All language subtitles for Solo.No.2019.ITALIAN.WEBRip.x264-VXT

this is a film by Lucilla Mininno

this work was realized thanks to the collaboration
of a group of professionals of the film and art industries

(Francesco's voiceover)
To the journalists, the policians

(Francesco's voiceover)
the actors, the directors

(Francesco's voiceover)
the writers, the producers

(Francesco's voiceover)
the distributors, the practitioners of the performing arts

(Francesco's voiceover)
the artistic directors, the technicians

(Francesco's voiceover)
the public entities and private bodies.

(Francesco's voiceover)
To every citizen and every member of the audience.

(Francesco's voiceover)
To every individual who can call himself a human being.

(Francesco's voiceover)
Is it still possible to believe?

(Francesco's voiceover)
Desperately, believe?

(Francesco's voiceover)
Relentlessly, believe?

(Francesco's voiceover)
Fearlessly, believe?

(Francesco's voiceover)
In a detail, believe?

(Francesco's voiceover)
This is a story about persistence.

(Francesco's voiceover)
and need.

(Francesco's voiceover)
This is a story about silence

(Francesco's voiceover)
and love.

(Francesco's voiceover)
This is the story of a theatre

(Francesco's voiceover)
a theatre

(Francesco's voiceover)
that is about

(Francesco's voiceover)
to be destroyed.

[dramatic music and disturbing ambient sounds.
In the distance Cecilia cries and calls "Giovanni"]

[dramatic music and childish chatter]

(Cecilia's voiceover)
"Because death is silence.

One moment you’re there
and the next you’re not there anymore."

(Francesco's voiceover)
"If only you decided to take a walk

you’d see the wind still blows.
Oh, how it blows!"

(Cecilia's voiceover) The scene,
you can’t remember the scene.

Being out there is worse and worse for you.

The noise confuses you.

(Francesco's voiceover) "What would you do,
Madame Pinkerton, if he was never to come back?

If he never wanted to come back?"

Look at me Cecilia, look at my face.

Look at me.

[dramatic music and disturbing ambient sounds]

(Cecilia's voiceover) Giovanni! Giovanni!

[loud noise of falling iron]

[Cecilia coughs]

[dramatic music and ambient sounds]

(to himself) On stage.

[dramatic music and ambient sounds]

[ticking clock]

[ambient sounds]

(female voiceover) Kind actresses and actors,
thirty minutes to the show.

[ambient sounds]

(female voiceover) Ladies and gentlemen,
there are fifteen minutes left.

[ambient sounds]

(female voiceover)
Showtime!

[loud noise of falling iron]

[Cecilia coughs]

[disturbing sounds]

[ambient sounds]

[ticking clock]

[someone knocks on the door]

[ticking clock]

[someone knocks on the door]

[someone knocks on the door]

[ticking clock]

[someone knocks on the door]

[someone knocks on the door]

[dramatic music, disturbing ambient sounds and ticking clock]

[sound of fire]

[dramatic music and ambient sounds]

(postman's voiceover)
You took your time. Good morning.

When are we gonna have
a nice glass of wine together?

[dramatic music and ambient sounds]

[dramatic music, disturbing ambient sounds and whispers]

You look so sweaty.

[dramatic music]

It’s because of the sirocco.

[dramatic music]

I was delayed.

I received a phone call.

Of course, it can happen.

The messenger is a fundamental character.

You do know that, right?

He announces change.

Anyway, the tea was too hot.

This is the season where robins make their nest.

It should be cooler.

The climate changes. Time passes and changes.

And robins might have changed their habits.

[dramatic music]

(Cecilia's voiceover) "Why did he take such care
to have the house fitted with locks

if he didn't mean to come back again?"

(Francesco's voiceover) "I don't know."

(Cecilia's voiceover) "You don't know? I'll tell you then:

in order to keep mosquitos,
relatives and trouble outside,

and inside, jealously guarded,
his bride - me - Butterfly!"

[dramatic music, wind, disturbing ambient sounds and whispers]

(Cecilia's voiceover) "On that last morning
"Are you coming back, sir?" I asked him.

With a heavy heart, trying to hide
his unhappiness from me, smiling he replied:

"Oh, Butterfly, my dear sweet little wife

I'll return with the roses in that happy season

when the robin build his nest."

He'll come back.

Say it with me: He'll come back."

Suzuki! Say it with me!

[dramatic music, wind, disturbing ambient sounds and whispers]

What a horrible object.

The old-time candles used to be so beautiful.

Isn’t that right, ma chère?

[dramatic music, wind, disturbing ambient sounds and whispers]

(Cecilia's voiceover) "One fine day we'll see
a swip of smoke arising

over the extreme verge of the sea's horizon.

Keep your fears.

Whit indestructible faith I shall wait for him."

Francesco - Antonello is going to close.

People get cremated.
There’s no more room underground.

Meaning, his flowers are no longer needed.

Some of his relatives have opened a restaurant.

He’s going to move there to try becoming a cook.

He says he always liked cooking.

And then came the court’s announcement.

It’s the last one.

If you won’t show up in front of the judges,
the police will come. They’ll kick you out.

And be sure that they won’t stop

because ‘theatre is the conscience of humanity’.

I’m sorry, ma chère. I don’t know this script.

There’s something else.

Cecilia! Cecilia!

(ambient sounds)

- Good evening!
- Come on, we’re late.

Let's go!

[ambient sounds]

Ready?

Then say it.

Simply. Just try saying it.

"Humanity evolves, it sublimates its resources.

What seems impossible today, one day will be possible, simple.
(Cecilia spies them and repeats the lines)

All we have to do is work hard.

The greatest majority of those who say they’re intelligent

doesn’t look for anything, doesn’t do anything,
is not able to work hard.

(voiceover of the young actor who continues his monologue)
There is nothing but dirt, mediocrity, resignation.

I’m scared.

And I can’t stand too serious faces.

I’m scared of engaged conversations.

We’d all be better off if we shut up.”

Young actor - Francesco, is she there? Can I see her?

Francesco - What do you want to see?
She’s a woman like others.

[dramatic music]

[door closing]

[dramatic music]

(Cecilia's voiceover) When I was a child,
my mother obliged me to sleep until four o’clock.

I couldn’t, but I was forced to.

And I couldn’t go out into the garden as I wished.

The only thing she allowed me to do
was to watch her give French lessons.

I had to keep quiet, naturally,
or she’d increase the hours.

And then when it snowed, when it snowed...

I just remained still, there, behind the glass.
I would have smashed everything to go out into the garden.

Behind that snow, I imagined incredible worlds.

And I still wonder when four o’clock is going to come.

(Cecilia's voiceover) Good night then.
Good night my love.

I love you, endlessly.

(Francesco's voiceover) "Madame Butterfly!"

(Cecilia's voiceover) "Madame Pinkerton!"

(Francesco's voiceover) What would you do Madame Pinkerton,
if he was never to come back again?

If he never wanted to come back again?”

(Francesco's voiceover)
I know we weren't playing the opera

but anyway his voice wasn’t right, he was pitchy.

He was presumptuous and arrogant
and you shouldn’t have wasted your time with him.

[loud noise of falling iron]

[coughing sound]

[dramatic music and ambient sounds]

[dramatic music and ambient sounds]

I could hear the sound of the water running.
I thought something had happened.

[pounding music and ambient sounds]

On stage!

[pounding music and ambient sounds]

[ambient sounds]

[ticking clock and ambient sounds]

Have you started smoking again?

What?

You’re always out of breath.

No. And anyway, I’d never dare here.

- Are you sure?
- Yes.

And yet you did dare to showing up there

uninvited.

I’ve already told you, I heard the sound of the water running.

What? Am I not allowed to open the tap?

I kept on hearing it.

Were you afraid I was drowning? Under a tap.

No, of course not.

It would be an interesting liberation, don’t you think?

You’d like it to end here. Wouldn’t you?

- How long have you been there for?
- I’d just arrived.

- Why didn’t I hear you?
- I don’t know.

[ticking clock]

We need to move the spotlight.
This is not the light design I did.

Then who? Who is supposed to have changed it?

Someone who’d like to see me go crazy.

Do you know that by making little changes to the earth,
the entire order of things changes?

Even cities move.

Those spotlights are basically glued.
They’re so rusty no-one can move them.

I didn’t ask for your opinion.

[ticking clock]

Sorry!

We’ll try. Only, can I ask you
to do it in another moment?

I’m in a rush. Really, I have to go.

Excuse me?

I have an appointment.

What did you come here for, then?

To warn you.

You could have done it straight away.

It’s just that I wanted to do it without pressure.

Is it a date, ma chère Suzuki?

No!

Why are you so bitter? You’re becoming
an old maid, harsh and standoffish.

It would be good for you to immerse yourself
in some positive feelings.

I’m not interested in love.

One can tell that, my dear, one can tell very well.

Anyway, this whole business does not interest me.

You’re making me play a useless, cheap and improvised scene

with a character that I don’t even know.

We need to move the spotlights, prithee.
The moon has gone down, I want it back in its place.

[ticking clock and ambient sounds]

And now, turn the lights on
in the stalls. Direct that spotlight.

[ticking clock and Francesco's steps]

[ambient sounds]

No, no.

Here?

No, that’s not right.

Here, then?

No.

Will you light up the stalls, please?

Here it is.

Right, so you are lighting up the stalls.

Of course.

Then aim at row H, seat 3. Or do you prefer L, seat 8?

Will you light up the seats please?

Can you tell me what the problem is?

It’s cold, it’s damp, it’s full of mould.
Why should I show the seats?

If this wasn’t a job for you, you could have told me.
You should have told me.

I did my best, Cecilia.

What kind of theatre is a theatre without seats?

They’re going to sit on the floor,
we won’t be the first nor the last.

On the floor? My audience, on the floor?

Tell me that we are reopening this theatre
and I will put the seats back. It’ll only take me a minute.

The way you hoarded them, they’ll be devastated
by worms by now. You have to fix them.

I check them and clean them every day.

But it’ll all be useless, because in a few days
it’ll all be over, Cecilia, please.

[dramatic music and ambient sounds]

You’re so funny, Suzuki, when you’re so moderate.

Do you think I’m afraid?

That I feel threatened by four men
dressed up as law enforcement?

Or by you?

This is not how it ends, you do know that?

Cecilia, we can’t go on like this.

Time’s up.

Exactly. Let’s get over with it.
Put on your damn kimono, Suzuki!

I don’t recognize you anymore.

You’ve become a generic lead
of a third grade company.

[dramatic music, wind and whispers]

Cecilia - You need to put your kimono on.

We need to fix the curtains

put the seats back

the flowers on the tree

the moon in its place.

- Suzuki! Your kimono?
- I can’t stop, I need to leave.

- Your kimono?
- I’ll only be away for a few days.

I brought you some provisions.
I put them back there.

Provisions?

[dramatic music and ambient sounds]

Provisions?

[dramatic music and ambient sounds]

It’s all because of those new,
young authors of yours.

You’ve lost all sense.

You got it all wrong.

[dramatic music and ambient sounds]

I’m sorry. A few days.

[dramatic music and ambient sounds]

But where are you?

You’re worse than me:

you didn’t get married, you didn’t have any children

you don’t work, no theatre knows where you are.

[dramatic music and ambient sounds]

You remind me of your Hawking:
everything is collapsing. Nothing will remain.

As if it never existed.

And a new time will be born.

[dramatic music and ambient sounds]

It’s looks like a sign.

No-one will give us flowers anymore,
the tapes are running out.

Francesco is not wearing his kimono anymore.

Everything is tumbling into a hole.

But of course, there is an explanation.

We cannot live without love and you will be back.

[dramatic music and ambient sounds]

Giovanni!

Is it possible, do you think, that Francesco hates me?

[dramatic music and ambient sounds]

Is it possible that I’ll die?

[dramatic music, ticking clock and ambient sounds]

[in the distance, doors that open and close]

[footsteps and whispers]

[dramatic music, whispers and ambient sounds]

[Cecilia coughs]

"Out, out, brief candle.
Life is nothing more than an illusion.

It’s like a poor actor who struts
and worries for his hour on the stage

and then is never heard from again."

[loud noise of falling iron]

(female voiceover) Showtime!

[a hammer beating and obsessive music]

(Cecilia's voiceover) Giovanni! Giovanni!

[obsessive music and ambient sounds]

(Cecilia's voiceover) Giovanni!

[obsessive music and ambient sounds]

[loud noise of falling iron]

[obsessive music and ambient sounds]

(Cecilia's voiceover) Suzuki!

[obsessive music and ambient sounds]

Is that...?

[obsessive music and ambient sounds]

[Cecilia coughs]

[obsessive music and ambient sounds]

Miranda - The stage is like new.

Francesco - I restored every single board.

Miranda - What about the scenography?
Francesco - That cannot be touched.

Miranda - It seems it burnt because of too much passion.

Francesco - Are you sure
you don't want to get closer to it?

Miranda - I'm not afraid of fire.

Francesco - You should.

[obsessive music and ambient sounds]

[loud noise of falling iron. Stop music]

(Cecilia's voiceover) Giovanni! Giovanni!

[pant]

[Cecilia coughs]

[cough, pant and severe sound]

[ambient sounds]

What does Trofimov say? Evolve?
I thought you could evolve.

Instead, you’re still the usual absent-minded,
goofy and superficial woman.

There’s nothing you can do about it,
we can’t fight our nature.

The hammer is the only weapon that’s left to you.

Miranda did me a favor, and I returned it.

Such presumption.

That’s what she wanted. She wanted to see this theatre.

Young actors think that in here lives
a great actress who fights for her project.

That’s what they say.

You’re a legend to them, a revolutionary.

- They can’t even imagine…
- What?

The misery and sadness of this story.

You talk to me about misery?
You talk to me about sadness?

I was talking about both of us, in fact.

No, ma chère Suzuki!
There is a big difference between me and you.

You’re just trying to distract yourself, to stop thinking

and you don’t believe in love,
you don’t even know what love is.

After you, Cecilia, no-one will want
to believe in love anymore.

You’ve become cynical, angry, barren.

You’re dragging yourself through the world
without even knowing who you are.

Have you ever made a choice? Have you ever given
something up for that choice, Suzuki?

You’re asking me that?

You’re ridiculous. You don’t even realize
how serious what you did is.

I had an audition. Miranda was my partner.

I’ve been trying to tell you for a while.

There were a lot of us.

The director called me back.

I had a second audition and then a third.

And in the end the director decided that I was perfect

that I’m the lead

that I deserve to go on a long tour,
that I deserve to work in front of an audience.

And he said I’m an exceptional Don Carlos,
because I exude pain and humanity.

That’s what he said to me.

And I accepted.

I accepted, because if there is something I love

it’s working in front of an audience and for an audience.

That’s what I always wanted to do, Madame Pinkerton.

I only asked you to do one thing: to find him.

And you couldn’t.

What are we talking about now?

I did what I could.

I only know what you tell me.

Right. So from tomorrow, I won’t be able to come here anymore.

I'm about to leave.

You need to get out of here.

Come out with me.

It’s easier.

It’ll be easier, Cecilia.

Good, well done Suzuki, I’m glad for you.
Have a good show and have fun.

Leave your costumes in order.
You can leave the keys at the entrance.

Cecilia, come out with me.

Thank you Suzuki, it’s been a pleasure.

Please, Cecilia!

Don’t forget to throw out the trash.

Fuck, Cecilia! Will you listen to me?

Don’t you dare using that language in my theatre.

I sacrificed my whole life for you. This theatre is dead.

No! This theatre will live. It will live.
Why did you remain here?

Because I didn’t want to leave you on your own.

No! You hate me.

You’re just a cheap, mediocre man
crushed by his own sense of guilt.

Go away. Get out of here! Out! Out!

[ambient sounds]

[dramatic music and ambient sounds]

(Cecilia's voiceover on music)
An accident, a distraction due to tiredness

has interrupted the play before it could have its debut.

I lost the respect of my colleagues
and collaborators, and their trust.

I fought against the institutions and the law,
taking all my responsibilities

and loudly asking how I could make up for my mistakes.

All I got was just nos.

The forty plays that have been presented in my theatre
throughout its activity weren’t enough of a guarantee.

An audience of thousands of people throughout that period, same.

Their faithfulness and love
were not considered details of value.

Neither was the amount of work that I did,
depriving myself of every comfort.

The fire was the only thing
they saw and remembered.

Everyday, every hour I hoped
that something would happen.

I tried, even against myself,
to defend this job.

But now even the last, small benefactor

who accompanied me up to now

has exhausted his strength

and abandoned me

not believing in this project anymore.

Not being able to believe in it anymore.

My only audience member, the most faithful,
had to leave me.

Without him, the light will go away
and maybe I will die.

But ten years ago, I decided
that I would save this theatre

and today, in spite of everything,
I have not changed my mind.

I beg all of you that someone
intervenes to save this theatre.

All I’m asking is for it to start
living again, with or without me.

I ask for someone to take care of it
and not let it die

for someone to support me

because if this theatre falls down

I won’t be the only one that has failed.

Yet another time, what will have failed is the truest

most intimate and universal development of all of us.

[ambient sounds]

As you can see, we’ve had
some problems with the power grid.

The camera battery is almost burnt out.

You have to come back.

We cannot wait anymore, Giovanni.

You have to come back.

[ambient sounds]

[someone knocks on the door]

(male voiceover) Madame Cecilia.

Madame Cecilia, open please!

Come on, be kind. Let’s try
to find a common ground.

Madame Cecilia! I brought the police with me.

What police? I’m retired.

What does it mean, you’re retired?
She knows you’re a policeman.

Do you think she remembers me?

Totò! She’s an actress.
If she hasn’t got a good memory, then who has?

I’m sorrier than her. I moved here because my grandpa
left me this theatre in his will. You know that very well.

I’m sorry. But what can I do about it?
She knew it. I alerted her any way I could.

Come on, Madame Cecilia!

I waited until I was able to.
Do you remember how good she was?

Good and beautiful, beautiful, beautiful.

My wife was extremely jealous of her.

If you knew mine.

But what can I do about it now?
The financial crisis is there for everybody.

I still have children at university.
I need the money. So what?

Had anyone helped me, I would’ve helped her.
But no-one helped me. There are no alternatives.

I need to start the renovation to turn it
into a supermarket. Pure and simple.

- Anyway, the police will come.
- No!

- There’s a judge’s order.
- No!

If she doesn’t open, I’ll come back with Master Peppe
and will get the door to open myself. But not the police.

[ambient sounds]

- (female voice) Good morning!
- Good morning!

- Mister?
- Francesco.

Ah, Francesco! Yes, you said when you called.

Come!

- You want to give coat?
- No thank you, I won’t be long.

- Not even time for coffee?
- I’ll leave soon.

- But I make exceptional coffee. My father was…
- Madame, I don’t drink coffee.

[ambient sounds]

It’s comfortable, very comfortable.
You can’t know, but it’s comfortable.

You don’t know, do you?
You can’t know.

You’ve grown up a lot, though.

I’ve known you were here for some time.

But...

I couldn’t...

I couldn’t come before.

Don’t you like the house?

Honestly, I would have preferred
if I never saw you again.

Never see me again.

Shall we try and simplify everything?
It’s not easy for me, being here.

- You’re the one complicating everything.
- No.

I just came to tell you something very precise.
Once I’ve said it, I want to leave, and that’s it.

What?

Come on then, say it.

I don’t know what use it’ll be.

The fire was my fault, Giovanni.

I was doing something that was not my job.

And, in the meanwhile, I was going through my lines.

I was nervous.

I just wanted to act. Instead, as per usual,
I had to do everything while you two were fighting.

I got distracted for a moment and the fire just…

I got confused… I tried…

It’s just that I got nervous… and then I heard that blow,
your scream, her crying, people running away…

I tried...

It’s not easy for me to forget.

She never told the truth.

The theatre didn’t suffer great damages.

No...

Not the building... But the curtains,
the sets… the people, Giovanni.

These are all things that one can repair.

Yes, but then the police came,
the investigation… it was a disaster.

Francesco!

It’s only love that hit me. That’s it.

Then, why did you stop?

Why did I stop?

Because I have a good pension, a beautiful blond lady
who makes me an exceptional coffee.

Need I add more?

Cecilia has locked herself inside the theatre.
She has bad bronchitis.

If you don’t go to her, she’ll die.

Unless she’s dead already.

Death is not the problem.

Life is.

Don’t you worry Giovanni; that, I have learnt well.

There are many ways to live. I chose silence.

And I won’t compromise on that.

How was it?

“You’re no more of a stranger to emptiness
and desperation than any other man.”

But you can do as you please.

[ambient sounds]

[footsteps approaching]

[ambient sounds and ticking clock]

Francesco - The time has come for robins to make their nests.

Giovanni?

Pinkerton?

Yes.

He’s outside. He’s waiting to come in.

They cut off the power. We can’t switch on the lights.

- Did you steal money from the restaurant’s till?
- No.

I used the advance they gave me for rehearsals.

- Really?
- I’m the lead. They pay me well.

So it was true?

I thought you just said it

to make me suffer.

No.

Is it a serious company?

Advance every beginning of the month
and pay every tenth of the month.

There’s stil hope, then.

Yes, Cecilia.

Listen to me.

Giovanni will come in and, whatever happens,
you have to get out of here.

You have to promise me.
This is where the play ends.

Outside there’s your sister, waiting for you.
We’ll start again elsewhere, with a new company.

Cecilia, you have to promise me.

Or I won’t let him in.

I need to dye my hair.
I look like an old lady.

Imagine my wig falls off when I’m on stage.

We’ll get Miranda to help us.

But Miranda is on an island.

[gentle music and ambient sounds]

[ambient sounds]

"They all lied. All of them. All.

Only I knew - I - who love him.

My love triumphs, my whole faith triumphs.
He’s back, and he loves me.

I want the whole spring to diffuse its fragrance here.

The one I was waiting for came,
nothing more I ask to the sea.

I gave tears to the clump; flowers it gave me back."

“The bitter fragrance of these flowers
is poisonous to my heart.

Unchanged is the room of our loves.

But a deathly chill is in it.

Farewell, blooming nest of joy and love.

I cannot bear your bleakness.”

Now you have to embrace your son,
watch him leave and die.

That’s how it ends.

I don’t have the fake blood. We’ll get it
for the opening night. Otherwise it’ll dry.

This is the opening night.
And the closing night, too.

The audience is present.

And you only exist if you’re
at the service of your audience.

Otherwise, you should find yourself another job.

A barred theatre is a clear sign.

I said my line.

Madame Butterfly is dead.

You have to go out and change show.

This show is over.

What about you?

I don’t exist anymore.

And that’s why I live.

The world is not reasonable.

[ambient sounds]

You know what I missed the most?

Of course.

Dancing.

[ambient sounds]

[Cecilia cries]

[ambient sounds]

[footsteps approaching]

[ambient sounds]

Is it snowing?

No, I’m sorry.

I thought I’d seen a white light.

[renaissance music and ambient sounds]

Francesco - Don’t worry. I’ll go get everything.

[renaissance music and ambient sounds]

Good morning.

[renaissance music and ambient sounds]

[on the distance a band plays "Un bel dì vedremo"]

["Un bel dì vedremo" and close sounds of spinning tops]

["Un bel dì vedremo" and chattering]

["Un bel dì vedremo", ambient sounds and spinning tops]

Cecilia - Don’t be afraid of anything.

Cecilia - Never.

[Francesco cries]

[ending music]

And the last one. This is all dusty,
we have to throw everything away.

What’s this called?

Camera.

You hold it while I look what’s in here.

"Romulus the great”,
"an interview with Oida", Oida Montalbano.

Yoshi Oida!

(Cecilia's voiceover) Theatre, art, culture
have always been, are and always will be

the conscience, the thought of the human spirit.

[ending music and applause]

[ending music]

to my mother, the source of all my love

to Rossana, my strength and my smile

main actors

special guest star appearance
as the owner of the theatre

and with (in order of appearance)

written, directed and produced by

photography director

set design

editing

soundtrack

costumes design

make up

sound

assistant director, assistant d.o.p., microphone player,
sound post production, graphic design

press agent and legal counseling

original song for the ending music
"Butterfly from the distance" by Enzo Cimino and Giovanni La Fauci

[ending music]

special thanks for their participation

special thanks to Giacomo Puccini, Giuseppe Giacosa and Luigi Illica
for creating the marvel that is "Madame Butterfly"

to the Teatro Casalaina of Novara di Sicilia for its beauty,
to Anton Pavlovic Cechov for the words given to Trovimov in "The garden and the cherry trees"

special thanks for their precious suggestions to

special thanks for their support to

special thanks to all the extras
and all the citizens of Novara di Sicilia for their old-time hospitality.