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1
00:00:11,240 --> 00:00:13,800
We had to prune that tree.
2
00:00:14,160 --> 00:00:17,516
Its leaves were devouring our light.
3
00:00:20,520 --> 00:00:25,799
I embarked on a series of trips,
filming here and there
4
00:00:26,160 --> 00:00:31,678
faces and words,
museums, rivers and works.
5
00:00:37,120 --> 00:00:38,269
I listened
6
00:00:38,640 --> 00:00:41,996
the people to whom
I found maybe by chance,
7
00:00:42,360 --> 00:00:44,191
especially
8
00:00:44,560 --> 00:00:47,518
the artists
whose work I like.
9
00:01:00,240 --> 00:01:04,392
When I came back from my
first trip, there were already new shoots.
10
00:01:04,760 --> 00:01:08,799
I traveled, by plane or train,
filming in each city,
11
00:01:09,160 --> 00:01:13,199
not to make a report,
but to capture the fragments
12
00:01:13,560 --> 00:01:15,391
the moments, people.
13
00:01:15,760 --> 00:01:17,591
The tree was reborn.
14
00:01:17,960 --> 00:01:21,999
I went and came back. Then I did,
with Jean-Baptiste,
15
00:01:22,360 --> 00:01:26,399
the assembly of the images
and sounds that I gathered.
16
00:01:28,960 --> 00:01:33,112
But well before I completed my
travel and my work,
17
00:01:33,480 --> 00:01:36,040
the tree
18
00:01:36,400 --> 00:01:38,231
had reconstituted
19
00:01:38,600 --> 00:01:41,751
with shoots and leaves all its foliage,
in less than 3 months.
20
00:01:42,120 --> 00:01:45,908
This is shown in less than 2 mn,
and those who will see
21
00:01:46,280 --> 00:01:49,829
these chronicles will see them in
many days.
22
00:01:50,200 --> 00:01:53,749
A leaf novel,
somehow.
23
00:01:55,600 --> 00:01:59,957
In this episode we will go to Brazil,
Brussels, Stockholm and Venice.
24
00:02:00,320 --> 00:02:04,518
Let's find the art critic
Obrist and the painter Barcel�.
25
00:02:08,760 --> 00:02:12,514
When we go too far,
our shadow stays on the floor.
26
00:02:12,880 --> 00:02:17,032
This time in Brazil
that I will play as a filmmaker.
27
00:02:17,400 --> 00:02:20,119
It is not after-sales service.
We accompany our films
28
00:02:20,480 --> 00:02:24,189
and we took the opportunity to see
the country.
29
00:02:24,560 --> 00:02:28,519
The country and people who
want to receive us.
30
00:02:28,880 --> 00:02:32,236
I’m really welcome,
in Rio, by Fabiano Canosa,
31
00:02:32,600 --> 00:02:37,594
the Brazilian from New York,
and Joel Pizzini, a local filmmaker.
32
00:02:37,960 --> 00:02:40,713
Joel's partner to Paloma Rocha,
33
00:02:41,080 --> 00:02:43,640
Glauber's daughter, the filmmaker.
34
00:02:44,000 --> 00:02:47,879
And also the singer Paulo Tasser
35
00:02:48,240 --> 00:02:52,995
Bossa nova.
36
00:02:53,360 --> 00:02:56,716
Rio de Janeiro.
The famous Sugarloaf Mountain.
37
00:02:57,080 --> 00:03:00,436
I think about mom, who used to
put sugar
38
00:03:00,800 --> 00:03:02,916
in the rest of the breads.
39
00:03:07,320 --> 00:03:10,471
From my room in Ipanema,
I can see the beach.
40
00:03:10,840 --> 00:03:12,990
Here, at 7 o'clock in the morning.
41
00:03:13,360 --> 00:03:15,316
And at noon.
42
00:03:20,720 --> 00:03:22,278
A little bit more
43
00:03:22,640 --> 00:03:25,598
is the famous Copacabana beach.
44
00:03:41,000 --> 00:03:43,514
We drank a delicious coconut water.
45
00:03:43,880 --> 00:03:48,749
My son Mathieu is here,
He came as Mathieu Demy, an actor.
46
00:03:49,120 --> 00:03:52,078
Jeanne Moreau is also here,
and others.
47
00:03:52,440 --> 00:03:54,192
Look at these birds!
48
00:03:54,560 --> 00:03:57,233
And I, for the festival
49
00:03:57,600 --> 00:04:01,229
of cinema in Rio.
50
00:04:01,600 --> 00:04:05,149
Fabiano, who programs films for
the New York Public Theater,
51
00:04:05,520 --> 00:04:06,873
returned to the country.
52
00:04:07,240 --> 00:04:11,119
Here is Villa Lobos villa,
a center for music and exchange.
53
00:04:11,480 --> 00:04:16,031
Now I dedicate my time
doing retrospectives
54
00:04:16,400 --> 00:04:20,154
about Brazilians
whom I love
55
00:04:20,520 --> 00:04:22,158
and admire.
56
00:04:22,520 --> 00:04:26,308
Villa Lobos, the greatest classical composer.
57
00:04:26,680 --> 00:04:31,754
In my opinion, the true genius
Brazilian of the century was Villa-Lobos.
58
00:04:32,120 --> 00:04:36,511
and also Glauber Rocha,
who was my brother. A magnificent guy.
59
00:04:36,880 --> 00:04:40,509
The filmmaker became known
with a political, baroque film,
60
00:04:40,880 --> 00:04:42,472
Black God, White Devil
(God and the Devil in the Land of the Sun)
61
00:04:45,440 --> 00:04:48,557
Not with rosary, Satan,
62
00:04:49,480 --> 00:04:51,869
with the rifle and the dagger.
63
00:04:52,480 --> 00:04:53,708
Lie, lie, lie!
64
00:04:53,960 --> 00:04:55,234
Lies!
65
00:04:58,760 --> 00:05:01,718
You didn't say he was
big only in your head?
66
00:05:16,760 --> 00:05:19,877
Virgulino was great,
but he made himself small.
67
00:05:21,480 --> 00:05:22,959
Lie!
68
00:05:25,360 --> 00:05:27,032
Paloma Lida
69
00:05:27,400 --> 00:05:30,949
with restoration and
distribution of your father's films.
70
00:05:31,320 --> 00:05:33,595
My kids know that.
71
00:05:33,960 --> 00:05:38,112
The filmmaker's house is a place
of cinema and memory.
72
00:05:38,480 --> 00:05:41,995
We can see, perhaps,
the mother of Glauber there, underneath
73
00:05:42,360 --> 00:05:45,477
and his sister Ana L�cia.
74
00:05:45,840 --> 00:05:49,196
We watched the movies,
like Antonio Das Mortes,
75
00:05:49,560 --> 00:05:53,519
who impressed
the judges of the Cannes festival.
76
00:06:14,200 --> 00:06:18,159
Glauber represented the
"Cinema Novo", the New Wave ...
77
00:06:18,520 --> 00:06:22,718
in Brazil, among documentaries
social and imaginary baroque.
78
00:06:23,080 --> 00:06:25,435
Jacque and I know him
79
00:06:25,600 --> 00:06:27,318
when we discovered Brazil
and your music.
80
00:06:30,240 --> 00:06:33,710
We went to Ouro Preto,
in the state of Minas Gerais.
81
00:06:34,080 --> 00:06:37,038
Jacques had a small camera,
82
00:06:37,400 --> 00:06:39,550
that got lost.
83
00:06:39,920 --> 00:06:41,751
He, the filmmaker
84
00:06:42,120 --> 00:06:45,669
of the winding planes,
he didn’t film anything but the fixed planes.
85
00:06:46,040 --> 00:06:50,750
We dream in this city
enriched by garimpeiros.
86
00:06:51,120 --> 00:06:55,033
And I took the photographs.
87
00:07:00,960 --> 00:07:02,632
Forty years later,
88
00:07:03,000 --> 00:07:05,560
I left for Fortaleza.
89
00:07:07,280 --> 00:07:12,035
Beatriz Furtado made me come
to find students
90
00:07:12,400 --> 00:07:15,153
from the art school she runs.
91
00:07:19,600 --> 00:07:22,353
To greet them, I film them.
92
00:07:24,360 --> 00:07:26,316
Here is the beautiful Beatriz.
93
00:07:26,680 --> 00:07:29,752
And this other teacher
It is very beautiful.
94
00:07:30,120 --> 00:07:34,796
This scene from "Glaneurs"
when I take the trucks
95
00:07:35,160 --> 00:07:36,149
delighted them.
96
00:07:36,520 --> 00:07:40,035
They often tell me about it
wherever I go.
97
00:07:43,480 --> 00:07:46,438
Questions answers.
I see your films.
98
00:07:46,800 --> 00:07:50,156
Then they take me to
an old covered market
99
00:07:50,520 --> 00:07:51,839
and make me a party.
100
00:08:00,600 --> 00:08:04,752
At the fishermen's beach too
they wished me good health.
101
00:08:11,840 --> 00:08:13,796
Corners, percussions.
102
00:08:55,680 --> 00:08:57,636
Lobsters, rice,
103
00:08:58,000 --> 00:09:02,152
fish, on the edge of another beach,
called Praia do Futuro.
104
00:09:02,520 --> 00:09:06,479
My new friends organized
a farewell meal.
105
00:09:12,160 --> 00:09:14,310
Beatriz offered me
106
00:09:14,680 --> 00:09:16,636
a white coat.
107
00:09:17,000 --> 00:09:20,356
I gave you
Calissons d'Aix and DVDs,
108
00:09:20,720 --> 00:09:24,474
for her and for Paula,
that she gave me her CD.
109
00:09:24,840 --> 00:09:30,233
These two women are amazing.
Together, we went to the market.
110
00:09:30,600 --> 00:09:34,434
� cashew: we do it
a lot of juice, and we eat
111
00:09:34,800 --> 00:09:37,109
the cashew brown.
112
00:09:38,160 --> 00:09:41,709
This is the soursop.
It is white inside.
113
00:09:42,080 --> 00:09:45,755
We do everything with it:
Juice, ice cream ...
114
00:09:46,120 --> 00:09:50,033
Let's go to the hardware store
Market: often �
115
00:09:50,400 --> 00:09:53,153
there we find things
to buy.
116
00:09:53,520 --> 00:09:55,590
Look at the statuettes.
117
00:09:57,600 --> 00:10:00,194
The explanations begin.
118
00:10:00,560 --> 00:10:03,518
� the Pomba Gira.
119
00:10:06,560 --> 00:10:09,711
A saint
or a protective goddess.
120
00:10:12,960 --> 00:10:15,520
We offer you champagne,
121
00:10:15,880 --> 00:10:18,440
cookies, perfume ...
122
00:10:18,800 --> 00:10:23,078
Red roses, to be able to you
make a request...
123
00:10:24,520 --> 00:10:27,478
We asked to find work,
124
00:10:27,840 --> 00:10:31,753
resolve a conflict,
bring back the fickle husband ...
125
00:10:34,200 --> 00:10:38,751
� a lot of hope,
for the equivalent of 5 euros.
126
00:10:39,800 --> 00:10:42,360
I had to go back to Rio.
127
00:10:42,720 --> 00:10:45,678
Fabiano took me to the Museum
of Contemporary Art, in Niter�i,
128
00:10:46,040 --> 00:10:48,600
a kind of flying saucer
129
00:10:48,960 --> 00:10:54,273
that follows the curves of the Sugarloaf Mountain,
designed by Oscar Niemeyer.
130
00:10:54,640 --> 00:10:56,392
Is he still alive?
131
00:10:56,760 --> 00:10:59,718
He's still alive. He is 102 years old.
132
00:11:00,080 --> 00:11:02,878
He recently got married,
5 or 6 years ago.
133
00:11:03,240 --> 00:11:07,597
He goes to his office every day
134
00:11:07,960 --> 00:11:11,509
take care of business.
As he always did.
135
00:11:11,880 --> 00:11:13,836
Business as usual.
136
00:11:15,040 --> 00:11:17,793
I discover Brazilian artists.
137
00:11:18,160 --> 00:11:22,039
Antonio Dias and his dentist
For Me For You.
138
00:11:22,400 --> 00:11:26,996
Luis Ernesto, a play
of his Aquarius series.
139
00:11:27,360 --> 00:11:29,271
Ant�nio Manuel.
I will say in French the title
of its series:
140
00:11:29,640 --> 00:11:34,430
Repression Once Again,
141
00:11:34,800 --> 00:11:38,395
dated 1968.
142
00:11:43,480 --> 00:11:48,031
This chair by Guido Meireles
reminds me of that of Magrite.
143
00:11:48,400 --> 00:11:53,315
And this one, by Raoul Mour�o,
caged, intrigue me.
144
00:11:53,680 --> 00:11:57,468
I think of some chairs
in my life.
145
00:11:57,840 --> 00:12:02,118
Ionesco's chairs,
that I photographed in the 50s.
146
00:12:02,480 --> 00:12:05,438
Tsilla Chelton and Jacques Mauclair
they waited for guests who never arrived.
147
00:12:05,800 --> 00:12:09,270
The chair that Vilar sat on
willingly.
148
00:12:09,640 --> 00:12:12,712
This one by Pierre Etaix,
Padre-Lachaise.
149
00:12:13,080 --> 00:12:17,596
And that chair.
One of my first photographs.
150
00:12:17,960 --> 00:12:19,916
Here the office chairs that were
stacked by Michel de Broin,
151
00:12:20,280 --> 00:12:24,478
facing inwards at a meeting
of the board of directors.
152
00:12:24,840 --> 00:12:28,310
It is an igloo of hidden businesses.
153
00:12:28,680 --> 00:12:33,356
From many to few,
Van Gogh's poor chair.
154
00:12:33,720 --> 00:12:37,235
And an armchair.
155
00:12:43,800 --> 00:12:46,951
Two interlaced chairs
scored by Niki de Saint Phalle.
156
00:12:47,320 --> 00:12:51,677
Armchairs at par on a beach. Ah, how
those two words sound. Couple, beach.
157
00:13:39,080 --> 00:13:41,036
Magritte and her chair.
158
00:13:41,400 --> 00:13:44,358
A very light one:
Threatening weather.
159
00:13:44,720 --> 00:13:47,473
A very heavy one:
The chair.
160
00:13:49,800 --> 00:13:54,157
Quick, a train! We shouldn't lose
the opening of the Magritte Museum,
161
00:13:54,520 --> 00:13:58,877
Place Royale, Brussels.
There is a preview of a video.
162
00:14:13,160 --> 00:14:17,119
This is Charly Herscovici who created
the Magritte Foundation.
163
00:14:17,480 --> 00:14:21,029
He is the holder of labor rights
of the man in the coconut hat.
164
00:14:21,400 --> 00:14:25,109
Your collection is the heart
of this museum. Here it is.
165
00:14:25,480 --> 00:14:26,993
It's a party.
166
00:14:27,360 --> 00:14:31,114
And violinist Michael Guttman
who's playing.
167
00:14:56,240 --> 00:14:59,391
The reception is at the Museum of
Fine Arts.
168
00:14:59,760 --> 00:15:02,797
Among the guests,
is the collector Walter Vanhaerents.
169
00:15:03,160 --> 00:15:07,119
He is protected by the Red Man,
from Katharina Fritsch
170
00:15:07,480 --> 00:15:12,270
in this old factory that houses
its large collection, open to the public.
171
00:15:12,640 --> 00:15:15,393
In the background, an image of the
Thomas Demand's work
172
00:15:15,760 --> 00:15:19,548
and a McDonald's mini market,
reinvented by Tom Sachs.
173
00:15:28,560 --> 00:15:32,792
A suspended piece, by Jason Rhoades.
174
00:15:33,160 --> 00:15:35,913
A piece by Markus Schinwald.
175
00:15:36,280 --> 00:15:39,431
A man and a woman separated
through a wall.
176
00:15:39,800 --> 00:15:43,952
I didn’t have the camera but �
I need to know that the man nervously twists his right foot.
177
00:15:44,320 --> 00:15:47,153
The woman does not move.
178
00:15:47,520 --> 00:15:51,672
Near a long collage from Rondinone,
a Urs Fischer chair.
179
00:15:52,040 --> 00:15:54,679
It is your shadow that is giant.
180
00:15:55,040 --> 00:15:58,589
Like the group of giants,
created by David Altmejd,
181
00:15:58,960 --> 00:16:02,714
a recent collector's acquisition.
182
00:16:08,600 --> 00:16:11,956
Walter is happy. The artist too.
183
00:16:15,640 --> 00:16:19,792
That's when I started building them,
it all made sense.
184
00:16:20,160 --> 00:16:22,116
What? A warrior?
185
00:16:22,480 --> 00:16:24,072
A warrior, yes.
186
00:16:24,440 --> 00:16:27,750
And the arm fell.
187
00:16:34,880 --> 00:16:38,793
And ready, here are the new ones
residents of the Vanhaerent home.
188
00:16:46,640 --> 00:16:50,394
When I was little,
I was going to the Jardim Bot�nico park.
189
00:16:50,760 --> 00:16:55,311
Now it's a culture center.
It is also a museum.
190
00:17:00,520 --> 00:17:03,956
In 2009, Alechinsky
occupied the great gallery.
191
00:17:04,320 --> 00:17:06,675
It was an exhibition
192
00:17:07,040 --> 00:17:10,476
important from which I show
some paintings.
193
00:17:13,880 --> 00:17:15,757
Graphics and fantasy.
194
00:17:16,120 --> 00:17:20,352
We look smiling,
kind of dreaming.
195
00:17:35,400 --> 00:17:39,757
On the other side of what remains of the
Botanical Garden, the painter invited
196
00:17:40,120 --> 00:17:43,078
another artist:
Kikie Cr�vecoeur.
197
00:17:43,440 --> 00:17:46,796
it records 10 cm rubbers�.
198
00:17:47,160 --> 00:17:50,311
then it makes impressions.
199
00:17:50,680 --> 00:17:54,036
Every little square
It is a gum imprint.
200
00:17:54,400 --> 00:17:56,152
The rubber was sculpted.
201
00:17:56,520 --> 00:18:00,877
For this great piece, where there is
7 or 8 thousand different impressions,
202
00:18:01,240 --> 00:18:04,710
there must be a hundred
of different rubbers.
203
00:18:05,080 --> 00:18:07,640
What was the idea behind it?
204
00:18:08,000 --> 00:18:09,353
When you're on a highway
205
00:18:09,720 --> 00:18:12,598
and you see the trees passing by
beside the road
206
00:18:12,960 --> 00:18:16,430
they look like small
bar codes.
207
00:18:16,800 --> 00:18:20,509
I wish the bar codes
were so beautiful!
208
00:18:20,880 --> 00:18:24,429
For her diary, every day, Kikie
sculpt a rubber with a drawing,
209
00:18:24,800 --> 00:18:29,112
the date and some code words.
210
00:18:29,480 --> 00:18:33,189
She prints these mini pages
of your notebook, enlarged here.
211
00:18:37,120 --> 00:18:41,477
Rubber for linoleum. This time,
this piece is a linocut.
212
00:18:41,840 --> 00:18:44,593
It is a fresco of trees.
213
00:18:44,960 --> 00:18:49,317
First I drew,
then I sculpted in linoleum
214
00:18:49,680 --> 00:18:53,878
How could nature inspire me,
without representing it.
215
00:18:54,240 --> 00:18:58,392
I did them separately.
It took me a year to do it.
216
00:18:58,760 --> 00:19:00,716
The images,
217
00:19:01,080 --> 00:19:04,436
Sometimes there is a
rupture, but often,
218
00:19:04,800 --> 00:19:08,952
the connections are of order
unconscious.
219
00:19:11,720 --> 00:19:13,676
I can mix them up.
220
00:19:14,040 --> 00:19:19,319
Each time the shows,
I do it in a different order.
221
00:19:19,680 --> 00:19:22,433
I edited them on postcards.
222
00:19:22,800 --> 00:19:26,031
If we send postcards,
did we break the series?
223
00:19:26,400 --> 00:19:29,278
There are countless possibilities.
224
00:19:29,640 --> 00:19:33,235
I'll send Kiki a postcard
touristic.
225
00:19:34,640 --> 00:19:36,153
Notice, this city has the air
226
00:19:36,520 --> 00:19:41,196
of an oriental pastry,
but to Stockholm.
227
00:19:41,560 --> 00:19:43,994
They wait for me.
228
00:19:44,360 --> 00:19:49,115
Fr�d�ric Strauss, whom I met
in the "Cahiers du Cin�ma",
229
00:19:49,480 --> 00:19:53,837
and Marie Booberg,
from "Folkets Bio".
230
00:19:54,200 --> 00:19:58,876
In the taxi around town,
they tell me about Ingmar Bergman.
231
00:19:59,920 --> 00:20:03,799
They showed me the theater,
where he worked while not filming.
232
00:20:04,160 --> 00:20:06,469
and in that building, there,
233
00:20:06,840 --> 00:20:11,152
where they were auctioned and dispersed
the filmmaker’s assets,
234
00:20:11,520 --> 00:20:13,875
on the eve of my arrival.
235
00:20:14,240 --> 00:20:17,118
Marie is still shaken by this,
236
00:20:17,480 --> 00:20:21,234
like all people in the cinema.
237
00:20:21,600 --> 00:20:24,876
I like my hotel room
238
00:20:25,240 --> 00:20:28,232
with 3 windows leading to the port.
239
00:20:28,880 --> 00:20:32,077
Maria brings me the catalog of the sale.
240
00:20:37,720 --> 00:20:39,073
I watched the moves.
241
00:20:39,440 --> 00:20:42,000
It was strange, as an event,
242
00:20:42,240 --> 00:20:43,673
I will tell you.
243
00:20:43,920 --> 00:20:47,993
There were many things
very personal, very simple
244
00:20:48,240 --> 00:20:51,073
but also the exception objects,
245
00:20:51,320 --> 00:20:52,548
like the game of chess ...
246
00:20:52,800 --> 00:20:56,076
- The movie chess game ...
- The Seventh Seal.
247
00:20:57,480 --> 00:20:58,833
The real one, yes.
248
00:20:59,080 --> 00:21:01,389
And it was
249
00:21:01,640 --> 00:21:06,031
one of the most sought after objects,
clear.
250
00:21:06,280 --> 00:21:07,395
Who bought it?
251
00:21:07,640 --> 00:21:09,949
Nobody knows who bought what.
252
00:21:10,200 --> 00:21:12,395
Buyers had numbers.
253
00:21:12,640 --> 00:21:14,710
It happened mostly over the phone.
254
00:21:14,960 --> 00:21:18,077
Most objects
they ended up abroad.
255
00:21:18,360 --> 00:21:19,839
Prices are in crowns.
256
00:21:20,080 --> 00:21:21,229
They sold everything.
257
00:21:22,960 --> 00:21:25,918
The bed, the bedspread ...
258
00:21:27,120 --> 00:21:29,475
Your beautiful Eames armchair.
259
00:21:29,840 --> 00:21:32,308
And many houses
260
00:21:32,680 --> 00:21:35,114
on the island of Faro,
including the one he lived in.
261
00:21:35,360 --> 00:21:38,591
The house is called "Hammarts".
And at the seaside.
262
00:21:38,880 --> 00:21:41,235
And the cars.
263
00:21:41,600 --> 00:21:43,989
The chairs. A piano.
264
00:21:44,880 --> 00:21:47,519
The little things made
for your grandchildren ...
265
00:21:48,040 --> 00:21:50,998
Oh ... made by grandchildren!
266
00:21:52,200 --> 00:21:55,397
Was the family there?
Your children.
267
00:21:55,640 --> 00:21:58,791
I didn't see them,
but I read later
268
00:21:59,040 --> 00:22:01,076
that one of your daughters
I was present.
269
00:22:01,560 --> 00:22:04,120
Maybe not in the sales room.
270
00:22:04,360 --> 00:22:07,670
It looks like your son Daniel
I was there too,
271
00:22:07,920 --> 00:22:09,638
but I didn't see them.
272
00:22:09,880 --> 00:22:11,836
They should be back.
273
00:22:12,120 --> 00:22:16,272
At night, I rethought this sale
and Bergman’s children,
274
00:22:16,640 --> 00:22:19,393
the closest, the least close.
275
00:22:19,760 --> 00:22:23,719
What they thought and felt
of this testamentary decision?
276
00:22:24,080 --> 00:22:28,039
Some of them bought it back
his bedroom closet?
277
00:22:28,400 --> 00:22:31,358
the one whose door creaked a little?
278
00:22:31,720 --> 00:22:35,474
Or his armchair?
Or your little tin jar?
279
00:22:43,120 --> 00:22:45,076
Al�. Good Morning.
280
00:22:45,440 --> 00:22:47,396
In my hotel room
281
00:22:47,760 --> 00:22:51,309
the journalist from
"film and TV" magazine.
282
00:22:51,680 --> 00:22:54,831
I was told that she
speaks English and French.
283
00:22:55,200 --> 00:22:58,749
I'm Christina,
journalist from Stockholm.
284
00:22:59,120 --> 00:23:02,317
And I also love making movies.
285
00:23:05,080 --> 00:23:07,833
I have a certain curiosity ...
286
00:23:08,200 --> 00:23:12,557
I hesitate to ask, but
have you been sick?
287
00:23:12,920 --> 00:23:15,798
No, I haven't been sick.
288
00:23:16,160 --> 00:23:19,709
- Is it a punk hairstyle?
- No.
289
00:23:20,600 --> 00:23:21,794
What happened?
290
00:23:22,440 --> 00:23:24,749
My hair just fell out.
291
00:23:25,000 --> 00:23:26,353
In two months
292
00:23:26,600 --> 00:23:27,999
I went bald.
293
00:23:28,240 --> 00:23:30,310
I'm 43 years old,
294
00:23:30,560 --> 00:23:33,757
never happened to me
before. They fell.
295
00:23:34,480 --> 00:23:36,630
When we breastfeed our children
296
00:23:36,880 --> 00:23:40,190
sometimes we lose hair.
It is very common.
297
00:23:40,440 --> 00:23:42,317
At certain times in life ...
298
00:23:42,560 --> 00:23:44,710
- Do you have children?
- Yes two.
299
00:23:45,720 --> 00:23:46,835
But this is recent.
300
00:23:47,320 --> 00:23:50,471
And no one can truly
explain.
301
00:23:51,480 --> 00:23:53,630
The disease is called alopecia.
302
00:23:54,000 --> 00:23:58,232
Sometimes the body revolts
against anything.
303
00:23:58,480 --> 00:24:00,152
The hair, in my case.
304
00:24:01,360 --> 00:24:04,716
Two, three years before that,
305
00:24:05,080 --> 00:24:09,232
I experienced the shocks,
two or three times.
306
00:24:09,600 --> 00:24:12,353
These were very difficult years,
307
00:24:12,720 --> 00:24:16,918
because it was a change
in my life, I got divorced ...
308
00:24:17,280 --> 00:24:20,989
If all women divorced
lose their hair,
309
00:24:21,360 --> 00:24:25,069
there would only be bald spots.
310
00:24:25,640 --> 00:24:29,269
There are so many women
how much men
311
00:24:29,520 --> 00:24:31,112
affected by this disease.
312
00:24:31,360 --> 00:24:33,874
But women wear wigs.
313
00:24:34,880 --> 00:24:37,189
And you dare to live without?
314
00:24:37,560 --> 00:24:40,199
Try on many wigs
to see.
315
00:24:40,560 --> 00:24:43,552
For it is a matter of identity.
316
00:24:43,800 --> 00:24:46,758
My identity was ... new.
317
00:24:49,920 --> 00:24:51,911
I have a love and he
318
00:24:52,280 --> 00:24:54,236
it is so important.
319
00:24:54,600 --> 00:24:56,955
And when this happened,
320
00:24:58,800 --> 00:25:01,758
I panicked. I was...
321
00:25:02,120 --> 00:25:05,078
The worst, for me,
322
00:25:05,440 --> 00:25:09,399
it was the feeling of not knowing
323
00:25:09,760 --> 00:25:13,070
if he would stay with me.
324
00:25:13,440 --> 00:25:19,072
Your love for the chief operator and
together they made a movie
325
00:25:19,440 --> 00:25:23,797
about the importance of hair
in the appearance of a face.
326
00:25:53,680 --> 00:25:55,511
Christina looks at herself.
327
00:25:55,880 --> 00:26:00,317
She tries to understand how
diamonds looked at her.
328
00:26:02,160 --> 00:26:06,199
She watched with intensity
hair and hairstyles.
329
00:26:12,920 --> 00:26:19,155
Then he discovered that, in fact,
she was successful like that.
330
00:26:19,520 --> 00:26:22,557
And she is happy and alone,
331
00:26:22,920 --> 00:26:28,711
until she finds another woman,
bald, like her.
332
00:26:29,080 --> 00:26:32,277
In two, they are the company.
333
00:26:32,640 --> 00:26:36,599
Soon it's a whole group.
334
00:26:36,960 --> 00:26:40,316
Thank you, Christina,
have allowed me to borrow
335
00:26:40,680 --> 00:26:43,877
pieces of its history and
of your film.
336
00:26:44,240 --> 00:26:45,309
You are the only one.
337
00:26:45,680 --> 00:26:47,636
But it is relative.
338
00:26:53,080 --> 00:26:56,834
She tells me that she tries to do
documentaries,
339
00:26:57,200 --> 00:27:01,352
but that she must earn her living:
then he is a journalist.
340
00:27:03,920 --> 00:27:07,276
It was my turn to sit down
in the canap�.
341
00:27:07,640 --> 00:27:11,428
A photograph was taken
and the entertainment started.
342
00:27:11,800 --> 00:27:15,839
And another photograph,
for a magazine.
343
00:27:16,400 --> 00:27:21,030
Maria organized
the launch of my "Beaches".
344
00:27:21,400 --> 00:27:26,633
Promoters offered
surprise bags.
345
00:27:29,320 --> 00:27:34,030
I remember the meal,
at the embassy.
346
00:27:40,680 --> 00:27:45,993
Maria and Fred accompanied me
and made some confidences.
347
00:27:46,440 --> 00:27:48,476
We met again in Cannes.
348
00:27:48,720 --> 00:27:50,073
That year,
349
00:27:50,320 --> 00:27:53,198
The Man Without A Past
I was in the competition.
350
00:27:53,440 --> 00:27:55,829
I am the distributor of the film.
351
00:27:56,080 --> 00:27:57,991
We met at the party.
352
00:27:58,240 --> 00:28:01,789
I was invited because
I wrote about your films.
353
00:28:02,160 --> 00:28:06,517
Then, we didn't see each other anymore.
I went to Paris, she, to Stockholm.
354
00:28:06,880 --> 00:28:08,438
Almost a year later
355
00:28:08,800 --> 00:28:12,554
I sent you an email
when Cannes was approaching.
356
00:28:12,920 --> 00:28:16,276
I thought about her throughout
this time and ...
357
00:28:16,640 --> 00:28:19,598
You changed your life before
to review it?
358
00:28:19,960 --> 00:28:23,236
I truly changed,
after having reviewed it.
359
00:28:23,720 --> 00:28:24,755
I changed my life.
360
00:28:25,000 --> 00:28:27,639
Before or after having it reviewed.
361
00:28:28,200 --> 00:28:29,428
Later.
362
00:28:29,800 --> 00:28:33,679
My feelings were very strong
to be ignored.
363
00:28:33,920 --> 00:28:35,960
You need to seize the moment.
364
00:28:35,960 --> 00:28:38,840
I love it when you say: Very strong
to be ignored.
365
00:28:38,840 --> 00:28:40,193
That's how we feel.
366
00:28:40,560 --> 00:28:43,916
It is too strong to pass up.
367
00:28:47,560 --> 00:28:49,869
Seventh heaven for them,
I expect.
368
00:28:50,240 --> 00:28:51,309
Full sky for me.
369
00:28:52,560 --> 00:28:57,270
A sky by the painter Canaletto, the
Grand Canal of Venice and Vivaldi.
370
00:29:06,720 --> 00:29:10,349
Classic tourism:
The Grand Canal and Vivaldi.
371
00:29:10,720 --> 00:29:15,430
I don't shy away from the desire to see again
these places of great tourism.
372
00:29:45,080 --> 00:29:50,871
In 2003, Hans Ulrich Obrist, with
Molly Nesbit and Rirkrit Tiravanija,
373
00:29:51,240 --> 00:29:55,119
created a project called
"Utopia Station".
374
00:29:55,480 --> 00:29:59,553
Hans invited me to join
to other artists.
375
00:29:59,920 --> 00:30:02,150
Each one brought a poster
376
00:30:02,520 --> 00:30:03,873
and a work.
377
00:30:04,240 --> 00:30:06,595
How to describe Hans Ulrich?
378
00:30:06,960 --> 00:30:09,997
Globe-trotter.
Dedicator of contemporary art.
379
00:30:10,360 --> 00:30:15,388
Accompany you, listen to you talk about
their projects, their initiatives.
380
00:30:15,760 --> 00:30:19,435
He is the co-director of the Gallery
Serpentine in London.
381
00:30:19,800 --> 00:30:22,394
There are ephemeral pavilions.
382
00:30:22,760 --> 00:30:25,035
East, from SANAA
383
00:30:25,400 --> 00:30:28,358
� as well as a reflection
of the world,
384
00:30:28,720 --> 00:30:33,271
and their reflections,
It is a factor of disorder.
385
00:30:33,640 --> 00:30:37,872
Hans drives to Agn�s b. The big
magazine in the form of a poster ...
386
00:30:38,240 --> 00:30:39,878
"Point of Irony".
387
00:30:40,240 --> 00:30:44,950
Parreno and Rirkrit see Hans
like a ventriloquist puppet.
388
00:30:45,320 --> 00:30:47,914
And I filmed it dumb.
389
00:30:48,280 --> 00:30:53,195
How crazy. He speaks so well.
In fact, it is Swiss.
390
00:30:53,840 --> 00:30:56,673
Thanks to him,
at the Venice Biennale,
391
00:30:57,040 --> 00:30:59,998
I installed 3 screens for the first time.
392
00:31:00,360 --> 00:31:02,715
I dreamed of this for a long time.
393
00:31:03,080 --> 00:31:04,752
Needed to be found
394
00:31:05,120 --> 00:31:09,318
the good angle, adjust the square
and the height of the projectors.
395
00:31:09,680 --> 00:31:13,753
And I needed 700 kilos of potatoes
to cover the floor
396
00:31:14,120 --> 00:31:16,998
near the screens.
397
00:31:17,360 --> 00:31:21,478
There was no setback,
and I didn't have a goal
398
00:31:21,840 --> 00:31:24,149
wide enough to film
399
00:31:24,520 --> 00:31:31,358
the three screens:
I film them two at a time.
400
00:31:31,720 --> 00:31:36,157
I was all happy for
find myself among Yoko Ono,
401
00:31:36,520 --> 00:31:41,878
Jonas Mekas and Lawrence Wiener,
passing behind.
402
00:31:42,240 --> 00:31:46,836
And Boltanski,
that I already loved a lot.
403
00:31:47,200 --> 00:31:50,829
My potato costume didn't pass
unnoticed.
404
00:31:51,200 --> 00:31:54,158
In years
oldest in Venice
405
00:31:54,520 --> 00:31:57,353
oftentimes
at the Cinema Exhibition.
406
00:31:57,720 --> 00:32:02,396
Once, with young Sandrine
Bonnaire, for "Sem Teto Nem Lei",
407
00:32:02,760 --> 00:32:06,833
I brought back a golden lion,
and recently, with "As Praias
408
00:32:07,200 --> 00:32:09,111
d'Agn�s ", finally mine.
409
00:32:09,480 --> 00:32:13,234
We brought the team
that helped me make the film.
410
00:32:13,600 --> 00:32:17,070
They were all
very well dressed.
411
00:32:19,560 --> 00:32:23,109
And again. And again
another arrival by the lagoon.
412
00:32:23,480 --> 00:32:27,029
When we look,
and more and more carefully,
413
00:32:27,400 --> 00:32:29,277
it looks very beautiful.
414
00:32:38,400 --> 00:32:42,552
Very chic invitation for
the opening of the more antianding
415
00:32:42,920 --> 00:32:47,675
that Fran�ois Pinault renewed
to exhibit contemporary art.
416
00:32:48,040 --> 00:32:51,271
We found a "Boy with a Frog"
from Charles Ray,
417
00:32:51,640 --> 00:32:54,313
well-preserved sculpture.
418
00:32:54,680 --> 00:32:57,831
Fr�d�ric Mitterrand,
Minister of Culture,
419
00:32:58,200 --> 00:33:00,077
Olivier d'Arvor,
420
00:33:00,440 --> 00:33:05,639
French Culture and
even Andr� from the O Bar�o club.
421
00:33:09,800 --> 00:33:12,758
I go through
the bush of the guests
422
00:33:13,120 --> 00:33:15,680
and walk away from the walls.
423
00:33:18,280 --> 00:33:23,513
A wall with collectors,
the Lema�tre,
424
00:33:23,880 --> 00:33:26,519
and the one I did.
425
00:33:26,880 --> 00:33:29,838
A wall with my friend
V�ronique B�rard,
426
00:33:30,200 --> 00:33:33,829
of whom i took a portrait
a long time ago.
427
00:33:34,200 --> 00:33:38,398
In the French pavilion again
the crowd to Claude L�v�que.
428
00:33:38,760 --> 00:33:41,718
Your black flag cages,
429
00:33:42,080 --> 00:33:44,833
or cages for visitors.
430
00:33:50,960 --> 00:33:53,599
Al'Arsenal
"Sade for Sade's Sake",
431
00:33:54,040 --> 00:33:58,989
a work by Paul Chan
(Greene Naftali Gallery)
432
00:33:59,160 --> 00:34:02,311
A drowned man and no one
take it out of the water.
433
00:34:02,680 --> 00:34:06,832
� "The Death of a Collector",
of Elmgreen and Dragset.
434
00:34:07,200 --> 00:34:09,270
We are in the Nordic world.
435
00:34:09,640 --> 00:34:14,077
Or in Japanese:
a broken down wall of Murakami,
436
00:34:14,440 --> 00:34:17,989
an unstable floor
by Shoza Shimamoto.
437
00:34:20,720 --> 00:34:23,996
In the Spanish pavilion,
the painting. Anyway.
438
00:34:24,360 --> 00:34:27,238
Miquel Barcel�, what a delight.
439
00:34:30,360 --> 00:34:33,318
The screens inspired by Mali.
440
00:34:33,680 --> 00:34:37,195
A pictorial material
very worked.
441
00:34:37,560 --> 00:34:42,509
Upside-down chick:
I put the screen on the ceiling,
442
00:34:42,880 --> 00:34:46,429
and I painted to create
these types of stalactites,
443
00:34:46,800 --> 00:34:48,392
like spikes
444
00:34:48,760 --> 00:34:51,149
that jump to the eyes.
445
00:34:54,880 --> 00:34:56,916
For 20 years I represented myself
446
00:34:57,280 --> 00:35:00,989
like a young dog
and now, like a gorilla.
447
00:35:01,360 --> 00:35:04,113
Suddenly I knew
that was me.
448
00:35:04,480 --> 00:35:08,109
This gorilla is not in the wild,
in the forest.
449
00:35:08,480 --> 00:35:10,596
He's in my studio.
450
00:35:10,960 --> 00:35:12,598
� my studio�.
451
00:35:12,960 --> 00:35:17,317
And all of these are the brands that
fell from the frames.
452
00:35:19,200 --> 00:35:24,320
These marks on the floor, once,
were from Miquel's studio
453
00:35:24,680 --> 00:35:26,636
in Paris.
454
00:35:33,400 --> 00:35:35,356
The gorilla on cardboard
455
00:35:35,720 --> 00:35:39,952
was done with that,
your albino gorillas.
456
00:35:40,320 --> 00:35:44,632
There are still pieces of cardboard.
It was certainly a chair leg.
457
00:35:45,000 --> 00:35:47,753
This is another strange scraper.
458
00:35:48,120 --> 00:35:50,873
I did these things to scratch,
459
00:35:51,240 --> 00:35:54,391
and each one scratches from
a different way.
460
00:35:54,760 --> 00:35:58,309
It's like plowing fresh paint.
461
00:35:58,680 --> 00:36:01,240
They worked hard.
462
00:36:01,600 --> 00:36:04,558
I can mount them
or throw them away.
463
00:36:04,920 --> 00:36:07,798
This is nowhere to be found.
464
00:36:08,160 --> 00:36:11,709
- To do what?
- To do this, for example.
465
00:36:13,760 --> 00:36:16,718
- Is it a wave?
- A wave that bites.
466
00:36:17,080 --> 00:36:19,036
We see the teeth.
467
00:36:19,400 --> 00:36:23,359
It was a vacancy and became
on the skull of a crocodile.
468
00:36:23,720 --> 00:36:27,474
- Did you see them, really?
- Yes, many, in Mali.
469
00:36:27,840 --> 00:36:31,958
They know each other in caimans
and termites.
470
00:36:32,320 --> 00:36:34,276
Right now, in Africa,
471
00:36:34,640 --> 00:36:38,553
termites should eat
my notebooks at home, yes.
472
00:36:38,920 --> 00:36:43,516
Everyone, they ate
a huge amount of paper.
473
00:36:43,880 --> 00:36:45,438
Does this come from Africa?
474
00:36:45,800 --> 00:36:50,669
Yes. It is very beautiful. I don't know anymore
what am I going to do.
475
00:36:51,040 --> 00:36:55,591
No human hand is capable
to do things like that.
476
00:37:04,160 --> 00:37:08,119
� like the topography of l�,
where you live in africa.
477
00:37:08,480 --> 00:37:11,040
- Are you always going?
- Every year.
478
00:37:11,400 --> 00:37:16,235
My home would be here,
at the edge of the cliff.
479
00:37:16,600 --> 00:37:21,151
I have a house here.
I paint a lot there.
480
00:37:21,520 --> 00:37:24,398
I paint a lot too
in Majorca.
481
00:37:24,760 --> 00:37:29,311
I was born here, in Felanitx, here,
where it's half burned.
482
00:37:29,680 --> 00:37:32,274
And I live here, in Farrutx.
483
00:37:32,640 --> 00:37:35,200
We arrived there by plane.
484
00:37:35,560 --> 00:37:38,711
I felt like I was in a trap,
485
00:37:39,080 --> 00:37:41,799
when I was 16.
486
00:37:42,160 --> 00:37:45,675
I would have given a finger of
left foot to have been born
487
00:37:46,040 --> 00:37:47,632
in New York.
488
00:37:54,560 --> 00:37:56,516
For a moment,
489
00:37:56,880 --> 00:37:59,838
I painted a lot of tomatoes.
490
00:38:00,200 --> 00:38:01,918
I liked very much...
491
00:38:02,280 --> 00:38:06,751
your oddities,
were like masks,
492
00:38:07,120 --> 00:38:10,908
with these wells, these holes.
493
00:38:11,280 --> 00:38:14,317
� as inputs
494
00:38:14,680 --> 00:38:18,832
in the center of the earth,
each of these tomatoes, right?
495
00:38:28,200 --> 00:38:30,555
It almost looks like
with a flower.
496
00:38:30,920 --> 00:38:34,276
� like rivers,
from one to the other.
497
00:38:34,640 --> 00:38:38,838
With peppers,
khakis or other things.
498
00:38:39,200 --> 00:38:43,955
Summer 2010,
Barcelo exhibits in Avignon.
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� reported by an elephant
standing on his trunk.
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The exhibition was made
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in 3 places:
We needed a totem pole.
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I wanted to have the morphology
of a tree,
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so that it could be confused
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with the trees that
exist in the city.
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At the end of the square,
the Petit Palais museum.
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"Jacob's Ladder",
by Nicolas Dipre.
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I found a beheaded effigy,
of the Revolution.
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The head matched exactly.
It was beautiful.
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I gave her a face to that
poor effigy.
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- But a fish face.
- But it's a face.
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A beautiful face.
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Barcelo also exhibits at
Avignon Foundation
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of its gallery owner, Yvon Lambert.
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In this corner
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i paint pictures of fish,
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like those who paint portraits
family.
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I know the morphology well
of the fish.
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I've been fishing since I was born.
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Is a form of painting,
the clay.
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This resembles the chair.
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Clay has the memory of
a caress, a fist blow,
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of a brand.
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With choreographer Josef Nadj,
they created
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a performance: "Paso Doble.
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Paso Doble is a kind of staging
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of the vocabulary of my painting
with clay.
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Nadj is a dancer.
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He persuaded me to do that.
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And I told you, I will do it if you do.
If we do it together.
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Applause for assistance.
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Brazilian Portuguese subtitles:
Lu Stoker.
41245
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