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We had to trim this tree back.
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It was blocking all the light.
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I set out on a series of trips,filming here and there...
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faces and words,museums, rivers, and art.
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I listened to people I met —sometimes by chance —
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AGNÈS VARDA
FROM HERE TO THERE
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especially artists whose work I like.
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When I returned from my first trip,
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the tree already had new shoots.
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I continued my travels,by train or plane,
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filming in every city,not to file a report,
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but to capture fragments,moments, people.
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The tree was coming back to life.
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I came and went...
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and Jean-Baptiste and I editedthe material I'd gathered.
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But long before I completedmy journeys and my work,
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which lasted well over a year,
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the tree,with new shoots and leaves,
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had grown back all its foliagein less than three months.
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You see the process herein under two minutes.
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And viewers will seethese chronicles over several days.
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So this series shoots and leaves,so to speak.
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In this episodewe'll go to Berlin and Boston.
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We'll visit Chris Marker,Nantes, and Portugal,
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and peek into the gapbetween photo and cinema.
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On the plane to Berlin.
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I'm expected at the cinematheque.
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Yes, we love Steiff teddy bears!
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Hans Joachim Fetzeralways takes me around Berlin.
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Not to tourist sites...
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but on my questfor bears in the street.
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A glimpse of Brandenburg Gate...
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and the concrete slabsof the Holocaust Memorial.
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A hello to the angelfilmed by Wim Wenders...
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and at Potsdamer Platz...
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a hello to Fassbinder
and his Berlin Alexanderplatz.
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Here I am at the Filmhausand its cinematheque, Arsenal...
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for a retrospective of my films.
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One little mystery: Cléo From 5 to 7
takes place on a Tuesday.
40
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But the German translation of the title
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mentions neither Cléo nor Tuesday.
42
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It's Wednesday from 5 to 7.
Go figure.
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Birgit Kohler runs Arsenal.
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She programs the films,
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assisted by my friend Hans.
46
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Dominique Bluher joins us.
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She teaches film at Harvard.
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Together we goto the Hamburger Bahnhof Museum.
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Part of its collectionis being shown with the title
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"Art is Super!"
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There are too many artists.
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We choose Joseph Beuys,the adventurer.
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I'd never seenhis giant sculptures made of fat.
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I'd read what he said about them.I quote:
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"Fat was a great discovery for me...
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because as a material it can appearvery chaotic and indeterminate.
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I could influence it with heat or cold...
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and transform it usingnon-traditional sculpting methods...
59
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such as temperature."
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End quote.
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Beuys also worked with other materials
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like copper, honey, and felt,
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which breathes.
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Several months later,Dominique brought me to Boston.
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From my windowI could see the Charles River.
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In the buildingbuilt by Le Corbusier,
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she introduced me to her students.
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She and Haden Guest brought over...
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my five photos and installation called
The Widows of Noirmoutier...
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with its 14 chairs and 15 screens.
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Everyone loves Fine Poutoune.
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She was 99 when I filmed her.
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Alas, she didn't make it to 100.
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Surprise!Dominique is knitting me a sweater
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in my favorite color.
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A year later, she comes to Paris
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and delivers the sweaterat my editing studio.
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It's so nicely wrapped!
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I'm so happy.
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Nice quality wool.
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It's a mixture of silk...
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and wool.
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It's huge. It's too big.
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It's lovely. Thank you.
85
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You're a knitter!
This woman has written about me.
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She's an academic.
87
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And it ends with knitting.
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A cinematic adventure of a kind.
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Guillaume-en-Égypte is here with us.
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When he's not wandering the streets,he goes home.
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He's the spokespersonfor filmmaker Chris Marker,
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who pushes discretionto the point of secrecy.
93
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The orange cat representsthe man who wants to hide his face.
94
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His studio is a magnificent mess.
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In this indescribable jumbleare his sources of inspiration,
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objects he accumulates,
97
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and his tools for makinghis documentaries
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about distant landsor about nearby strikers and protesters.
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There are photos of women...
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with a hint of mystery.
101
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Or enhanced by an echo.
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He has published books...
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and made beautifuland unclassifiable fiction films,
104
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like the famous La Jetée
and Level Five.
105
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This is the hidden sideof Marker's work...
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the secret threadsof the labyrinth of his art.
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Chris filmed
The Case of the Grinning Cat...
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as well as filmmakers he likes:
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Tarkovsky, Medvedkine,
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and Kurosawawhen he was shooting Ran.
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He became friendswith composer Toru Takemitsu.
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Aside from cats,Japanese or otherwise...
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he has a talking horned owl...
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and some other owls.
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The owl is a symbol of knowledge,and Chris transmits its legacy.
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As for information,it comes from everywhere.
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What station is that?
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Al Jazeera in English,
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the best 24-hour news station by far.
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Modeled on CNN, but better.
121
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Why two?
Black-and-white and color?
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I don't know why
I can't get color on my monitor.
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Chris gathers information
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and once did commentary,drawings, and collages
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for the French web magazinePoptronics.
126
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Or more directly.
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- And the T-shirt?
- I made it.
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We sold them, and the profits
went to Obama's campaign.
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So I participated.
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We remember the joywhen Obama was elected.
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But Chris shows me horrible images
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circulated by Obama's enemies.
133
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The Republicans play dirty.
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They did a whole series on how
"Obama is a dangerous communist."
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They showed him as Stalin.
136
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All the modern-day tyrants,
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with Obama as the last one.
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He also collects historical documents.
139
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This was when I was
in the U.S. Army.
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Every week they'd send us
copies in reduced size.
141
00:10:22,122 --> 00:10:24,623
This was the first in the series,
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the end of the war with Japan.
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Now they've changed the system.
144
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Here it was very simple.
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Now it's the same each time.
They just replace the person.
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The latest one, from last week.
- Are they real?
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Of course! Why do you think
everything's fake here?
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Marker's no fake,but he does lead a double life.
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Or rather he exists elsewhere,
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virtually,on the website Second Life,
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on an archipelagocreated by Max Moswitzer,
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known as Mosmax Hax.
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The place is called L'Ouvroir.
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00:11:04,747 --> 00:11:07,541
Meet Max and Chris's avatars.
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The tall guyin the white sweater is Chris.
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He talks to an owl.
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He dances with his double.
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I joined in the dance.
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After all, this virtual archipelagohas a pavilion
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created by Lucien Bookmite
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and presided overby my Uncle Yanco, a painter.
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Basically, painting rivals
the splendor of a bird
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and the opulence of the sea
or any landscape —
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but it surpasses them.
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Oh, how I wish —
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Between conception and execution,
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that's where
the tragic difference lies.
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As between the cup and the lip,
there's bitterness.
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The shadow falls.
170
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A quick trot throughan imaginary museum devoted to Marker.
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It's gigantic!
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Kind of scary.
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I fall into a hole. It's dizzying.
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I'll ask Guillaume to play some piano.
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That'll lift me up.
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The Cat's Fugue by Scarlatti.
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When Guillaume is really tired,
he relaxes against the sofa cat.
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And when he really needs to unwind,
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he lies on his belly on top of it.
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You can't imagine how good it feels.
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My turn to try the sofa cat.
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Then, as I often do,I go gaze at the sea.
183
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But here, today,a river doesn't run into the sea.
184
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The sea runs into the Loire River.
185
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This is Gérard Vaugeois,several years ago.
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This train's taking me to Nantes,
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which for me
will always be Demy's city,
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the city of Une chambre en ville.
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For this trip down memory lane
to remember my friend,
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I brought a few materials,
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like Michel Colombier's score.
192
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This timewe're on a collective voyage...
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on leave in Nantes.
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Because the town wants to honor
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the 20th anniversaryof Jacques Demy's death,
196
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and the 50th anniversary of Lola.
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Friends and journalists come along.
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Here's Gérard Lefort.
199
00:14:25,573 --> 00:14:29,201
Here's Michel Piccoli from
Une chambre en ville.
200
00:14:29,911 --> 00:14:32,537
Anouk Aimée... Lola herself.
201
00:14:33,664 --> 00:14:36,875
And our family. Mathieu Demy.
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00:14:37,627 --> 00:14:39,461
Rosalie.
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00:14:40,088 --> 00:14:41,380
And me.
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And on the right,one of my grandsons who came along.
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Upon arrival...
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the stars are photographed.
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The train station is decorated.
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Jean-Marc Ayrault, mayor of Nantes,and his wife Brigitte greet us.
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I'm a fervent admirer.
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One of four decorated buses awaits.
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They show Jacquesand images from his films.
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We hear his answerto a journalist's question...
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"Why do you make movies?"
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00:15:18,126 --> 00:15:19,918
"Why do I make movies?
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Because I love it.Because they move. They're alive.
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Because they laugh and cry.
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Because inside the theaterit's dark and warm,
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with a guy playing footsie with youand a girl who moves her foot away,
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00:15:33,766 --> 00:15:36,226
an asshole behind youtalking too loud,
220
00:15:36,352 --> 00:15:39,980
and in front a guywhose wild hair blocks the subtitles.
221
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Because movies dance and sing,and I'm on cloud nine.
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Because they're beautiful.
223
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Because filmingis like a woman or a man.
224
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It can hurt you, tear you up.
225
00:15:50,783 --> 00:15:52,951
It can be ugly.But it's good anyway.
226
00:15:53,119 --> 00:15:55,120
Because movies zoom and dolly,
227
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because camera, action, cut!
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Because we dreamat 24 images a second,
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so they race through the night
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00:16:03,421 --> 00:16:07,799
at 86,400 images an hour, making
the high-speed train green with envy.
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00:16:07,925 --> 00:16:10,719
Because they're white and black
and so much more.
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Because I love it.
And it's all I know how to do."
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At the multimedia library,
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a ballet to the soundsof Jacques' dialogue awaits us,
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as well as an exposition.
236
00:16:35,077 --> 00:16:37,621
The inevitable lunch at La Cigale,
237
00:16:37,747 --> 00:16:40,415
which was the Eldorado club in Lola
238
00:16:40,541 --> 00:16:43,335
and the brasserie
in Jacquot de Nantes.
239
00:16:46,839 --> 00:16:49,549
Next day,in the Pommeraye Arcade,
240
00:16:50,009 --> 00:16:52,844
another iconic localefor Nantes and cinema,
241
00:16:53,012 --> 00:16:55,847
we meet peopleand sign autographs
242
00:16:56,349 --> 00:16:59,351
and a book about Jacques Demy
243
00:16:59,560 --> 00:17:01,561
that had just came out.
244
00:17:09,862 --> 00:17:13,532
In the Pommeraye Arcade,Lola is ever-present.
245
00:17:14,116 --> 00:17:17,786
To see Anouk Aimée,50 years after the shoot,
246
00:17:17,912 --> 00:17:19,913
charming, vivacious,
247
00:17:20,039 --> 00:17:22,457
repeating Lola's coquettish gestures...
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was miraculous.
249
00:17:24,544 --> 00:17:28,213
Michel Legrand's themefrom Lola filled the air.
250
00:17:49,318 --> 00:17:51,361
As for the shipyards,
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the scene of major strikesin 1955 and 1979,
252
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they've been recycled as offices.
253
00:17:58,202 --> 00:18:00,203
And the large hangar
254
00:18:00,371 --> 00:18:02,664
now houses a leisure complex.
255
00:18:04,917 --> 00:18:07,752
There's stilla mechanical construction studio
256
00:18:08,129 --> 00:18:10,922
employing many technicians.
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They build playful machinesdesigned by François Delarozière
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and Pierre Orefice.
259
00:18:18,472 --> 00:18:20,765
Mechanical marine creatures.
260
00:18:45,791 --> 00:18:49,127
Along with Jean-Luc Courcoult,François invented
261
00:18:49,462 --> 00:18:53,131
the giants and elephantsof the Royal de Luxe street theater.
262
00:18:53,799 --> 00:18:56,801
Another elephant arrives every day
263
00:18:56,927 --> 00:18:59,554
after a tour around Nantes Island.
264
00:19:09,899 --> 00:19:12,984
It also provides a ride back downtown,
265
00:19:13,402 --> 00:19:16,237
to the soothing calmof the Musée des Beaux-Arts.
266
00:19:19,575 --> 00:19:23,662
A large, beautiful exhibitionof Cuban painter Wifredo Lam,
267
00:19:23,829 --> 00:19:26,831
organized by Blandine Chavanne,the museum director.
268
00:19:27,375 --> 00:19:30,627
We hadn't seen an exhibitionof his work in 30 years.
269
00:19:31,170 --> 00:19:34,839
He came to my courtyardin the 1960s.
270
00:19:35,091 --> 00:19:40,011
I'd discovered his work in Cubain 1962, at Saul Yelin's.
271
00:19:40,262 --> 00:19:43,014
I'd enjoyed photographinghis daughter Karen.
272
00:19:43,182 --> 00:19:45,225
Forty-three years later,
273
00:19:45,351 --> 00:19:48,603
I got a letter from this little girl, now grown,
274
00:19:48,729 --> 00:19:51,314
who wanted a copy of this photograph
275
00:19:51,482 --> 00:19:55,193
and a print of my film
Salut les Cubains.
276
00:19:55,695 --> 00:19:57,529
I brought the picture with me.
277
00:19:57,655 --> 00:20:00,365
I hoped to seethis painting again, but no.
278
00:20:00,533 --> 00:20:04,452
The closest one wasLa Fiancée from Papua New Guinea.
279
00:20:05,246 --> 00:20:08,039
Back to several piecesfrom the 1940s.
280
00:20:10,710 --> 00:20:12,544
Magic, tropical poetry...
281
00:20:13,379 --> 00:20:16,005
bodies, and vegetation.
282
00:20:16,340 --> 00:20:18,216
Androgynous Orisha,
283
00:20:18,384 --> 00:20:20,760
with breastsand a penis-shaped goatee,
284
00:20:20,886 --> 00:20:24,389
cups her ear and listensto sounds of the forest.
285
00:20:54,170 --> 00:20:58,089
I loved Wifredo Lam's eyes,full of tenderness.
286
00:21:00,384 --> 00:21:02,343
On another occasion...
287
00:21:02,470 --> 00:21:05,138
Ernesto Neto had invaded the atrium...
288
00:21:06,098 --> 00:21:08,057
with his soft shapes...
289
00:21:08,434 --> 00:21:12,061
figs or testiclesin an interlacing helix.
290
00:21:13,898 --> 00:21:18,401
Recently there were paintingsby Judit Reigl, of Hungarian origin.
291
00:21:19,612 --> 00:21:21,613
Though rarely shown,
292
00:21:21,781 --> 00:21:23,948
her work is rich and powerful,
293
00:21:24,408 --> 00:21:26,868
as is her beautiful face.
294
00:21:28,829 --> 00:21:31,289
The tragedy in New Yorkin September 2001
295
00:21:31,457 --> 00:21:33,374
and the people jumpingfrom the Towers...
296
00:21:33,918 --> 00:21:36,961
inspired variationson the theme of vertical bodies,
297
00:21:37,296 --> 00:21:39,798
already a major aspect of her work.
298
00:21:40,966 --> 00:21:42,884
These bodies are in free fall...
299
00:21:43,385 --> 00:21:45,220
a tragic fall.
300
00:21:47,723 --> 00:21:50,099
Then there arethe permanent collections...
301
00:21:51,352 --> 00:21:54,562
including The Wheat Sifters
by Courbet...
302
00:21:55,147 --> 00:21:56,981
Gustave.
303
00:21:57,608 --> 00:21:59,859
And two splendid Picassos:
304
00:22:00,069 --> 00:22:02,570
Old Man With a Cane...
305
00:22:03,072 --> 00:22:04,864
and A Couple.
306
00:22:07,660 --> 00:22:11,037
I always go see Eugène Isabey's
Shipwreck of The Emily.
307
00:22:11,163 --> 00:22:13,498
This time I'm with Pierrick Sorin.
308
00:22:20,631 --> 00:22:25,844
You get the feeling the artist
was suggesting a skull.
309
00:22:25,970 --> 00:22:28,972
Death is about to swallow up
310
00:22:29,098 --> 00:22:30,932
all those poor sailors.
311
00:22:33,352 --> 00:22:34,686
As for Pierrick...
312
00:22:35,145 --> 00:22:39,607
he's currently occupying the formerLU factory, of cookie fame.
313
00:22:40,526 --> 00:22:45,446
No longer a factory,LU is now Lieu Unique.
314
00:22:45,865 --> 00:22:47,907
A unique and diverse place.
315
00:22:48,033 --> 00:22:51,369
The trumpets of fameare sounding for Pierrick.
316
00:22:52,204 --> 00:22:54,038
Is he proud of this big expo?
317
00:22:54,373 --> 00:22:56,583
The interesting part is meeting people,
318
00:22:56,709 --> 00:22:59,586
talking to people who come.
319
00:23:02,631 --> 00:23:05,341
But you're spitting on usfrom up there.
320
00:23:05,718 --> 00:23:07,427
Maybe it means
321
00:23:07,553 --> 00:23:11,055
I like the public,
but they scare me a bit.
322
00:23:11,181 --> 00:23:13,766
So I'm keeping them at a distance
323
00:23:13,893 --> 00:23:16,144
by spitting on them.
324
00:23:16,270 --> 00:23:19,105
But I'm also showing off,
325
00:23:19,231 --> 00:23:22,483
drawing attention to myself,
326
00:23:22,610 --> 00:23:25,612
meaning I want the public to like me.
327
00:23:26,906 --> 00:23:29,574
And you wipe the glass off afterwards.
328
00:23:29,909 --> 00:23:32,577
So I can start spitting again.
329
00:23:35,539 --> 00:23:37,957
Otherwise you can't see me.
330
00:23:38,083 --> 00:23:42,086
I wipe off the paint
so you can see this little character
331
00:23:42,254 --> 00:23:44,339
expressing himself,
332
00:23:44,465 --> 00:23:47,008
trapped behind his window.
333
00:23:48,344 --> 00:23:51,137
And even more trappedin an aquarium.
334
00:24:01,774 --> 00:24:03,524
You're making fun of yourself.
335
00:24:03,651 --> 00:24:06,027
Acting silly, being a ham.
336
00:24:06,904 --> 00:24:08,863
I'm being a ham,
337
00:24:08,989 --> 00:24:11,282
but kind of a depressed ham.
338
00:24:11,450 --> 00:24:13,451
You sense...
339
00:24:14,787 --> 00:24:19,540
that the guy's trying to escape
some form of depression.
340
00:24:23,796 --> 00:24:27,799
And when you run,skate, and laugh on records?
341
00:24:27,925 --> 00:24:30,468
Maybe I'm running after myself.
342
00:24:30,594 --> 00:24:33,012
Maybe I'm trying...
343
00:24:34,056 --> 00:24:38,977
to make my mind
catch up with my body.
344
00:24:41,146 --> 00:24:43,982
I wanted to depict
the myth of Sisyphus
345
00:24:44,149 --> 00:24:47,193
as someone running endlessly
on a record player.
346
00:24:48,862 --> 00:24:50,488
Getting nowhere.
347
00:24:50,656 --> 00:24:52,573
If you listen closely,
348
00:24:52,700 --> 00:24:56,160
you hear snippets of phrases
coming from the record.
349
00:24:56,328 --> 00:25:00,164
But just snippets.
Not enough to create meaning.
350
00:25:00,374 --> 00:25:04,335
But at the same time
it's magic à la Méliès.
351
00:25:05,337 --> 00:25:10,508
Yes, I love doing simple, magical,
almost childlike things.
352
00:25:14,179 --> 00:25:16,597
Like this totem of images.
353
00:25:16,932 --> 00:25:19,559
Did you have a book like that as a kid?
354
00:25:19,685 --> 00:25:20,768
Absolutely!
355
00:25:38,829 --> 00:25:42,540
So the expo is you, you,and more you.
356
00:25:43,500 --> 00:25:45,918
I think it's because I'm an only child.
357
00:25:46,045 --> 00:25:50,006
I got used
to playing alone very young.
358
00:25:50,132 --> 00:25:52,216
I did everything alone.
359
00:26:04,438 --> 00:26:09,025
The mini-machines accompanyingthe multi-self-portrait
360
00:26:09,318 --> 00:26:12,904
also appear at concert-happenings,
361
00:26:13,072 --> 00:26:16,532
improvised with Pierre Bastienand François Ripoche.
362
00:26:20,329 --> 00:26:23,581
Pierrick does a light showwith excerpts from his videos.
363
00:26:31,507 --> 00:26:35,259
The title of this "remarkable invention"
364
00:26:35,719 --> 00:26:38,971
is the Personal Operatorfor Facial Surgery.
365
00:26:50,901 --> 00:26:52,944
With Pierrick's permission,
366
00:26:53,362 --> 00:26:55,738
I've jumped ahead in the video.
367
00:27:28,147 --> 00:27:29,897
Behind the Lieu Unique...
368
00:27:30,190 --> 00:27:32,358
is a unique wall.
369
00:27:35,779 --> 00:27:38,573
Up close, this huge wall
370
00:27:38,699 --> 00:27:41,659
is a storefront of opaque windows
371
00:27:41,827 --> 00:27:43,828
sealed for 100 years.
372
00:27:43,996 --> 00:27:47,165
It houses objectsfrom the Store of the Century.
373
00:27:47,499 --> 00:27:50,459
I think Jean Blaise got the idea
374
00:27:50,711 --> 00:27:54,255
after reading George Perec's book,
Life: A User's Manual.
375
00:27:54,381 --> 00:27:57,216
I think that's where
he got the idea
376
00:27:57,342 --> 00:28:01,596
of collecting objects like that,
asking people to bring them in.
377
00:28:01,722 --> 00:28:03,890
I coordinated the project.
378
00:28:04,016 --> 00:28:05,975
In a warehouse,
379
00:28:06,101 --> 00:28:09,729
we set up an areawhere people came in.
380
00:28:09,855 --> 00:28:13,691
Over three months,11,855 people came in
381
00:28:13,817 --> 00:28:16,027
and dropped off an object.
382
00:28:16,195 --> 00:28:18,237
We numbered the items
383
00:28:18,363 --> 00:28:21,574
and kept a logof people's names, ages,
384
00:28:21,700 --> 00:28:25,578
why they left the item,what it meant to them.
385
00:28:25,704 --> 00:28:29,582
Then we sealed the objects in cans
386
00:28:29,708 --> 00:28:32,627
and stacked the cans on pallets.
387
00:28:33,629 --> 00:28:36,088
Over the next two weeks,they were placed
388
00:28:36,215 --> 00:28:39,300
in the wallof the Store of the Century.
389
00:28:41,011 --> 00:28:43,054
What motivated the donors
390
00:28:43,388 --> 00:28:45,640
was a receipt we gave them
391
00:28:45,766 --> 00:28:49,769
to give their grandchildren
and great-grandchildren.
392
00:28:50,062 --> 00:28:52,063
And those great-grandchildren
393
00:28:52,189 --> 00:28:55,900
can bring in that receipt in 2100
when the cans are opened.
394
00:28:56,068 --> 00:28:58,402
They can't have the item,
395
00:28:58,528 --> 00:29:01,739
because it was donated to the city.
396
00:29:01,865 --> 00:29:04,575
But they can find out
what was given.
397
00:29:04,743 --> 00:29:05,660
A clock radio.
398
00:29:05,869 --> 00:29:06,827
A blowtorch.
399
00:29:06,954 --> 00:29:07,912
My telephone.
400
00:29:08,080 --> 00:29:08,955
My health insurance card.
401
00:29:09,081 --> 00:29:10,122
An old nail.
402
00:29:10,249 --> 00:29:11,123
A compass set.
403
00:29:11,250 --> 00:29:12,750
A red hat.
404
00:29:14,086 --> 00:29:15,628
Our first purchase.
405
00:29:15,754 --> 00:29:16,963
An electric train.
406
00:29:17,089 --> 00:29:18,714
Sand from the Loire.
407
00:29:18,840 --> 00:29:19,715
My Rubik's cube.
408
00:29:19,841 --> 00:29:20,591
Metro tickets.
409
00:29:20,717 --> 00:29:21,467
An eel trap.
410
00:29:21,593 --> 00:29:22,468
Baby bottles.
411
00:29:22,594 --> 00:29:23,177
Shoes.
412
00:29:23,303 --> 00:29:24,428
My lucky teddy bear.
413
00:29:24,930 --> 00:29:28,766
I'm always fascinated
by the idea of bringing together
414
00:29:29,101 --> 00:29:31,310
as many people as possible —
415
00:29:31,561 --> 00:29:34,605
hundreds, even thousands —
416
00:29:34,982 --> 00:29:37,942
who bring something of themselves.
417
00:29:38,068 --> 00:29:40,695
I'm fascinated by individuals...
418
00:29:41,530 --> 00:29:45,950
their private lives, their inner lives,
within a large group.
419
00:29:46,368 --> 00:29:47,994
It's collective memory.
420
00:29:48,120 --> 00:29:50,955
When they analyze it much later,
421
00:29:51,081 --> 00:29:54,625
they'll find thatthe whole has a meaning.
422
00:30:01,842 --> 00:30:04,176
Further down the Loire,
423
00:30:04,303 --> 00:30:06,971
we reach the sumptuousRegional Center.
424
00:30:08,682 --> 00:30:11,809
In this imposing building, a surprise.
425
00:30:11,977 --> 00:30:15,354
It's raining inside a little shack.
426
00:30:15,647 --> 00:30:18,566
This is the work of Stéphane Thidet.
427
00:30:59,024 --> 00:31:03,361
Though this is just a photograph,I think I still hear the rain.
428
00:31:03,528 --> 00:31:05,529
Or is it a guitar?
429
00:31:05,697 --> 00:31:08,366
The guitar accompanyingAmália Rodrigues...
430
00:31:21,838 --> 00:31:24,256
I arrive in Portugal in the rain.
431
00:31:24,383 --> 00:31:27,218
It's raining. Hard!
432
00:31:36,645 --> 00:31:39,230
We played around at the editing table...
433
00:31:39,981 --> 00:31:42,900
freezing these images mid-motion.
434
00:31:43,402 --> 00:31:45,986
Cartier-Bresson called it"the decisive instant."
435
00:31:46,113 --> 00:31:47,655
Case in point.
436
00:31:47,906 --> 00:31:52,660
And it gives me a chance to digresson a subject close to my heart:
437
00:31:52,786 --> 00:31:55,037
movement or no movement.
438
00:31:55,163 --> 00:31:57,206
Cinema and photography.
439
00:31:57,332 --> 00:31:59,917
The instant versus duration.
440
00:32:01,420 --> 00:32:04,171
A decisive moment in Portugal.
441
00:32:04,548 --> 00:32:07,550
Or when this salt worker,hurtling down a salt slope,
442
00:32:07,676 --> 00:32:09,927
reached the level of the roof.
443
00:32:12,013 --> 00:32:13,764
Other times...
444
00:32:13,890 --> 00:32:17,768
I chose people in stillnessand the silence of frozen time.
445
00:32:24,609 --> 00:32:26,944
Here's a still portrait
446
00:32:27,112 --> 00:32:29,822
in homage to Buñuel's film
L'Age d'or.
447
00:32:31,116 --> 00:32:35,411
But it's just one image among24 per second in a film sequence.
448
00:32:35,537 --> 00:32:37,413
This is cinema,
449
00:32:37,539 --> 00:32:41,250
with fake blood and pretend suffering.
450
00:32:47,048 --> 00:32:48,215
Here...
451
00:32:48,341 --> 00:32:51,051
at five images per secondor in zoom...
452
00:32:51,470 --> 00:32:55,139
I re-filmed photographsto the beat of a Benny Moré song.
453
00:33:05,275 --> 00:33:07,985
This photograph is a composition.
454
00:33:08,278 --> 00:33:12,490
I placed models in relationto a dead goat fallen from a cliff.
455
00:33:15,785 --> 00:33:17,786
Here's another image,
456
00:33:17,913 --> 00:33:22,500
a snapshot taken in Marseilleat Le Corbusier's Cité Radieuse.
457
00:33:22,792 --> 00:33:25,669
I walked onto the terraceand clicked.
458
00:33:26,505 --> 00:33:29,131
I often wonderedwho these people were
459
00:33:29,257 --> 00:33:32,885
and what took placejust before and after this moment.
460
00:33:33,345 --> 00:33:35,971
I decided to imagine a script
461
00:33:36,097 --> 00:33:39,433
and make these unknown figurescharacters in a sketch.
462
00:33:40,227 --> 00:33:42,436
As in cinema, I chose a location,
463
00:33:42,562 --> 00:33:44,647
the Seaside Theater in Sète,
464
00:33:44,773 --> 00:33:49,360
and had a set builtof the wall behind the figures.
465
00:33:50,362 --> 00:33:52,321
I assembled a crew.
466
00:33:52,864 --> 00:33:55,533
Equipment was rented.
467
00:33:55,992 --> 00:33:58,410
We set up dolly tracks.
468
00:33:59,287 --> 00:34:01,705
I selected local actors...
469
00:34:02,123 --> 00:34:04,708
and I directed, in 2007...
470
00:34:04,960 --> 00:34:09,797
the unlikely storyof a photograph taken in 1955.
471
00:34:13,552 --> 00:34:15,386
It's so beautiful!
472
00:34:15,554 --> 00:34:17,054
So old!
473
00:34:18,765 --> 00:34:20,599
The sea is lovely.
474
00:34:21,726 --> 00:34:23,352
So lovely.
475
00:34:23,478 --> 00:34:25,646
You think they're here?
476
00:34:28,984 --> 00:34:31,402
You should have brought a bonnet.
477
00:34:31,570 --> 00:34:33,237
I know...
478
00:34:34,447 --> 00:34:36,574
You can take some pictures, Mom.
479
00:34:36,950 --> 00:34:38,576
There they are!
480
00:34:39,786 --> 00:34:41,245
Hi, Mom.
481
00:34:43,582 --> 00:34:45,874
What a beautiful baby!
482
00:34:46,418 --> 00:34:48,127
Hi, honey.
483
00:34:49,754 --> 00:34:51,505
- How are you?
- Fine.
484
00:34:51,631 --> 00:34:53,424
Give me a kiss.
485
00:34:53,800 --> 00:34:56,677
It was so hot on the coach!
486
00:35:03,018 --> 00:35:04,935
Nice. Very modern.
487
00:35:11,943 --> 00:35:14,028
Look at me and smile.
488
00:35:15,614 --> 00:35:18,782
No, the background's no good.
Let's move.
489
00:35:22,412 --> 00:35:24,955
It's nicer over here.
Take your places.
490
00:35:27,876 --> 00:35:30,961
Let Jean-Pierre hold his son.
491
00:35:37,052 --> 00:35:40,262
I want to be in the picture
with my daughter.
492
00:35:45,143 --> 00:35:47,144
Family photos are always a hit.
493
00:35:47,937 --> 00:35:50,064
But sometimes they miss.
494
00:35:50,190 --> 00:35:53,942
This one was takenby a soldier on leave from WWI.
495
00:35:54,194 --> 00:35:58,447
Back then you had to hold stillfor a minute or more.
496
00:35:59,032 --> 00:36:01,158
One woman here moved.
497
00:36:01,326 --> 00:36:04,453
So this family photois missing two people.
498
00:36:04,579 --> 00:36:08,624
The man who took it, doubly absentbecause he died in the war...
499
00:36:08,875 --> 00:36:11,543
and the womanwho became an ectoplasm.
500
00:36:12,671 --> 00:36:14,838
To concludemy digression on images,
501
00:36:14,964 --> 00:36:17,591
here's a photo portraitof a fisherman.
502
00:36:19,177 --> 00:36:23,305
The wall he posed in front of was filmed,and it's rocking.
503
00:36:23,723 --> 00:36:26,308
It's the sea, the ocean.
504
00:36:26,518 --> 00:36:28,852
The Atlantic at the mouth of the Tagus.
505
00:36:34,275 --> 00:36:36,276
We're back in Portugal.
506
00:36:37,112 --> 00:36:40,656
In Lisbon, in Porto,just about everywhere,
507
00:36:40,782 --> 00:36:43,200
we see these famous ceramic tiles:
508
00:36:43,868 --> 00:36:46,328
the azulejos.
509
00:36:46,830 --> 00:36:49,540
They have themat the French Embassy,
510
00:36:49,708 --> 00:36:51,709
where I'm a guest.
511
00:37:00,885 --> 00:37:03,137
It's a museum of ancient art,
512
00:37:03,388 --> 00:37:06,974
except for a frescoby Martinha Maia.
513
00:37:11,646 --> 00:37:13,647
When they host dinners,
514
00:37:13,773 --> 00:37:16,567
they invite the gueststo see the chapel.
515
00:37:17,569 --> 00:37:21,363
In the chapelis an angel known as...
516
00:37:21,489 --> 00:37:23,532
the Angel of Silence.
517
00:37:26,411 --> 00:37:29,204
It's the silencein the work of Ana Vieira
518
00:37:29,330 --> 00:37:33,125
that impressed meat the Gulbenkian Foundation.
519
00:37:34,085 --> 00:37:36,086
On walls made of veils,
520
00:37:36,254 --> 00:37:39,381
the objects and furnitureof this house barely exist,
521
00:37:39,507 --> 00:37:41,133
yet it's all there.
522
00:37:41,259 --> 00:37:42,342
Chandeliers...
523
00:37:42,761 --> 00:37:44,344
chairs...
524
00:37:44,471 --> 00:37:45,721
a set table.
525
00:37:46,306 --> 00:37:49,266
All is absence and silence.
526
00:37:49,768 --> 00:37:52,060
There's that same absence
527
00:37:52,187 --> 00:37:55,731
in these boxes and cratesby the same artist.
528
00:37:56,232 --> 00:37:58,776
Covered by a translucent sheet,
529
00:37:58,943 --> 00:38:01,737
they're like a womanlying under a shroud.
530
00:38:05,533 --> 00:38:08,744
Less secret are the wax saints
531
00:38:08,995 --> 00:38:13,248
displayed in churcheswhere the gold is baroque.
532
00:38:19,088 --> 00:38:21,298
Another style in Porto:
533
00:38:21,466 --> 00:38:24,968
a bridge built by Eiffel...
534
00:38:25,220 --> 00:38:29,348
linking the sardine side of the riverwith the port wine side.
535
00:38:29,474 --> 00:38:31,475
Two local specialties.
536
00:38:33,561 --> 00:38:36,814
Further alongis the beach promenade.
537
00:38:38,107 --> 00:38:40,651
That's where I find Manoel de Oliveira,
538
00:38:40,819 --> 00:38:43,111
the 102-year-old filmmaker
539
00:38:43,238 --> 00:38:45,322
who's still making films...
540
00:38:45,990 --> 00:38:48,450
and his wife Maria Isabel.
541
00:38:48,993 --> 00:38:50,994
We've been invited by the consul.
542
00:38:51,287 --> 00:38:52,913
How did you meet Manoel?
543
00:38:53,039 --> 00:38:54,456
Me?
544
00:38:54,582 --> 00:38:58,669
He saw me for the first time
here on the beach.
545
00:39:00,004 --> 00:39:02,506
- When was that?
- A long time ago.
546
00:39:03,049 --> 00:39:06,844
We were married in 1941 or 1942.
I don't remember.
547
00:39:07,512 --> 00:39:09,763
Have you ever workedwith your husband?
548
00:39:10,223 --> 00:39:12,933
What's the title in French?
549
00:39:13,101 --> 00:39:15,686
About the life of Colombo.
550
00:39:15,812 --> 00:39:18,021
- Christopher Columbus.
- Right.
551
00:39:18,523 --> 00:39:23,193
Manoel asked Maria Isabelto play a role in that film.
552
00:39:23,736 --> 00:39:28,323
I sang a very pretty song...
553
00:39:28,741 --> 00:39:31,869
when I arrived in America.
554
00:39:32,453 --> 00:39:35,372
"The Lady in the Sea."
555
00:39:35,707 --> 00:39:39,877
A mighty womanwith a glowing torch
556
00:39:40,169 --> 00:39:42,796
Whose flameis imprisoned lightning
557
00:39:42,922 --> 00:39:46,550
And whose name isMother of Exiles
558
00:39:46,843 --> 00:39:51,597
The beacon in her handwarmly welcomes
559
00:39:51,723 --> 00:39:54,725
All the people of the world
560
00:39:59,355 --> 00:40:02,816
Among the guests is João Fernandez.
561
00:40:03,234 --> 00:40:06,653
He runs the Serralves Museum,which is screening my film.
562
00:40:07,238 --> 00:40:10,240
He invites Oliveira to the screening.
563
00:40:14,203 --> 00:40:17,581
He and his wife come.I'm amazed.
564
00:40:22,295 --> 00:40:24,755
At the end of the film I say:
565
00:40:24,881 --> 00:40:29,217
"A sensation combined instantlywith the image, which will remain.
566
00:40:30,595 --> 00:40:32,721
While I live, I remember."
567
00:40:34,015 --> 00:40:35,682
And here I film what I live.
568
00:40:35,934 --> 00:40:38,769
I'm the guestfilming my own reception.
569
00:40:40,146 --> 00:40:42,940
After answeringthe audience's questions,
570
00:40:43,107 --> 00:40:46,610
I wanted to hear morefrom João and Manoel.
571
00:40:48,988 --> 00:40:52,616
I work a lot in cinema,
even when I'm not filming.
572
00:40:52,784 --> 00:40:54,785
I write...
573
00:40:55,119 --> 00:40:57,788
film after film after film.
574
00:40:57,914 --> 00:41:00,290
Manoel works with conventions.
575
00:41:00,416 --> 00:41:02,960
He says reality doesn't exist.
576
00:41:03,169 --> 00:41:07,130
He says reality is merely
the result of certain conventions,
577
00:41:07,298 --> 00:41:11,635
a mise-en-scène organized by society
578
00:41:11,803 --> 00:41:14,888
to create all the laws
579
00:41:15,014 --> 00:41:18,183
presented to us
by this reality we live in.
580
00:41:18,518 --> 00:41:21,436
It's very important, in Manoel's films,
581
00:41:21,562 --> 00:41:24,690
to understand that society
becomes the artifice.
582
00:41:24,816 --> 00:41:27,150
Cinema's not the artifice.
583
00:41:27,735 --> 00:41:31,780
Manoel's films help us
gain some distance
584
00:41:31,906 --> 00:41:35,117
from this reality imposed on us,
585
00:41:35,243 --> 00:41:39,955
so we can interpret it another way.
586
00:41:42,166 --> 00:41:45,002
This is
The Strange Case of Angélica.
587
00:41:45,169 --> 00:41:48,046
Here she lies dead on her deathbed.
588
00:41:48,339 --> 00:41:51,508
A photographer is brought into take the final image
589
00:41:51,884 --> 00:41:53,844
before she departs.
590
00:42:06,274 --> 00:42:09,609
So cinema becomes
an exercise in what's real.
591
00:42:12,572 --> 00:42:15,699
A photograph is, in theory,proof of what's real.
592
00:42:15,867 --> 00:42:17,868
But here it's different.
593
00:42:19,037 --> 00:42:22,039
I think of Chris Marker's film
La Jetée...
594
00:42:22,457 --> 00:42:24,374
comprised of photographs,
595
00:42:24,542 --> 00:42:27,669
and suddenlythe young woman opens her eyes.
596
00:42:39,724 --> 00:42:43,351
The next part of this magical sceneis admirable.
597
00:42:43,561 --> 00:42:45,479
The photographerleans over his balcony...
598
00:42:45,855 --> 00:42:47,564
and looks.
599
00:42:49,108 --> 00:42:52,027
Three enormous tank trucks pass by.
600
00:42:55,782 --> 00:42:58,200
What to make of reality?
601
00:43:04,999 --> 00:43:09,336
Manoel, can you talkabout reality and solitude?
602
00:43:09,796 --> 00:43:11,713
Solitude?
603
00:43:13,549 --> 00:43:15,300
I don't know.
604
00:43:15,510 --> 00:43:17,969
Solitude is something...
605
00:43:18,471 --> 00:43:21,431
I have no experience with.
606
00:43:22,558 --> 00:43:24,267
Not yet.
607
00:43:26,771 --> 00:43:29,231
We're alone when we create,aren't we?
608
00:43:29,357 --> 00:43:31,608
No, we're not alone.
609
00:43:32,819 --> 00:43:38,115
The angel of creation is with us.
610
00:43:39,534 --> 00:43:41,785
We're always accompanied.
611
00:43:42,286 --> 00:43:45,330
We don't see him, but he's there.
612
00:43:47,416 --> 00:43:51,628
Angels are a configuration of the spirit.
613
00:43:52,380 --> 00:43:54,214
And our guardian angel?
614
00:43:54,340 --> 00:43:55,632
Our guardian angel...
615
00:43:56,217 --> 00:44:00,220
is destiny, a spirit.
616
00:44:00,471 --> 00:44:02,806
A spirit who commands us.
617
00:44:03,516 --> 00:44:06,268
We believe we're free.
618
00:44:06,561 --> 00:44:11,481
But we don't know the obscure forces...
619
00:44:11,941 --> 00:44:13,984
commanding us.
620
00:44:14,819 --> 00:44:17,487
What force commands Manoel
621
00:44:17,780 --> 00:44:19,990
to do battle for a laugh?
622
00:44:21,159 --> 00:44:23,493
"Who are you fighting?" I asked.
623
00:44:23,744 --> 00:44:25,704
"Destiny!" he replied.
624
00:44:30,793 --> 00:44:32,711
We think it's over.
625
00:44:32,837 --> 00:44:34,629
Not at all.
626
00:44:35,756 --> 00:44:38,133
He wants to amuse his friends.
627
00:45:10,416 --> 00:45:14,544
He asks Rosalie questions.He's interested in my little camera.
628
00:45:14,879 --> 00:45:16,713
I show it to him...
629
00:45:16,839 --> 00:45:18,506
explain how it works.
630
00:45:18,758 --> 00:45:20,425
I let him use it.
631
00:45:20,551 --> 00:45:21,927
I adjust the settings...
632
00:45:22,053 --> 00:45:24,137
but not very well.
633
00:45:24,263 --> 00:45:27,390
Everything's a blur but the raindrops.
634
00:45:27,558 --> 00:45:29,392
Look at me.
635
00:45:29,936 --> 00:45:33,230
Manoel de Oliveira is filming me!
636
00:45:33,689 --> 00:45:35,649
This is my big day!
637
00:45:37,235 --> 00:45:40,862
Here we are,Maria Isabel, Manoel, and I.
638
00:45:41,405 --> 00:45:43,240
We did the math.
639
00:45:43,449 --> 00:45:46,159
Our ages add up to 276 years old.
52054
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