1
00:00:36,800 --> 00:00:38,767
Come see your mask in action.

2
00:01:12,232 --> 00:01:16,030
I'd like to read you
something I wrote.

3
00:01:18,866 --> 00:01:23,390
"Isolation in a chamber that must be
sealed off from the outside world

4
00:01:23,566 --> 00:01:26,727
because it's full

5
00:01:26,900 --> 00:01:28,594
of deadly gas...

6
00:01:29,366 --> 00:01:31,765
a chamber in which...

7
00:01:33,067 --> 00:01:37,125
one must wear a mask
to survive...

8
00:01:39,000 --> 00:01:43,933
strongly evokes the conditions
under which modern man lives."

9
00:01:44,100 --> 00:01:46,225
I don't want to design
any more of these.

10
00:01:46,399 --> 00:01:49,298
"One cannot reflect
on this mythical one-dimensional man

11
00:01:49,466 --> 00:01:52,831
without analyzing

12
00:01:53,000 --> 00:01:57,024
all the characteristics
of our industrial society.

13
00:01:59,766 --> 00:02:04,426
Nevertheless, a well-drawn metaphor
could be very informative

14
00:02:04,599 --> 00:02:09,464
and shed light on certain
far-reaching consequences

15
00:02:09,633 --> 00:02:12,259
that are never
explicitly addressed.

16
00:02:12,900 --> 00:02:17,560
For example, doesn't knowing
that one must wear a mask

17
00:02:17,900 --> 00:02:21,129
create a sense of anxiety?

18
00:02:22,266 --> 00:02:26,996
Internalizing these obsessive,
hallucinatory needs

19
00:02:27,167 --> 00:02:30,600
leads not to
an adaptation to reality

20
00:02:30,900 --> 00:02:36,163
but to mimicry and standardization,
the elimination of individuality.

21
00:02:37,966 --> 00:02:42,331
The individual transfers
the outside world to the interior.

22
00:02:44,933 --> 00:02:47,331
There is
an immediate identification

23
00:02:47,499 --> 00:02:51,933
among individuals in society
as a single entity.

24
00:02:52,533 --> 00:02:55,830
One's needs for physical survival

25
00:02:56,000 --> 00:02:59,865
are met by industrial production,

26
00:03:00,033 --> 00:03:03,023
which, in addition, sets forth
as equally necessary

27
00:03:03,533 --> 00:03:08,228
the need to relax,
to enjoy oneself...

28
00:03:10,167 --> 00:03:15,429
to behave and consume
according to advertising models

29
00:03:15,633 --> 00:03:20,124
that render in explicit detail
desires anyone may experience.

30
00:03:21,533 --> 00:03:25,557
Film, radio, television,

31
00:03:25,733 --> 00:03:28,290
the press, advertising,

32
00:03:28,499 --> 00:03:30,295
and all other facets

33
00:03:30,466 --> 00:03:32,296
of industrial production

34
00:03:32,466 --> 00:03:36,399
are no longer directed
at different goals."

35
00:03:37,666 --> 00:03:40,292
No, this sentence isn't clear.

36
00:03:41,800 --> 00:03:44,131
"Film" comma,

37
00:03:44,633 --> 00:03:46,759
"radio" comma —

38
00:03:48,933 --> 00:03:50,399
Sorry.

39
00:03:52,800 --> 00:03:55,562
I watched these.
They're very entertaining.

40
00:03:55,733 --> 00:03:57,495
I'll watch them tonight.

41
00:04:07,533 --> 00:04:10,659
"Under these conditions
of uniformity,

42
00:04:11,200 --> 00:04:15,133
the old sense of alienation
is no longer possible.

43
00:04:16,100 --> 00:04:20,556
When individuals identify
with a life-style imposed from without

44
00:04:20,766 --> 00:04:24,221
and through it experience
gratification and satisfaction,

45
00:04:24,766 --> 00:04:30,029
their alienation is subsumed
by their own alienated existence."

46
00:04:30,200 --> 00:04:32,325
Just some notes.

47
00:04:58,833 --> 00:05:01,629
DILLINGER IS DEAD

48
00:07:49,566 --> 00:07:51,294
Something wrong?

49
00:08:00,000 --> 00:08:01,660
I have a little headache.

50
00:08:06,399 --> 00:08:12,197
<i>When I see other couples
in a warm embrace</i>

51
00:08:13,666 --> 00:08:16,997
<i>While the sun makes off</i>

52
00:08:17,167 --> 00:08:19,656
<i>With another day</i>

53
00:08:21,466 --> 00:08:26,490
<i>Red sky</i>

54
00:08:26,666 --> 00:08:30,429
<i>Where are you going</i>

55
00:08:30,833 --> 00:08:36,528
<i>Stay and maybe I too</i>

56
00:08:37,599 --> 00:08:41,691
<i>Will find love</i>

57
00:08:47,833 --> 00:08:50,732
I'm hungry.
I'm going down to eat.

58
00:08:59,033 --> 00:09:01,023
What can I do for you?

59
00:09:01,700 --> 00:09:03,894
Thanks. Bye.

60
00:12:35,033 --> 00:12:38,591
<i>- Which would you choose?
- This one or this other one.</i>

61
00:12:38,766 --> 00:12:40,733
<i>This one's nice too.</i>

62
00:12:40,900 --> 00:12:43,560
<i>Thanks. Now let's join
the others downstairs.</i>

63
00:12:55,800 --> 00:12:58,232
<i>- What's your name?
- Anna.</i>

64
00:12:58,399 --> 00:13:01,457
<i>Tell me, do you wear lipstick?</i>

65
00:13:01,800 --> 00:13:05,631
<i>No, I don't care for it,
and my mother wouldn't approve.</i>

66
00:13:05,866 --> 00:13:08,662
<i>Maybe next year.
- I wear it.</i>

67
00:13:08,833 --> 00:13:11,664
<i>- You do? What's your name?
- Lalla.</i>

68
00:13:11,833 --> 00:13:13,959
<i>You wear lipstick
and what else?</i>

69
00:13:14,299 --> 00:13:18,960
<i>Eye shadow, false eyelashes,
eyeliner — everything.</i>

70
00:13:19,133 --> 00:13:22,531
<i>- When do you wear all this?
- When my mother goes out.</i>

71
00:13:22,700 --> 00:13:25,531
<i>I call my friends,
and we stand at the window.</i>

72
00:13:25,700 --> 00:13:27,894
<i>- Why the window?
- So people can see us.</i>

73
00:13:28,133 --> 00:13:29,531
Little girl.

74
00:13:33,399 --> 00:13:37,491
<i>You haven't spoken yet.
What's your name?</i>

75
00:13:38,399 --> 00:13:42,060
<i>- Sheila.
- Do you wear lipstick already?</i>

76
00:13:42,232 --> 00:13:44,790
<i>No, but I will
when I'm grown up.</i>

77
00:13:44,966 --> 00:13:47,330
<i>- Good. How old are you?
- Twelve.</i>

78
00:13:47,499 --> 00:13:50,466
<i>You look older than 12.</i>

79
00:13:50,633 --> 00:13:52,100
<i>I know. I'm very tall.</i>

80
00:13:52,299 --> 00:13:53,960
<i>- How tall?
- I don't know.</i>

81
00:13:54,133 --> 00:13:57,224
<i>Is your mother happy
with you wearing nylons?</i>

82
00:13:57,399 --> 00:14:01,628
<i>No. At first she was upset,
but I wore them anyway,</i>

83
00:14:01,800 --> 00:14:04,165
<i>and she stopped
saying anything.</i>

84
00:14:05,000 --> 00:14:06,899
<i>Do you wear miniskirts?</i>

85
00:14:07,067 --> 00:14:09,193
<i>Not miniskirts,
but short skirts.</i>

86
00:14:11,399 --> 00:14:15,423
<i>Here today
Tomorrow where will I be</i>

87
00:14:19,366 --> 00:14:23,198
<i>Here and there
I love freedom</i>

88
00:14:27,499 --> 00:14:31,557
<i>And no one's going
to take it away from me</i>

89
00:14:34,366 --> 00:14:37,993
<i>For a while</i>

90
00:14:38,800 --> 00:14:40,790
<i>You understood</i>

91
00:14:43,499 --> 00:14:47,126
<i>And I stayed at your side</i>

92
00:14:50,266 --> 00:14:52,756
<i>But now</i>

93
00:14:54,833 --> 00:14:57,164
<i>You've taken me
all for yourself</i>

94
00:14:59,466 --> 00:15:03,593
<i>And soon
I won't be able to breathe</i>

95
00:15:07,466 --> 00:15:11,025
<i>Here and there
I love freedom</i>

96
00:15:15,399 --> 00:15:19,355
<i>And no one's going
to take it away from me</i>

97
00:15:22,299 --> 00:15:25,892
<i>Here today, gone tomorrow</i>

98
00:15:26,599 --> 00:15:28,828
<i>That's how I like to live</i>

99
00:15:31,232 --> 00:15:34,529
<i>Never putting on the brakes</i>

100
00:15:39,200 --> 00:15:40,461
<i>Here and there</i>

101
00:15:40,633 --> 00:15:42,896
<i>I love freedom</i>

102
00:15:47,100 --> 00:15:50,396
<i>And no one's going
to take it away from me</i>

103
00:17:26,466 --> 00:17:32,798
<i>I recorded your voice
on two tape recorders</i>

104
00:17:33,200 --> 00:17:36,257
<i>That play continuously</i>

105
00:17:36,466 --> 00:17:39,490
<i>So that your voice</i>

106
00:17:39,833 --> 00:17:45,733
<i>So that your voice
is always here</i>

107
00:21:04,833 --> 00:21:12,232
PUBLIC ENEMY NO. 1 GUNNED DOWN
OUTSIDE MOVIE THEATER

108
00:23:03,433 --> 00:23:06,026
- Good evening, sir.
- Good evening.

109
00:23:13,133 --> 00:23:15,100
Hand me the celery, please.

110
00:23:47,000 --> 00:23:48,194
I'm so thirsty!

111
00:23:48,433 --> 00:23:51,525
I'll hang on to the bottle.
I had some salted cod.

112
00:23:51,733 --> 00:23:53,529
Good night.

113
00:31:10,933 --> 00:31:12,797
What are you looking for?

114
00:31:15,366 --> 00:31:17,265
A nail file.

115
00:31:24,733 --> 00:31:27,064
Why don't you come to bed?

116
00:31:37,133 --> 00:31:39,622
Bring me
the sleeping pills, please.

117
00:32:14,966 --> 00:32:16,557
Give me two.

118
00:32:17,599 --> 00:32:19,293
I want to sleep.

119
00:32:21,966 --> 00:32:23,557
A glass of water

120
00:32:24,433 --> 00:32:26,593
and the hot water bottle, please.

121
00:33:09,033 --> 00:33:10,522
Good night.

122
00:33:15,133 --> 00:33:16,861
Kiss.

123
00:35:04,232 --> 00:35:06,166
You're the handsomest of all.

124
00:35:16,966 --> 00:35:18,523
Just a moment.

125
00:35:24,200 --> 00:35:26,928
Excuse me, Sabina.
Do you have a nail file?

126
00:35:27,100 --> 00:35:28,726
Over there.

127
00:38:00,733 --> 00:38:02,200
Yes?

128
00:38:04,499 --> 00:38:05,830
Who?

129
00:38:08,033 --> 00:38:09,499
Just a moment.

130
00:38:17,900 --> 00:38:19,457
Sabina.

131
00:38:20,733 --> 00:38:22,290
Telephone.

132
00:38:24,100 --> 00:38:25,930
At this time of night?

133
00:38:26,299 --> 00:38:27,857
I'm coming.

134
00:38:40,900 --> 00:38:42,332
Sorry.

135
00:38:43,966 --> 00:38:45,398
Yes?

136
00:39:06,433 --> 00:39:08,297
It was fate.

137
00:39:09,299 --> 00:39:11,164
I can't talk now.

138
00:39:16,433 --> 00:39:18,229
It was fate.

139
00:39:18,399 --> 00:39:20,889
<i>His legend lives on
in everyone's heart.</i>

140
00:39:21,200 --> 00:39:23,393
<i>Our very own Fausto Coppi:</i>

141
00:39:23,566 --> 00:39:25,999
<i>There was no ascent
that could tire him,</i>

142
00:39:26,167 --> 00:39:29,157
<i>no dizzying descent
that could unnerve him,</i>

143
00:39:29,332 --> 00:39:31,731
<i>no finish line
he couldn't reach first.</i>

144
00:39:32,800 --> 00:39:34,426
It was fate.

145
00:39:45,466 --> 00:39:48,228
<i>There won't be
another athlete like him</i>

146
00:39:48,399 --> 00:39:49,889
<i>for a long time...</i>

147
00:39:52,100 --> 00:39:53,862
It was fate, of course.

148
00:39:54,033 --> 00:39:57,431
<i>Ours is an "overground" filmmaker,
the filmmaker of space,</i>

149
00:39:57,599 --> 00:40:01,192
<i>or, borrowing the title
of his recent 70mm film,</i>

150
00:40:01,366 --> 00:40:03,560
<i>the "satellite" filmmaker.</i>

151
00:40:03,933 --> 00:40:08,263
<i>If I had to choose one image
to define his films, it would be this:</i>

152
00:40:12,332 --> 00:40:16,732
<i>the young girl with the soft lips
and searching eyes.</i>

153
00:40:18,033 --> 00:40:21,363
<i>It's a short film
consisting of one long shot</i>

154
00:40:21,533 --> 00:40:23,693
<i>that probes the face and body</i>

155
00:40:23,866 --> 00:40:26,697
<i>of a wild, fascinating
young girl.</i>

156
00:40:27,833 --> 00:40:32,289
<i>At first the filmmaker is driven...</i>

157
00:40:32,466 --> 00:40:33,831
Behave yourself!

158
00:40:34,033 --> 00:40:35,829
<i>... by a Godardian fascination</i>

159
00:40:36,000 --> 00:40:38,398
<i>with woman's natural ambiguity</i>

160
00:40:38,599 --> 00:40:41,589
<i>and the magic
of cinematic images.</i>

161
00:40:42,633 --> 00:40:46,760
<i>But then he rebels
and begins altering his perfect image.</i>

162
00:40:46,933 --> 00:40:50,297
<i>He cuts it up,
turns it inside out,</i>

163
00:40:50,466 --> 00:40:52,660
<i>takes it apart, burns it...</i>

164
00:40:53,533 --> 00:40:56,126
<i>insults it, negates it.</i>

165
00:40:57,299 --> 00:41:01,232
<i>We're forced
by this physiological process,</i>

166
00:41:01,399 --> 00:41:03,628
<i>this "cinemato-physiological" process,</i>

167
00:41:03,800 --> 00:41:07,358
<i>to become aware of what is "us"</i>

168
00:41:07,533 --> 00:41:09,591
<i>and what is "other."</i>

169
00:41:12,200 --> 00:41:14,996
It was fate — period.

170
00:41:28,433 --> 00:41:31,196
- Calling this late...
- Take these things away.

171
00:41:38,232 --> 00:41:40,256
I'm sorry.

172
00:47:33,599 --> 00:47:35,691
Go away! Go away!

173
00:47:36,900 --> 00:47:39,389
Don't film me
while I'm playing!

174
00:53:53,033 --> 00:53:55,795
Don't get mad.
Calm down.

175
01:03:27,466 --> 01:03:29,933
<i>You don't understand anything!</i>

176
01:03:30,966 --> 01:03:33,592
<i>Cut it out
with that damned camera!</i>

177
01:03:34,599 --> 01:03:37,123
<i>You're a monster,
that's what you are!</i>

178
01:03:37,366 --> 01:03:40,731
<i>You don't understand anything
and never have!</i>

179
01:03:42,266 --> 01:03:45,529
<i>You can't get inside my brain
with your zoom lens!</i>

180
01:03:46,499 --> 01:03:49,660
<i>Leave me alone!
I hate you!</i>

181
01:03:50,766 --> 01:03:51,926
<i>Go away!</i>

182
01:05:51,499 --> 01:05:52,966
Anita.

183
01:06:48,533 --> 01:06:50,500
Where do you want to go?

184
01:06:51,800 --> 01:06:52,960
Oops-a-daisy!

185
01:12:16,833 --> 01:12:18,390
Who's this?

186
01:12:19,232 --> 01:12:20,961
The Virgin as a baby.

187
01:12:36,133 --> 01:12:37,656
Move over.

188
01:12:55,299 --> 01:12:57,766
Why do you find me sexy?

189
01:13:26,399 --> 01:13:28,457
This bed's small.

190
01:13:40,966 --> 01:13:42,398
Tell me...

191
01:13:44,100 --> 01:13:45,930
do you like honey?

192
01:13:48,900 --> 01:13:51,560
- What?
- Honey — like you eat.

193
01:13:55,733 --> 01:13:57,791
Get it.
It's in the closet.

194
01:14:05,733 --> 01:14:07,996
Scared that war will break out?

195
01:15:34,067 --> 01:15:35,590
Come on.

196
01:15:36,966 --> 01:15:38,330
Come here.

197
01:15:42,433 --> 01:15:45,628
Please, I'm very tired.

198
01:15:52,266 --> 01:15:54,233
Don't tickle me.

199
01:31:03,566 --> 01:31:08,590
Brave and strong Hermes,
who left your father's fields

200
01:31:08,766 --> 01:31:11,323
to make the sea your home,
we will miss you.

201
01:31:20,033 --> 01:31:24,659
Above all,
you were a good man.

202
01:31:26,000 --> 01:31:30,330
Rest in peace, amen.
Lower him into the sea.

203
01:31:47,599 --> 01:31:49,998
- Who died?
- The cook.

204
01:31:50,733 --> 01:31:52,256
Let's go, boys.

205
01:31:53,766 --> 01:31:56,927
- Excuse me.
- Ceremony's over. Let's go.

206
01:32:02,167 --> 01:32:05,725
- I'd like to ask you something.
- I'm just the boatswain.

207
01:32:05,900 --> 01:32:08,332
- Don't you need a cook now?
- Of course.

208
01:32:08,533 --> 01:32:11,160
I'm an excellent cook.

209
01:32:12,299 --> 01:32:13,926
Ah, this air!

210
01:32:14,499 --> 01:32:17,160
The sea's always been my dream.

211
01:32:20,266 --> 01:32:23,029
I'd like to sail.
- It's not up to me.

212
01:32:23,200 --> 01:32:27,031
The captain gives the orders,
but the young lady's the boss.

213
01:32:27,200 --> 01:32:29,462
Then why don't we ask her?

214
01:32:33,866 --> 01:32:36,628
She's walking away.
Why don't we ask her?

215
01:32:37,232 --> 01:32:40,495
Try me out.
My cooking's very healthy.

216
01:32:40,666 --> 01:32:42,360
I don't doubt it.

217
01:32:43,133 --> 01:32:47,123
Okay, we'll try, but no guarantees.
I'll take you to her.

218
01:32:54,232 --> 01:32:55,893
Excuse me, miss.

219
01:32:56,332 --> 01:32:59,129
He says he's a cook.
Shall we try him out?

220
01:33:12,599 --> 01:33:15,157
Have him make
a chocolate mousse.

221
01:33:15,366 --> 01:33:17,959
Thank you very much.

222
01:33:18,499 --> 01:33:20,227
Let's go to the galley.

223
01:33:22,966 --> 01:33:25,728
- I was lucky.
- She obviously likes you.

224
01:33:25,900 --> 01:33:28,560
- Where's this ship headed?
- Tahiti.

225
01:33:29,167 --> 01:33:30,963
I can't believe it...