot in some underground vault.

Show any movies, good, bad, old, new, silence, westerns, thrillers, that all

the new wave filmmakers came here to learn their craft.

This is where modern cinema was born.

Langlois had been sacked by the government, and it seemed like every

film buff from Paris had turned out in protest.

It was our very own cultural revolution.

Pardon.

What are you, English?

No, American.

You can put it out now.

What's your name?

Matthew. You're here a lot, aren't you?

But you never talk to anyone.

I've been wondering why you're always alone.

I don't really know anybody.

How come you're chained to the gates? I'm not chained to the gates.

What? For someone who likes the cinema so much.

Do you know Jacques?

Jacques? If shit could shit, it would smell just like Jacques.

My brother's going to talk to him. When he gets back, he'll be able to smell

Jacques on him.

It's like being around pigs.

You speak English really well. What?

You speak English really well.

Oh, my mother's English.

Oh, here, still. I introduce you just to give him a sniff.

I've seen you around.

You've been coming to all the Nicholas Rays?

Yeah, I really like his movies.

What? They leave by night?

More like Johnny Guitar, Rebel Without a Cause.

You know what Godard wrote about him?

No. Nicholas Ray is cinema.

It was how I first met Tael.

Isabel.

I could hear my heart pounding.

I don't know if it was because I'd just been chased by the police or because I

was already in love with my new friends.

As we walked and talked and talked and talked about politics, about movies...

and why the French could never come close to producing good rock bands. I'm

starving. I forgot the sandwiches.

I didn't want that night ever to end.

Merci.

Didn't you bring anything?

No, I'm okay.

Please, eat.

Don't mind me.

No, I'm really not hungry.

I've broken it now. Take it.

You're very kind, but I'm hungry. For goodness sake, take it when you offered

it.

Thank you.

Don't you have something for Matthew?

This is fine. I gave him a sort of mind. Okay.

I really, I didn't come here to eat your sandwiches.

He doesn't want it. Yes, he does.

It's just too polite to say he does, aren't you, Matthew? Very kind.

So, where are you from exactly?

San Diego.

What about you two? Were you both born in Paris?

I entered this world in the Champs-Élysées.

1959.

Sur le trottoir des Champs-Élysées.

And you know what my very first words were?

No, what?

New York Herald Tribune!

New York Herald Tribune!

New York Herald Tribune!

New York Herald Tribune!

Est-ce que tu m'accompagnes, Harold?

It's here!

It's right here! It's here!

I love you. Right.

Dear mom, I got some real news this time.

I just met my first French friends

Matthew?

Who is this?

Don't be suspicious, it's me.

Teo? Don't tell me I woke you up.

No, I've been up for ages.

It sounds as if you've been up for ages.

I always sound like this in the morning.

Sorry, I had to call you early because I've got to class at nine.

Right. Listen, you want to have dinner?

You mean like a real dinner and a nice restaurant?

No, no, not in a restaurant.

Here, at home.

Yeah, I'm sure that'd be great. Yes?

Okay, um, why don't you meet... Please get off the phone. It's nine o'clock.

Oh, yes, yes. Why don't you meet us for a drink first at the Raspail?

Six o'clock.

Okay. You know where it is?

Boulevard Saint-Germain?

Be there at six.

Hey!

Troisième étage! Troisième étage?

You know there's room in here for all of us.

C'est vraiment des contagieuses!

Quoi? We're very contagious!

Contagious?

Faut pas que tu nous attrapes!

He's our new friend.

Matthew, this is my mother.

Hi. Very pleased to meet you, Matthew. Likewise.

Oh, you're American, are you?

Yeah, I'm from California.

Matthew lives in a nasty student hotel, Rue Malbranche. So we invited him to

dinner.

I must apologize for my children's behavior, Matthew.

No, I'm the one who should be apologizing.

Please don't put yourself out on account of me.

That's very sweet of you, seeing as you're completely blameless.

Let me look at you.

I want you to make a good impression on Papa.

Papa, can't you

see we have a guest?

This is Matthew.

Sir, Matthew. Matthew's dining with us tonight.

My young Matthew, inspiration is like a baby.

It does not choose a nice, seemly hour to enter the world.

It has no consideration for the poor poets and all.

But when it does come, when it deigns to come, then, you know, it's...

Young man, I was speaking to you. I imagine you were listening.

I was. I'm sorry.

What?

Nothing. I was just... You seem to be mesmerized by this

tin lighter. I'd like to know why.

Well? George, please. Matthew's our guest.

No, no, no, no, no. I'm genuinely curious.

I'd like to know why.

I was just, I was fidgeting with Isabelle's lighting, and I wasn't really

realizing it, and then I noticed, and I thought it was rude, so I put it down on

the table.

But I put it diagonally across one of these squares. Do you see?

Look.

That's when I noticed that the lighter's length is exactly the same length as the

diagonal itself.

So I put it lengthwise.

Along the outside edge.

Look, it fits there too.

But it fits there.

And it fits like this.

And like this.

And this way too.

And I bet you, I bet you if I split it in half, it's got to fit somewhere.

I mean, it really fits anyway.

Look.

See?

I was noticing that the more you look at everything, this table, the objects on

it, the refrigerator, this room, your nose, the world, suddenly

you realize that there's some sort of cosmic harmony

of shapes and sizes.

I was just wondering why.

I don't know why that is.

I know that it is.

You have an interesting friend here.

More interesting, I suspect, than you know.

I mean, when we look around us, what is it we see?

Complete chaos.

Yet, viewed from above, viewed, as it were, by God, everything suddenly

fits together.

My children believe that their demonstrations and sittings and

happenings, well, they believe that these possess the capacity not only to

provoke society, but also to transform it.

What is it you're saying?

If Langlois is dismissed, we shouldn't do anything?

If immigrants are deported, if students are beaten up, we shouldn't do anything?

What I'm saying is that a little lucidity would not go amiss.

So, uh, everyone's wrong but you?

In France, in Italy, Germany, America?

Listen to me, Theo. Before you can change the world, you must realize you

yourself are part of it. You cannot stand outside looking in.

You're the one who stands outside.

You're the one who refused to sign a petition against the Vietnam War.

Poets don't sign petitions. They sign poems.

A petition is a poem. Yes, and a poem is a petition. Thank you, Theo, but I'm not

gaga yet. I don't need you to remind me of my own work.

That's right.

Yes.

Those are the most famous lines you ever wrote.

And now look at you.

Theo.

We should say good night, darling. We've got a long day ahead of us tomorrow.

George.

Good night, everybody.

A very good night to

you, Matthew.

It's a pleasure meeting you, sir.

Very nice meeting you, Matthew. You too.

Thank you so much for dinner. That's my pleasure.

Why do you invite Matthew to spend the night? I'm not sure I like the sound of

Hotel Malbranche.

Bonsoir.

Why haven't you dazzled us with these philosophical speculations of yours?

I didn't know I was being philosophical.

Papa was awfully impressed.

I was full of shit.

I think you're lucky.

I wish my parents were that nice.

Other people's parents are always nicer than our own.

And yet, for some reason, our own grandparents are always nicer than other

people's.

You know, that's true, that's com...

That's absolutely true. I never thought about it before, but it's... It's true.

Matthew, you sweet... This is double the

length of... Wine for Beth.

Are you staying?

Are you okay?

Yeah, I'm okay.

Good night, Matthew.

Everybody's got a father.

Yes.

But the fact that God doesn't exist doesn't mean he can take his place, you

know?

Okay. That's fine.

Good night.

Good night. See you in the morning.

See you.

No.

Good morning.

What is that all about?

I was removing the sleep from your eyes.

They will let me do his every morning.

This is the strangest thing I've ever wanted to do.

Didn't you enjoy it?

Was I so close to?

Naturally.

Up, up, up, up, up!

What are you waiting for? Spill on your mattress.

Bravo!

So... We have a private wing to ourselves.

The bathroom's at the end of the corridor.

If you aren't there in one minute, we're coming back to get you.

You want to use my toothbrush no sure

I'll use my finger

Sleep

well, yeah, I mean fine

You know, Matthew, you really do have the most beautiful pair of lips.

Can I touch them?

You want to touch my lips?

Uh-huh.

Okay.

They're so red and ripe and luscious.

So sullen.

Brutal.

Let's see what you look like with lipstick.

I really should be going.

You look like such a pretty girl.

Ignore her, Matthew.

She sucks in all the air around her.

No, I really have to be getting back to my hotel.

No, why?

We were going to invite you to stay.

Really? Sure.

You know, our parents have left.

They're going to be in Trouville for a month. We thought you might like to move

your things here.

Really? Sure.

But you just met me two days ago. You barely even know me.

This way we'll get to know you. You don't have to stay in a hotel, do you?

No. Then we'll go and pick up what you need with my mobile app, okay?

Come on.

But what about you?

It was my idea.

Whoa!

You're scaring me right now!

Jesus. I'm going to check out the cinematek, just in case.

Okay. Don't take too long.

Don't worry, I won't. I don't have much stuff.

With us, you're not going to need much.

Okay.

Just don't forget your toothbrush.

Okay.

Dear Mom, I guess you're surprised to be hearing from me so soon after my last

letter. But I've just moved out of my hotel and into an apartment belonging to

a famous French author whose children are the same age as me and have the same

interests. I know how pleased you'll be to hear I'm getting in with the right

kind of people.

Say hello to Father.

I hope he's not still mad at me. Listen to this, Matthew.

The difference between Keaton and Chaplin is the difference between prose

and poetry.

between the aristocrat and the trump, between eccentricity and mysticism,

between man as a machine and man as an angel.

It's not bad, no?

That's good.

Except for me, there's no comparison.

Why? Because Chaplin's incomparable?

No.

Because Keaton is incomparable.

Keaton?

So Keaton's greater than Chapman? Absolutely, I do. All you're going to

say is... Of course I am.

You're crazy.

Come on, Teo. In the first place, you can't deny that Keaton's funnier than

Chapman. Yes, I can.

Don't think that Keaton is funnier than Chaplin? I don't think anyone's funnier

than Chaplin. Keaton is. Even when he's not doing anything, he's funny. And he

looks like a doll. Keaton is a real filmmaker.

Chaplin, all he cares about is his own performances, his own ego.

It's bullshit.

It's not bullshit. Yes, it is.

Sometimes I think you Americans understand fuck all about your own

culture. No wonder you've never got the point of Jerry Lewis.

Oh, don't even get me started on Jerry Lewis.

Listen, Matthew, when Chaplin wanted to have a beautiful shot in you, better

than Keaton, better than anybody.

You remember the last shot of City Lights?

He looks at the flower girl.

She looks at him.

And don't forget, she'd been blind, so she was seeing him for the very first

time. And it's as if, through her eyes, we're also seeing him for the very first

time.

Charlie Chaplin, Charlo, the most famous man in the world.

And it's as if we've never really seen him before.

Lisa, if you play that fucking record again, I'll break it in two, okay?

But you're not jealous, Charlie.

Stop it!

I said stop it, Isabelle!

What? Name a film where someone top dancing drives someone else crazy!

Top hat! Top hat!

Fred Astaire is dancing over Ginger Rogers' room.

And she's mad because he wakes her up.

He's good.

I'm right. Do you know what I think?

What?

Bonaparte.

You're right.

Why are you two looking at me like that?

Well, you see my little Matthew?

There's something Théo and I have been meaning to do for a long time.

But we've been waiting for the right person to do it with.

And I think you're finally it!

To do what?

Try to beat the record of Bonaparte.

What record?

Well, you've seen Bonaparte, haven't you?

Yeah. You remember the scene where the three of them race through the Louvre?

Uh, vaguely, remind me. And they try to beat the world record of 9 minutes and

45 seconds. Oh, yeah, of course, of course.

We're going to beat their record.

Uh, oh.

What?

What's the matter?

Uh, nothing, really. I'm... Not afraid, are you?

No, well, I'm not afraid.

What, then?

It's easy for you, too. I'm an American.

What you French call an alien. So?

So, so, if I get caught, I get deported.

Oh, don't worry, little man. We're not going to get caught.

Yeah, you don't know that. They weren't caught in Bonaparte.

And if we beat their record, we won't be caught either. It's a movie.

Go guess Papa's stopwatch. Come on. It's a great idea. Matthew, this is a test.

Are you going to pass it or fail it?

Be careful.

A lot depends on how young, sir.

One of us.

We accept him. One of us. We accept him. One of us. We accept him.

One of us.

Sends back all your invitations And

your father to your sister he explains

That you're tired of yourself

and all of your creation

Won't you come see

me

That's my mom.

I'm too tired to answer.

She's a smart, but she doesn't know how to deal with parents.

What do you mean?

I mean it's not enough to ignore them.

They should all be arrested.

Put on trial.

Confess their crimes.

Send to the country for self-criticism and re-indication.

They're already in the country.

Hmm. They're at the seaside. It's bye-bye.

Hello? Hello?

My parents never go anywhere.

At least you have the house to yourselves.

Where are you going?

I gotta get out of these clothes.

It'll be cold in your room. Come into mine.

You can wear this.

Thanks.

I'm going to get a cooker.

Want one? Okay.

Matthew? Yeah?

Just open the door, my hands are full.

Just a second.

Why didn't you open the door? I was... I was dressing.

What?

Film?

You're not real. It's a chorus line. Dance like this with a singer in a fur

coat.

Have you seen this film? We saw it together.

We did?

Give me a clue.

Certainly not.

Come on, be a sport.

Director's name.

No.

The number of words in the title. I said no.

Isabelle! No!

The first letter of the first word.

God, you're pathetic.

Isn't he pathetic, Matthew?

Don't you think he's pathetic?

Matthew, I bet you know. Don't you dare help him.

Did the Sphinx give Oedipus a clue?

Fuck you.

Give up?

Yeah.

Blonde Venus.

Hey, man.

Marlene Dietrich, 1932.

I knew that.

Forfeit. You insist?

I dare you to do now.

In front of us, what I've watched you do.

In front of her.

Who?

I don't know what you're talking about.

Oh, yes, you do, my pet.

Forfeit.

What a bitch you are.

A bitch and a sadist.

Are you going to pay the forfeit or not?

They will.

I want you to do it the way you did it when you thought no one was watching.

Let's have a drink.

I'll meet you downstairs.

Matthew?

Yes?

Yes.

Why didn't you admit you were three?

Come on, you can tell me.

What?

Why aren't you just a tiny bit excited?

What is it exactly you're trying to get me to say? Nothing.

I asked you a question.

Well, I suppose you know who you sound like.

Who?

Isabel. Why not? She's my twin sister.

You two are twins?

Yes.

She'd be me if she weren't now.

It's crap. You're not identical.

Yes, we are.

We're the same as twins.

joined here.

You're a strange one, Dan.

Half an hour ago, I saw you look at her as though you wanted to strangle her.

I did?

I don't understand you.

Don't you have any brother or sister? I have two older sisters. Didn't you ever

want to strangle them?

Of course I did, but I never masturbated in front of them, and I never... They

never forced me to do anything I never wanted to do.

You think Isabel forced me, do you?

Deep down, I knew things couldn't go on as

before.

Now the stakes have been raised.

But for a while, at least, there did seem to be a kind of truce between Theo

and Isabel.

And then, one evening...

What film?

What film?

Name a film where a cross marks the spot of a murder or pay the forfeits.

You two met here? Me?

What?

What have I done?

Name a film, I'll pay the forfeit.

Um... Time's up.

Time's up? You didn't even give me a chance.

The film?

Scarface. Howard Hawks.

1932.

And the forfeit?

Well... As you know, Isabelle, I'm not a sadist.

I just want to see... Everyone happy. No one left out.

So, I'd like you and Matthew to

make love in front of me.

But not in here.

I don't fancy sleeping in someone else's revolting spec.

No offense, Matthew.

Where?

In the spare room.

In front of the Delacroix.

Maybe one reproduction will inspire another.

I won't do it. You won't do it? You wouldn't.

Matthew isn't my type.

Come here.

Okay.

We'll see you next time.

That's me.

Matthew! Matthew!

Matthew?

Matthew?

Yes?

This is silly.

Come out of there.

Too late. Too late. Too late. Look, you're hurting me. I'm not violent.

I'm against violence.

I'm not going to resist. Look.

So shut up, okay?

Okay. You know, Matthew, you aren't being very gallant.

Is the prospect of making love to me so hateful?

I've seen you. I saw you in bed together.

Oh.

Our guest has been spying on us.

Hmm. Now, that wasn't a friendly thing to do, Matthew.

Especially when you've been so hospitable.

Okay, okay, look.

I'm not resisting.

I'm not resisting.

Sweet of you, Matthew, to keep my image next to your heart. I do.

Oh, Matthew.

Oh, come on. Oh, wake up.

Oh, come on, wake up.

Isabel?

No, I'm Theo.

Where is Isabel?

You have to help me

Sorry

In Papa's study.

You think that was better?

Please, please, please, please.

What? Stay inside.

Okay.

Matthew.

My love.

My first love.

Bye, funny Valentino.

You know, I thought you had many lovers.

When I first saw you at the Cinematek, you and Dale, you looked so cool.

So sophisticated.

Like a movie star.

I was.

I was acting with you.

I'll let you and... I'll let you and Theo... come together,

whether you want.

Two and me?

Let's love at first sight.

Will

he

still remain inside you?

He's always inside me.

What would you do?

What would you do if your parents found out?

It must never happen.

Yeah, I know, but... What if it did?

It must never, never happen.

I understand that, but... Let's say that it did happen.

What would you... What would you do?

I would kill myself.

Right, go on.

Kitchen.

I have to get something to eat.

Good luck.

Heyo? Heyo?

What?

Want some money?

No, thank you. Come on, let's go.

Just really, let me try something.

Just try a little bit. No, thank you.

I want you to know

that I'm grateful.

Grateful?

Remember what you told me in the cafe about you and Isabel?

You were right.

I mean, for me, you two are... You're like two halves of the same person.

Now you made me feel like I'm a part of you.

Both of you.

Let's get some things straight.

Okay. You're a nice boy and I like you a lot.

But no.

It wasn't always meant to be the three of us.

I told you something else, remember?

That Isa and I are also MS Twins.

Yeah.

I wasn't joking.

What's this?

That, my dear brother, is a cheese fondue accompanied by a compote of

broccoli and prunes.

And this?

That's ratatouille.

And you expect me to eat this mug? You expected me to cook it.

I prefer to starve.

You will. There's nothing else in the house.

Matthew?

Can I serve you?

The fondue or the ratatouille?

Which is which?

This is fondue and this is ratatouille.

No, this is the fondue and this is the ratatouille.

The ratatouille.

Ratatouille.

That's fine.

Just eat it as if you're in some exotic country you've never visited before and

this is the national dish?

It looks like he's vomiting in reverse.

It's horrible, isn't it?

I'm sorry, but I know you tried.

Thank you, Matthew.

I'm glad somebody appreciates my efforts.

You say there's nothing in the house?

Nothing you'd want to eat.

And we cashed all the checks?

Yes. So what do we do now?

I'm going to call Papa.

The phone is dead!

Illegitimate son of a rock and roll star

Illegitimate

son of a rock and roll star

What's all this?

It's lunch.

So, Isabelle?

Un filet mignon?

Non. No?

Matthew,

would you like a rump steak?

That's disgusting.

Oh, look.

What about this banana?

One banana for three of us?

Yes.

I'm starving.

Let me see it.

Why? Just let me see it.

What are you doing?

Just watch.

Et voila.

Oh!

Oh, Matthew, you never cease to surprise.

What does that mean?

Hello. How are you? Fine.

Why didn't you come last night?

Sorry, I couldn't. I'm sorry.

Théo, what's wrong with you? We can't take it anymore. We can't count on you

anymore. Stop pissing me off, Patrick.

No, it's simple. You're not with us anymore, Théo.

Yes, I've always been here, but right now it's complicated.

Why?

It's complicated because it's complicated. Stop pissing me off. I

can't explain it to you. I have to go. I'm leaving.

We hardly left the apartment anymore. We didn't know or care if it was day or

night.

It felt as if we were drifting out to sea, leaving the world far behind us.

Too strong for you. That was really good.

Good? Yeah. Again?

No.

Clapton is God, Matthew.

I don't believe in God, but if I did, he would be a black left-handed guitarist.

This is not Chaplin and Keaton.

This is Clapton and Hendrix.

Matthew, Clapton reinvented the electric guitar. Clapton reinvented the electric

guitar. Matthew, believe me.

Clapton plugs in a guitar. He plugs in an electric guitar and he plays it like

an acoustic guitar. Hendrix plugs in an electric guitar.

He plays with his teeth.

There are soldiers in the Vietnam War right now.

Who are they listening to?

Clapton?

No. They're listening to Hendrix, the guy who tells the truth.

It's fucked up. It's all fucked up. You're talking about soldiers in

Vietnam?

Yes. Okay, what are they doing in Vietnam?

They're at war.

What are they doing? Please, tell me. They're fighting.

They're dying, too.

They want to be there. They want to die, and they want to kill people.

Shouldn't you be in Vietnam?

Right now, shouldn't you be in Vietnam? I don't believe in violence.

Where are you, Matthew? Shouldn't you be in Vietnam right now? I'm lucky.

I'm in a university.

I have friends who aren't in university.

And they're expendable.

They're expendable. I am fucking lucky. Do you think you can say it to the

government? No, I'm against violence. I don't agree with your war. Maybe in

France. In America, you have to go. If you don't go, you go to jail. How can

you judge? I prefer to go in jail instead of killing people, Matthew.

I prefer to go in jail. You don't understand.

I read it in Cahiers du Cinéma.

A filmmaker is like a peeping Tom.

A voyeur.

It's as if the camera is a... With a keel to your parents'

bedroom.

And you spy on them, and you're disgusted, and you feel guilty.

But you can't... You can't look away.

It makes films like crimes and directors like criminals.

It should be illegal.

It doesn't make a chance to be a filmmaker.

Why? My parents always left the bedroom door open.

You'll have to direct theater, not cinema.

Maybe.

My parents only fucked once in their life.

That's why we're twins.

They didn't want to make it twice.

Hey Joe, where you going dad?

Got a gun in your hand.

Hey Joe, where you going dad?

Got a gun in your hand.

I'm going down to shoot my old lady.

Don't be alarmed.

It's good news.

It only happens once a month.

I love you, Isabel.

I love you too, Matthew.

Yeah, but... I really love you.

I really, really love you too. We both do, don't we, dear?

Oh, yeah.

So what I wanted you to say.

What do you want us to say?

I wanted you to say you love me.

Just do nothing.

No, you said you love me too.

I wanted you to say you love me too. I wanted you to say that you love me.

We love you, we love you, we love you. It's not right either.

You have to say it first.

Oh my God, Matthew, you already said it first. Why is that?

Why am I always the first to say it?

Poor Matthew.

We do love you very much.

We love you very much. I want to be loved.

You know when someone wants it?

There's no such thing as love. There are only proofs of love.

Are you ready to give us a proof of your love?

You want proof of my love?

Okay.

Get out of the bath.

La petite mousse.

Le petit rasoir.

Merci.

Think about it. Is this something you do to each other?

You want to shave my pubic hair? You want me to be a little boy for you?

A little prepubescent Teo at six that you can play games with and you can

touch pee-pee, touch pee-pee. I'll show you mine, you show me yours. Come on,

come on. Just calm down. We hear you.

The other thing about it, think.

You sleep in the same bed together.

Every night, you bathe together, you pee in the john together.

You play these little games.

I wish you could step out of yourselves and just look.

Why? Why are you so cruel?

Because I love you.

You have a strange way of showing it.

No, I love you. I really love you, both of you.

And I admire you.

And I look at you and I listen to you and I think, you're never going to grow.

You won't grow like this.

You won't.

Not as long as you keep clinging to each other the way that you do.

Isabel, have you ever been out on a date?

A date?

Yeah, a date.

What kind of date? Have you ever been out with a boy?

I've been out with two.

Not two.

Have you ever been out with a boy that you met at school that you liked? I was

never taken to school prom, if that's what you mean.

I'm afraid we don't have proms in France.

You have dates and friends, Isabel.

Come on.

Have you ever been out with a boy? Why do you keep asking me that? You know I

haven't.

Would you like to?

Is this an invitation?

It's an invitation.

Would you like to go out on a date with me?

Just the two of us.

Don't make a tale.

Isabelle, you don't need his permission.

Oh, no, no, no, we can't sit in the front. We have to sit in the back.

The front is for people who don't have dates.

Excuse me.

We sit in the back.

Ladies and gentlemen, the motion picture you are about to see

is a story of music.

I play the role of Tom Miller, an agent.

A small-time theatrical agent who had been a... Well, you'll see.

This motion picture was photographed in the grandeur of CinemaScope, and...

Sorry I can't stay, but I have a train on tap.

All the best, Georgie.

Can't stand to hear me sing again, huh?

You know it, isn't that?

When I looked at the TV screen, I remembered the battle of the Cinematek.

Except this time the demonstrators weren't film buffs.

They weren't even just students any longer.

It was hard to figure out what was happening, but it looked like shops had

closed their doors, factories had gone on strike, and it was beginning to

spread all over Paris.

To when I never watched television.

We're purists.

Pure et dur.

Well, let's go.

Yeah, but... Jesus.

Tom. They're not mine.

Your room.

No.

I don't know how long I've been here, but in all that time, I haven't seen

your room.

You do have a room, right? A room of your own? Yeah, of course I have.

I don't think I always lived in Two Speaks Day.

How come we never go in there? How come we never go in there? No, no, no, no, no

one's making love on my bed.

Isabel, please, go in. No, no. It's your room. It's part of you. I want to see

it. Just tonight.

No, no, and no.

I discovered a side of Isabelle I'd never seen before.

A secret side she hadn't wanted me to see.

I suddenly thought of my sister's bedrooms in San Diego.

I thought of our house and our neighbor's houses, all alike, and their

green lawns, and their sprinklers and their station wagons parked outside the

garage door.

I know the dream that

you're dreaming of.

What sculpture?

I always wanted to make it up to the realist in you.

I can't stop you. I've got no arms.

I can't stop you.

What's wrong?

Don't listen to him.

Don't listen to him. Don't cry.

Don't cry.

Shh.

Please leave me alone.

Leave me alone. Please.

Please.

Go away!

Isabel!

Isabel!

yourself you're gonna hurt yourself who are you what are you doing

in my room

La Révolution n'est pas un dîner de gala.

Elle ne se fait pas comme une œuvre littéraire, un dessin ou une broderie.

Elle ne peut s'accomplir avec autant d'élégance, de tranquillité et de

délicatesse, ou avec autant de douceur, d'amabilité, de courtoisie, de retenue

et de générosité d'âme.

La Révolution, c'est un soulèvement, un acte de violence, par lequel une classe

renverse une autre.

Château Lafitte, 1955 Château Chasse

-Spline, 1959 Grand Vin, 1937

Bonne fête, papa.

Again.

Listen, Matthew.

Yes? You're a big movie buff, right?

Oui. Then why don't you think of Mao as a great director making a movie with

a cast of millions?

All those millions of Red Guards marching together into the future with

the little Red Book in their hands.

Books, not guns.

Culture, not violence.

Can't you see what a beautiful, epic movie that would make?

I guess, but it's easy to say books, not guns.

But it's not true.

It's not books.

It's book. A book. Just one book. Shut up. You sound just like my father.

No, no.

No, listen to me. The Red Guards that you admire...

They all carry the same book.

They all sing the same songs. They all parrot the same slogans.

So in this big, epic movie, everybody

is an extra.

That's scary to me. That gives me the creeps.

I'm sorry to say it, but for me, there is a distinct contradiction.

Why?

Because if you really believed what you were saying, you'd be out there.

Where?

Out there on the street.

I don't know what you mean. Yes, you do. There's something going on out there.

Something that feels like it could be really important.

Something that feels like things could change.

Even I get that.

But you're not out there.

You're inside with me, drinking expensive wine, talking about film.

talking about Maoism, why?

Okay, that's enough. No, tell me why. That's enough. Ask yourself why.

Because I don't think you really believe it. I think you buy the lamp and that

you put up the posters with it.

I don't think you... You speak too much. Okay.

I'm good.

Theo, just listen to me. Listen.

I think... I think you prefer... I think you prefer...

Just two.

Oh, oh, oh, boys, boys.

Or three.

Lisa, come and join us.

No, thank you, my sweet.

I've got a surprise for you in the salon.

Come on!

Get in!

Ow!

More wine?

God, you're with a smile.

You're drunk.

Go

to

sleep, Matthew.

Gautier, it's hard to keep your eyes open.

Night, night.

Where are

you?

Where are you?

Excuse me.

I want you to listen to me.

Why?

Because... Theo... I love you.

You know it.

I love you too.

You love me too.

It's funny.

You listen to me.

Always.

To both of us.

Isn't that right?

Yes.

Why did he say that, Mathieu?

What did he say, Mathieu?

That we were monsters.

That we failed.

I just want you to tell me that it's forever.

It's forever.

Isa... I don't understand anything.

Let's talk about everything tomorrow, okay?

Oh.

Good. I must leave now, darling.

Already?

What would you like, to have dinner with them?

What's going on?

Listen to me for a second. This is what they do.

This is not what we do. We use this. We do this.

We use this.

They pay it

Strange, beautiful grass and green with your majestic filth and seeds.

Your mysterious mountains I wish to see closer.

May I land my tinky machine.