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These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:00:04,328 At the end of the 1800s a new art form flickered into live. 2 00:00:06,585 --> 00:00:08,620 It looked like our dreams. 3 00:00:16,539 --> 00:00:20,870 Movies are multi-billion dollar global entertainment industry now. 4 00:00:20,894 --> 00:00:25,616 But what drives them isn't box-office or showbiz. 5 00:00:25,641 --> 00:00:28,361 It's passion, innovation! 6 00:00:29,641 --> 00:00:34,007 So let's travel the world to find this innovation for ourselves. 7 00:00:35,896 --> 00:00:38,926 To discover it in this man, Stanley Donen, 8 00:00:38,951 --> 00:00:41,269 who made Singing in the Rain. 9 00:00:41,293 --> 00:00:44,226 And in Jane Campion in Australia. 10 00:00:44,250 --> 00:00:46,361 And in the films of Ky�ko Kagawa 11 00:00:46,386 --> 00:00:49,087 who was in perhaps the greatest movie ever made. 12 00:00:50,830 --> 00:00:55,058 And Amitabh Bachchan, the most famous actor in the world. 13 00:00:55,082 --> 00:00:58,291 And in the movies of Martin Scorcese and Spike Lee, 14 00:00:58,316 --> 00:01:01,177 Lars Von Trier and Akira Kurosawa. 15 00:01:01,968 --> 00:01:05,426 Welcome to the story of film, an odyssey. 16 00:01:05,450 --> 00:01:09,388 An epic tale of innovation across twelve decades, 17 00:01:09,412 --> 00:01:12,395 six continents and a thousand films. 18 00:01:26,917 --> 00:01:29,880 In this chapter we discover a new generation of Chines films 19 00:01:30,881 --> 00:01:33,645 and David Lynch's movie, Blue Velvet. 20 00:01:40,064 --> 00:01:42,125 The 1980s, greed is good. 21 00:01:42,149 --> 00:01:45,277 Thatcher and Reagan are in power in the west. 22 00:01:45,301 --> 00:01:51,837 Around the world, conservative ideologues tell false stories about life and love. 23 00:01:52,666 --> 00:01:56,915 The most innovative filmmakers speak back at these falsehoods. 24 00:01:56,939 --> 00:01:58,605 This is their story. 25 00:01:58,629 --> 00:02:01,547 The story of '80s protest. 26 00:02:02,663 --> 00:02:07,013 The story of speaking truth to power in the '80s starts here: 27 00:02:09,601 --> 00:02:10,871 China. 28 00:02:14,584 --> 00:02:19,194 Probably the most interesting place on earth at the time. 29 00:02:24,241 --> 00:02:27,796 China looked like this in the '80s. 30 00:02:38,409 --> 00:02:40,673 But it looked like this too. 31 00:02:41,413 --> 00:02:43,404 There was a new openness in China. 32 00:02:43,427 --> 00:02:49,693 It was debating where it stood in the world, how modern and Democratic it wanted to be. 33 00:02:49,718 --> 00:02:53,556 Standing up to the old Maoist repressions. 34 00:02:53,580 --> 00:02:56,385 The fervent was thrilling and moving. 35 00:02:56,409 --> 00:03:01,357 And out of it came the greatest rebirth in filmmaking of the whole decade. 36 00:03:01,382 --> 00:03:05,566 Mao's cultural revolution had stamped out the fire of movie-making in China, 37 00:03:05,590 --> 00:03:10,209 and closed its legendary film school, the Beijing film academy. 38 00:03:11,904 --> 00:03:13,661 Director Tian Zhuangzhuang. 39 00:03:33,344 --> 00:03:37,321 The so-called, 5th Generation, who graduated from it in 1982, 40 00:03:37,345 --> 00:03:41,429 would be the most distinguished ever to spill out of a film school. 41 00:03:43,516 --> 00:03:46,486 They made some of the best films of the '80s. 42 00:03:47,891 --> 00:03:49,739 Tian's film, The Horse Thief, [Dao ma zei] 43 00:03:49,763 --> 00:03:54,568 spoke truth to power because it focused on a very un-Maoist subject. 44 00:03:54,593 --> 00:03:56,706 We're at a traditional burial. 45 00:03:57,948 --> 00:04:00,686 A horse thief's young son has died. 46 00:04:00,688 --> 00:04:04,455 Tian films Buddhist monks in subtle slow motion. 47 00:04:09,243 --> 00:04:15,812 And these vultures who eat the corpse, a horrifying idea to westerners 48 00:04:15,837 --> 00:04:20,054 but a sacred sky burial for the horse thief and his family. 49 00:04:21,373 --> 00:04:23,844 Tian was interested in the mystical traditions 50 00:04:23,891 --> 00:04:28,163 of his characters, themes that were banned under Mao. 51 00:04:31,185 --> 00:04:34,920 The themes of Sergei Parajanov in the Ukraine. 52 00:04:37,748 --> 00:04:42,923 Having eaten the body, the vultures take its spirit into the sky. 53 00:04:47,687 --> 00:04:49,908 And Tian's films looked different. 54 00:05:00,958 --> 00:05:05,195 He framed like this and treated color like this. 55 00:05:06,650 --> 00:05:08,805 Martin Scorsese called The Horse Thief 56 00:05:08,829 --> 00:05:11,726 the best film of the decade. 57 00:05:13,443 --> 00:05:17,338 Whereas Maoist films were about patriotic and exemplary types, 58 00:05:17,362 --> 00:05:19,773 the 5th Generation were challenging their times 59 00:05:19,797 --> 00:05:22,943 by making movies about individual psychology. 60 00:05:48,068 --> 00:05:53,291 The greatest village film made in China in the '80s was this one, Yellow Earth. [Huang tu di] 61 00:05:53,315 --> 00:05:57,962 Again, we're far away from modernity and big cities. 62 00:05:57,986 --> 00:06:01,842 Static shots, a sense of the scale of the landscape. 63 00:06:01,866 --> 00:06:04,538 Muted yellows and Greens. 64 00:06:10,425 --> 00:06:13,857 Communist soldiers collecting folksongs. 65 00:06:13,881 --> 00:06:17,760 He writes the ones he hears, here, in this notebook. 66 00:06:19,679 --> 00:06:22,323 Then the soldier meets this 14-year-old girl 67 00:06:22,347 --> 00:06:26,365 and the film becomes about her gentle, but confident femininity. 68 00:06:26,389 --> 00:06:27,581 She's sewing. 69 00:06:27,605 --> 00:06:29,458 Her head's down-turned. 70 00:06:29,482 --> 00:06:31,403 The frame's static. 71 00:06:31,427 --> 00:06:34,445 She questions the soldier but doesn't look at him. 72 00:06:35,079 --> 00:06:39,007 Women in Maoist cinema were supposed to be strutting and heroic. 73 00:07:08,980 --> 00:07:12,191 Director, Chen Kaige, and cinematographer, Zhang Yimou, 74 00:07:12,215 --> 00:07:17,794 who had himself became a successful director, framed the imagery like Chinese painting. 75 00:07:18,497 --> 00:07:22,763 Instead of being here, the horizon would be here. 76 00:07:24,108 --> 00:07:25,654 Or here. 77 00:07:30,708 --> 00:07:33,565 Male and female stood together in Yellow Earth's 78 00:07:33,589 --> 00:07:36,235 remarkably framed landscapes. 79 00:07:36,259 --> 00:07:39,949 The film wasn't Maoist because it had little action or conflict. 80 00:07:39,974 --> 00:07:43,221 But nor was it traditionally male and Confucian. 81 00:07:43,223 --> 00:07:46,631 The girl wants to join the army, to strike out at life 82 00:07:46,655 --> 00:07:48,387 rather than to stay home. 83 00:07:48,852 --> 00:07:51,793 Instead, it used emptiness within the frame 84 00:07:51,817 --> 00:07:56,331 as a compositional element, and saw maleness within femaleness, 85 00:07:56,355 --> 00:07:58,730 and good within bad. 86 00:08:05,798 --> 00:08:12,168 Ideas more associated with another great Asian philosophy: Taoism. 87 00:08:12,193 --> 00:08:15,412 All this was deeply challenging. 88 00:08:17,192 --> 00:08:21,109 The legacy of Chinese film of the '80s was complex. 89 00:08:23,208 --> 00:08:28,965 Tian worked consistently until 1993, when his film about the cultural revolution, 90 00:08:28,989 --> 00:08:32,768 The blue Kite, [Lan feng zheng] was banned and he was forbidden to work 91 00:08:32,792 --> 00:08:35,172 for nearly a decade. 92 00:08:40,249 --> 00:08:42,554 Yellow Earth's cinematographer, Zhang Yimou, 93 00:08:42,579 --> 00:08:47,116 went on to direct some of the most rigorously beautiful movies of the '90s. 94 00:08:48,971 --> 00:08:52,062 His film, Raise the red Lantern, was boldly symmetrical 95 00:08:52,086 --> 00:08:56,275 and had a striking orange-red color palette. 96 00:08:58,433 --> 00:09:02,982 But even it didn't prepare us for his mastery of digital cinema. 97 00:09:07,536 --> 00:09:10,344 We're in a richly decorated poony pavilion. 98 00:09:10,368 --> 00:09:15,371 Zhang studied Chinese painting and uses its ultra-widescreen compositions. 99 00:09:15,395 --> 00:09:21,102 Slow motion and a gravity defying Buddhist sense of the grace of movement. 100 00:09:26,239 --> 00:09:29,262 A pictorial master class. 101 00:09:30,023 --> 00:09:36,756 The imagery in Chinese cinema was becoming as beautiful as anywhere in the world. 102 00:09:38,785 --> 00:09:41,307 All that was in the future. 103 00:09:41,332 --> 00:09:45,887 But back in the '80s, five years after the release of Yellow Earth, 104 00:09:45,911 --> 00:09:51,198 the sun went down on China's moving and exciting decade of self-discovery. 105 00:09:52,854 --> 00:09:56,783 Thousands of pro-democracy protestors were killed by their own government 106 00:09:56,807 --> 00:09:58,844 in Tiananmen square. 107 00:10:01,110 --> 00:10:06,163 One of the greatest images ever of speaking truth to power. 108 00:10:19,842 --> 00:10:24,958 In another communist sphere, Eastern Europe and the Soviet Union in the '80s, 109 00:10:24,983 --> 00:10:28,927 the powerful communist authorities were starting to lose their grip. 110 00:10:30,208 --> 00:10:35,144 Life was tough but people persevered and society began to open up. 111 00:10:35,766 --> 00:10:39,450 Filmmakers told stories about taboo subjects, 112 00:10:39,474 --> 00:10:43,137 the resulting movies literally changed the world in some cases, 113 00:10:43,161 --> 00:10:46,108 and are some of the most troubling films ever made. 114 00:10:48,246 --> 00:10:52,161 This film, Repentance, [Monanieba] created a sensation. 115 00:10:58,920 --> 00:11:03,245 It tells, in an almost comic book manner, of this dictator. 116 00:11:03,269 --> 00:11:07,488 He has a Hitler moustache but, like Stalin, is Georgian. 117 00:11:09,526 --> 00:11:13,313 A woman imagines that she and her man are buried. 118 00:11:13,337 --> 00:11:17,818 An echo of this much earlier Soviet film, Arsenal. 119 00:11:19,400 --> 00:11:24,081 A haunting static shot of a smiling dead soldier. 120 00:11:27,229 --> 00:11:34,201 The Stalin-like dictator eventually dies but, astonishingly, a woman digs up his body 121 00:11:34,226 --> 00:11:38,812 and stands it here, in the garden of his morally corrupt son. 122 00:11:38,836 --> 00:11:43,757 The corpse looks unremarkable, like it's just relaxing against a tree. 123 00:11:43,781 --> 00:11:48,828 Director Abuladze had it filmed from far away, in daylight. 124 00:11:50,073 --> 00:11:55,696 A symbol of course, of the fact that atrocity cannot be buried. 125 00:11:55,720 --> 00:11:59,697 That the Stalinist genocide stinks of death. 126 00:12:00,761 --> 00:12:03,729 The president of Georgia and the new modernizing boss 127 00:12:03,753 --> 00:12:07,721 of the Soviet Union in the '80s, Mikhail Gorbachev, saw the film 128 00:12:07,745 --> 00:12:09,714 and approved it for release. 129 00:12:09,738 --> 00:12:13,453 It was seen by millions and helped spark glasnost, 130 00:12:13,477 --> 00:12:17,135 the period of new openness in the Soviet union. 131 00:12:17,159 --> 00:12:22,025 A rare example of film actually changing the world. 132 00:12:24,467 --> 00:12:29,879 Repentance was premiered here, the film union building Dom Kino, in Moscow. 133 00:12:31,091 --> 00:12:38,049 As was this astonishing Soviet film from the mid '80s, Come and See. [Idi i smotri] 134 00:12:38,074 --> 00:12:41,614 We're in Belarus in 1943. 135 00:12:47,180 --> 00:12:50,764 Nazi bombs have just exploded. 136 00:12:55,943 --> 00:12:59,207 Into the frame comes the teenage boy of the story. 137 00:12:59,231 --> 00:13:00,827 He's fighting the Nazis. 138 00:13:00,850 --> 00:13:03,687 The camera moves up a bit, to adult height. 139 00:13:03,712 --> 00:13:07,286 The boy seems to get smaller because of the wide angle lens. 140 00:13:07,310 --> 00:13:10,848 The peak of his cap seems to reach out to us. 141 00:13:11,615 --> 00:13:13,842 The bomb has given him tinnitus. 142 00:13:13,866 --> 00:13:14,776 Whistle. 143 00:13:14,800 --> 00:13:16,298 Roar. 144 00:13:27,022 --> 00:13:30,077 He meets a girl, they go to his village. 145 00:13:30,101 --> 00:13:32,740 He can't find his family. 146 00:13:44,555 --> 00:13:47,268 They run to look for them. 147 00:13:54,413 --> 00:13:57,347 Then the girl looks back, and sees them. 148 00:13:57,372 --> 00:13:58,652 He doesn't. 149 00:13:58,676 --> 00:14:05,332 The wide angle camera tracking them, as if it's the awful thing she's just seen. 150 00:14:11,157 --> 00:14:15,031 In their flight, they come across this bog. 151 00:14:24,661 --> 00:14:27,797 This is acting at the limit of endurance. 152 00:14:27,821 --> 00:14:29,403 The roar of fear. 153 00:14:29,427 --> 00:14:31,814 We hardly hear their screams. 154 00:14:31,838 --> 00:14:36,134 The absurdity of a Viennese Waltz on the sound track. 155 00:14:42,576 --> 00:14:45,296 No film is more physical. 156 00:14:45,320 --> 00:14:49,018 Another Soviet film about a near burial. 157 00:14:52,032 --> 00:14:56,437 Come and See's acting, sound design, staring wide angle camerawork, 158 00:14:56,461 --> 00:15:01,577 and moral seriousness made it the greatest war film ever made. 159 00:15:06,733 --> 00:15:09,619 The director of Come and See, Elem Klimov, 160 00:15:09,644 --> 00:15:12,710 became head of the Soviet film union in '80s. 161 00:15:12,716 --> 00:15:18,149 In this very room in the union building, he and politicians discussed censorship, 162 00:15:18,182 --> 00:15:21,771 the digging up of the past, and films that had been banned 163 00:15:21,796 --> 00:15:27,958 because they were anti-Soviet, because they spoke truths other than the sanctioned ones. 164 00:15:27,964 --> 00:15:33,414 One such film was this one, Long Goodbyes, [Dolgie provody] directed by the brilliant Kira Muratova. 165 00:15:41,636 --> 00:15:43,072 We see a middle aged woman. 166 00:15:43,509 --> 00:15:44,683 Cut to a train. 167 00:15:44,708 --> 00:15:49,544 Looking outside first, then zoom out to show that the mother is talking to her son. 168 00:15:49,550 --> 00:15:50,639 Jump cut. 169 00:15:50,664 --> 00:15:51,928 He's trying to sleep. 170 00:15:51,953 --> 00:15:53,020 She talks. 171 00:15:58,813 --> 00:16:02,030 The strange high-pitched voice on the sound track. 172 00:16:02,032 --> 00:16:04,635 No sound of the train itself. 173 00:16:04,637 --> 00:16:06,995 Throughout the film, Muratova has the mother and son 174 00:16:07,020 --> 00:16:08,407 look away from each other. 175 00:16:24,754 --> 00:16:26,157 She nags him. 176 00:16:26,360 --> 00:16:28,509 The music erupts. 177 00:16:32,233 --> 00:16:33,813 Match cut to a man. 178 00:16:33,838 --> 00:16:35,483 Then to the son. 179 00:16:38,524 --> 00:16:41,316 A strange jump cut on his hands. 180 00:16:46,219 --> 00:16:49,360 The man has been replaced by an older man. 181 00:16:49,384 --> 00:16:52,729 More splintered cuts from different angles. 182 00:16:52,753 --> 00:16:57,913 Then we're outside the train and then we seem to be in an airplane. 183 00:17:04,999 --> 00:17:07,045 What was all this about? 184 00:17:08,260 --> 00:17:11,041 This earlier scene helps us see. 185 00:17:11,041 --> 00:17:12,696 The mom and son again. 186 00:17:12,720 --> 00:17:14,802 Not looking at each other again. 187 00:17:14,826 --> 00:17:16,898 Filmed in a long lens again. 188 00:17:16,922 --> 00:17:21,555 A lens so long that the space seems paper thin. 189 00:17:27,034 --> 00:17:31,314 Muratova's theme here was the way people can suffocate each other. 190 00:17:32,541 --> 00:17:36,697 Soviet films of the '70s and '80s were supposed to be about social themes 191 00:17:36,721 --> 00:17:39,980 but this one's about psychological bondage. 192 00:17:42,311 --> 00:17:45,568 They couldn't accuse Muratova of being anti-Soviet 193 00:17:45,592 --> 00:17:48,095 but the archives say that the authorities were 194 00:17:48,119 --> 00:17:51,808 "terribly unnerved by the form" of this film. 195 00:17:52,497 --> 00:17:55,448 And so, like the films of Sergei Paradjanov, 196 00:17:55,472 --> 00:18:00,403 whom Muratova adored, Long Goodbyes was banned. 197 00:18:01,305 --> 00:18:05,332 Maybe they thought Muratova's long lenses and almost hidden camera positions 198 00:18:05,357 --> 00:18:08,211 were commenting on Soviet surveillance? 199 00:18:08,235 --> 00:18:09,348 Whatever. 200 00:18:09,372 --> 00:18:14,273 One official wrote: "How can you allow such an outrage?" 201 00:18:14,297 --> 00:18:18,716 Written on chalk on the film's canister was: "Not to be given out." 202 00:18:20,765 --> 00:18:23,843 But back in this smoke-filled room in the late '80s, 203 00:18:23,867 --> 00:18:27,783 a decade after it was made, Muratova's beautiful film 204 00:18:27,807 --> 00:18:31,981 was unbanned and released to acclaim. 205 00:18:32,005 --> 00:18:35,843 It had come back from the dead to speak a truth to power. 206 00:18:37,356 --> 00:18:42,122 She's one of the most underrated director's in the whole story of film. 207 00:18:45,688 --> 00:18:49,950 By the '80s, large chunks of the eastern block looked like this. 208 00:18:52,090 --> 00:18:54,726 But what if you did this to it? 209 00:18:54,728 --> 00:18:57,804 And what if you shifted its color to this? 210 00:18:58,915 --> 00:19:03,186 These are the questions that the Polish director, Krzysztof Kieslowski, asked. 211 00:19:03,210 --> 00:19:06,801 His answers were about love and death. 212 00:19:07,624 --> 00:19:12,408 Meet Yacek, this 20-year-old, in an '80s Polish city. 213 00:19:14,525 --> 00:19:17,793 Kieslowski pictures him in yellow-green imagery. 214 00:19:17,817 --> 00:19:21,023 The shots are hooded, jaundiced. 215 00:19:22,219 --> 00:19:24,121 He sees a rock. 216 00:19:26,166 --> 00:19:29,178 He decides to do harm with the rock. 217 00:19:37,996 --> 00:19:40,683 If he can do this, he can do anything. 218 00:19:40,711 --> 00:19:42,402 This makes us scared of him. 219 00:19:42,436 --> 00:19:44,275 An old Hitchcock trick. 220 00:19:45,213 --> 00:19:47,146 What'll he do next? 221 00:19:53,772 --> 00:19:55,809 This is what he does next. 222 00:19:55,833 --> 00:19:57,904 He gets in a taxi. 223 00:19:59,157 --> 00:20:03,122 He's going to kill the taxi driver, but the driver doesn't know this. 224 00:20:03,146 --> 00:20:06,248 He stops to let kids cross the road. 225 00:20:09,162 --> 00:20:12,760 An echo of the scene in Hitchcock's Psycho, where Janet Leigh, 226 00:20:12,784 --> 00:20:16,624 who doesn't know she's about to die, let's people cross the road. 227 00:20:20,673 --> 00:20:24,726 But where Hitchcock's film was fear as entertainment, 228 00:20:24,750 --> 00:20:28,821 Kieslowski's film is about the dirt and sickness of fear. 229 00:20:29,572 --> 00:20:31,876 Yacek strangles the man. 230 00:20:31,900 --> 00:20:36,827 We see the man's foot come out of his sock, he takes forever to die. 231 00:20:49,784 --> 00:20:53,243 The scene lasts 3 minutes, 45 seconds. 232 00:20:53,247 --> 00:20:54,980 35 shots. 233 00:20:55,004 --> 00:20:56,659 Real time. 234 00:21:00,295 --> 00:21:02,315 The man's saliva. 235 00:21:05,734 --> 00:21:10,130 The masking of the imagery is so heavy that, at times, it looks like night. 236 00:21:10,154 --> 00:21:12,206 The man's false teeth. 237 00:21:12,652 --> 00:21:17,269 The murder reduced to a sock, spit, and dentures. 238 00:21:18,409 --> 00:21:20,382 Extraordinary innovation. 239 00:21:23,436 --> 00:21:28,064 Then we jump a year and Yacek is sentenced to death for his crime. 240 00:21:28,093 --> 00:21:30,783 Green light and hooded imagery again. 241 00:21:30,807 --> 00:21:33,121 The ugly fury of death. 242 00:21:33,230 --> 00:21:34,967 He's gone in a moment. 243 00:21:45,293 --> 00:21:48,189 And then the shit drips from his body. 244 00:22:00,579 --> 00:22:06,337 Only at the end, in this starburst, after Yacek has died, is the light white. 245 00:22:08,219 --> 00:22:09,683 A Short Film About Killing [Kr�tki film o zabijaniu] 246 00:22:09,707 --> 00:22:13,630 has used physical things to rage against the dying of the light. 247 00:22:14,177 --> 00:22:16,782 Literally, because the greenness and masking 248 00:22:16,806 --> 00:22:19,699 make it look like the light of the world is dying. 249 00:22:20,883 --> 00:22:24,072 A Short Film About Killing has to be seen to be believed. 250 00:22:24,096 --> 00:22:27,129 It changed the death penalty in Poland. 251 00:22:31,280 --> 00:22:34,207 Talking truth to power, indeed. 252 00:22:52,318 --> 00:22:55,143 African cinema in the '80s was not undergoing 253 00:22:55,167 --> 00:22:58,188 such dark days as the films of Eastern Europe. 254 00:22:58,506 --> 00:23:01,682 Although some African countries were forced to mortgage their economies 255 00:23:01,706 --> 00:23:06,740 to the international monetary fund, innovation in African movies soared. 256 00:23:08,564 --> 00:23:12,851 In the '70s, African films had been about society, the here and now, 257 00:23:12,875 --> 00:23:15,396 the immediate post-colonial world. 258 00:23:16,284 --> 00:23:20,012 But in the '80s, directors started to look beyond the present tense, 259 00:23:20,036 --> 00:23:24,933 to the horizon, the past, before colonization. 260 00:23:26,716 --> 00:23:30,085 A rethink of what African cinema was for. 261 00:23:31,339 --> 00:23:35,105 This man, Gaston Kabor�, did this brilliantly. 262 00:23:36,500 --> 00:23:40,341 His movie, Wend Kuuni, was one of the first films to do so. 263 00:23:40,365 --> 00:23:43,236 A landmark in African cinema. 264 00:23:45,547 --> 00:23:48,919 This orphan boy called Wend Kuuni, which means "gift from god", 265 00:23:48,944 --> 00:23:52,299 has been found in the bush, he doesn't speak. 266 00:23:52,323 --> 00:23:53,995 He herds goats. 267 00:23:54,975 --> 00:23:57,945 Director Kabor�'s camera follows him from a distance 268 00:23:57,970 --> 00:24:01,824 and frames him alone, outside the village. 269 00:24:05,477 --> 00:24:08,972 Then we get a flashback to a time when his mom was still alive. 270 00:24:09,668 --> 00:24:12,825 The boy's sick, they're under a tree in the shade. 271 00:24:13,338 --> 00:24:17,169 Then Kabor� makes the time line of his film more complex. 272 00:24:17,675 --> 00:24:24,559 I put in, when Kuuni, a flashback inside another flashback 273 00:24:24,584 --> 00:24:28,831 and I did it without questioning myself and it worked. 274 00:24:29,842 --> 00:24:33,623 Here, the mother has her own flashback to her husband. 275 00:24:33,647 --> 00:24:36,077 A flashback within a flashback. 276 00:24:41,412 --> 00:24:48,636 You see how aesthetic could be invented just because an artist is doing 277 00:24:48,660 --> 00:24:58,793 what he feels or she feels to be good for the story he or she is telling. 278 00:25:13,671 --> 00:25:18,215 Then we return to the first flashback, the boy's memory of his mom. 279 00:25:18,239 --> 00:25:22,071 And soon afterwards, we get back to the present tense. 280 00:25:23,289 --> 00:25:26,743 I believe in mixed instinct in art. 281 00:25:26,767 --> 00:25:33,631 I believe in audacity, you know, in art. 282 00:25:33,655 --> 00:25:46,084 And Africa has a tremendous treasure of stories, tales, mythology, legends. 283 00:25:48,184 --> 00:25:52,165 We need that because it's the food of the souls. 284 00:25:53,431 --> 00:25:57,133 Kabor�'s film speaks truth to the past, you could say. 285 00:25:57,157 --> 00:26:02,461 But then came another African film about the past, the dream time. 286 00:26:06,725 --> 00:26:09,765 In this film, Yeelen, which means "brightness," 287 00:26:09,789 --> 00:26:14,316 this man, Niankoro, has been tracking down his sorcerer father. 288 00:26:15,889 --> 00:26:18,988 Director Souleymane Ciss� tracks around Niankoro, 289 00:26:19,012 --> 00:26:21,503 like in a Sergio Leone shoot out. 290 00:26:21,983 --> 00:26:25,783 Niankoro has to destroy his father so he's in tears. 291 00:26:26,701 --> 00:26:28,139 He faces him. 292 00:26:39,164 --> 00:26:45,165 A water buffalo in slow motion and a Sci-Fi roar on the sound track. 293 00:27:14,125 --> 00:27:17,865 Ciss� tracks up to Niankoro's stony look. 294 00:27:50,478 --> 00:27:53,802 Then his father becomes a mythic elephant, 295 00:27:56,942 --> 00:27:59,770 and Niankoro is a lion. 296 00:28:16,274 --> 00:28:21,388 And then mystical rods seem to channel the brightness of the cosmos. 297 00:28:44,584 --> 00:28:47,269 Yeelen is as big as Lawrence of Arabia. 298 00:28:47,294 --> 00:28:50,759 As shape-shifting as 2001: A Space Odyssey. 299 00:28:50,761 --> 00:28:56,418 A magic realist film, and one of cinema's most complex works of art. 300 00:29:06,941 --> 00:29:08,536 In America in the '80s, 301 00:29:08,560 --> 00:29:11,997 if power was anywhere it was here on Wall Street. 302 00:29:13,568 --> 00:29:14,917 Greed was good here. 303 00:29:14,919 --> 00:29:18,042 Money gushed through this canyon like a torrent. 304 00:29:18,940 --> 00:29:22,534 This man, Ronald Reagan, America's president, 305 00:29:22,559 --> 00:29:26,014 said that the money would trickle down to places like this... 306 00:29:32,456 --> 00:29:33,922 But it didn't. 307 00:29:39,217 --> 00:29:42,176 A new television channel, Music Television, 308 00:29:42,200 --> 00:29:46,600 broadcast its first music video, this one, in 1981. 309 00:29:53,514 --> 00:29:55,283 The song was about video. 310 00:29:55,284 --> 00:29:58,252 The imagery used screens within screens. 311 00:29:58,276 --> 00:30:02,082 Pink light, fast editing and stepped cuts. 312 00:30:02,106 --> 00:30:04,147 All of these things became part of the language 313 00:30:04,171 --> 00:30:06,194 of popular imagery around the world. 314 00:30:16,205 --> 00:30:20,178 A scene like this shows how music video influenced film. 315 00:30:20,202 --> 00:30:23,663 The editing is fast, the angles are numerous and sexy. 316 00:30:24,654 --> 00:30:26,990 The music is the only thing on the sound track, 317 00:30:27,014 --> 00:30:31,610 we don't hear her feet, for example, and the scene has no story element. 318 00:30:31,634 --> 00:30:33,872 It's pure impressionism. 319 00:30:36,394 --> 00:30:41,058 But '80s America was mostly a male Reagan-ite dreamland. 320 00:30:41,083 --> 00:30:43,731 This film was part of the dreamland. 321 00:30:44,731 --> 00:30:47,949 Rich color. A roller coaster in the sky. 322 00:30:49,919 --> 00:30:53,091 Close-ups of pilots, like those in Star Wars. 323 00:30:53,115 --> 00:30:55,777 Tom Cruise is flying over the Persian Gulf. 324 00:30:55,801 --> 00:30:59,913 He encounters Russian mig pilots, so flies upside down, 325 00:30:59,937 --> 00:31:03,729 this close, and gives them the finger. 326 00:31:04,570 --> 00:31:06,518 Greetings. 327 00:31:08,570 --> 00:31:10,724 Watch the birdie. 328 00:31:11,635 --> 00:31:13,836 Jeez, I crack myself up. 329 00:31:15,633 --> 00:31:18,492 Pure cold war, male fantasy. 330 00:31:19,665 --> 00:31:25,009 Many of the shots last just 2 or 3 seconds, the cutting rate of pop promos and adverts. 331 00:31:25,033 --> 00:31:26,759 Edited on computers. 332 00:31:26,783 --> 00:31:29,330 Scenes could be moved around, shorted, lengthened 333 00:31:29,354 --> 00:31:32,757 and reviewed in computer edit suites in seconds. 334 00:31:33,636 --> 00:31:37,173 An advert for the new masculinity the new America, 335 00:31:37,198 --> 00:31:39,775 the new cinema, and the new dreaming. 336 00:31:40,765 --> 00:31:44,170 No American dream was more potent than this one. 337 00:31:47,854 --> 00:31:53,102 We float into David Lynch's Blue Velvet, like a spaceship landing on earth. 338 00:31:53,126 --> 00:31:55,721 We're in an idealized American small town. 339 00:31:55,745 --> 00:31:58,904 The sort of place where firemen wave as they pass. 340 00:32:04,230 --> 00:32:08,503 White picket fence, children go to school in slow motion. 341 00:32:15,349 --> 00:32:19,595 But Lynch's velvety textures usually give way to something more fearful. 342 00:32:20,191 --> 00:32:22,966 He took us to the dark world of Victorian London 343 00:32:22,990 --> 00:32:26,168 in The Elephant Man, for example, and tracked in to a close up 344 00:32:26,192 --> 00:32:29,320 of a doctor who's sympathetic to John Merrick. 345 00:32:29,344 --> 00:32:33,833 Just as the actor, Anthony Hopkins, drops a tear. 346 00:32:33,857 --> 00:32:36,847 Luck and beautiful craftsmanship. 347 00:32:56,405 --> 00:33:00,148 But the movie shows us the surrealism of Lynch's imagination. 348 00:33:00,172 --> 00:33:05,684 As he filmed side on, the bulbous growths on Merrick's skull, here for example, 349 00:33:05,708 --> 00:33:10,365 he was reminded of the explosions of smoke from a recently erupted volcano, 350 00:33:10,389 --> 00:33:12,499 Mount St. Helens. 351 00:33:14,366 --> 00:33:17,171 A deeply original, visual rhyme. 352 00:33:18,337 --> 00:33:21,304 Such connections take us to the crux of Lynch. 353 00:33:21,328 --> 00:33:26,551 His films protest against the rationality and understandability of everyday life. 354 00:33:27,171 --> 00:33:31,827 He worked with unconscious material the way that a carpenter works with wood. 355 00:33:35,341 --> 00:33:38,077 He says that the key scene of many of his films, 356 00:33:38,101 --> 00:33:41,808 the scene that often combines the beauty of life with its terror, 357 00:33:41,832 --> 00:33:44,587 is the "eye of the duck scene." 358 00:33:46,183 --> 00:33:49,096 Because, as he put it, "when you look at a duck, 359 00:33:49,120 --> 00:33:52,256 the eye is always in the right place." 360 00:33:58,117 --> 00:33:59,611 ? A candy colored clown ? 361 00:33:59,636 --> 00:34:01,405 ? they call the sandman ? 362 00:34:01,406 --> 00:34:04,761 The eye of the duck scene in Blue Velvet is this one. 363 00:34:05,484 --> 00:34:07,155 ? Just to sprinkle stardust ? 364 00:34:07,179 --> 00:34:10,596 ? and to whisper go to sleep ? 365 00:34:10,620 --> 00:34:15,250 ? everything is alright ? 366 00:34:15,274 --> 00:34:19,777 ? I close my eyes ? 367 00:34:19,802 --> 00:34:24,182 ? then I drift away ? 368 00:34:24,207 --> 00:34:27,392 ? into the magic night ? 369 00:34:27,417 --> 00:34:30,226 The beauty of Roy Orbison's song combines with 370 00:34:30,250 --> 00:34:33,087 the intoxication of Dennis Hopper's character. 371 00:34:33,112 --> 00:34:37,008 ? Oh smile and pray, ? 372 00:34:37,010 --> 00:34:41,673 ? like dreamers do. ? 373 00:34:41,675 --> 00:34:45,505 ? Then I fall asleep to dream ?? 374 00:34:45,530 --> 00:34:48,159 As if that beauty hurts. 375 00:34:51,789 --> 00:34:54,127 In dreams indeed. 376 00:34:55,325 --> 00:34:56,874 Like Ronald Reagan, David Lynch 377 00:34:56,898 --> 00:35:00,207 had an almost abstract fear of the outside world. 378 00:35:01,548 --> 00:35:04,128 But he didn't try to push that fear away. 379 00:35:04,152 --> 00:35:07,460 He stared at it through a brilliant frame. 380 00:35:09,562 --> 00:35:13,757 Lynch said that as people get older, their window on the world closes. 381 00:35:13,781 --> 00:35:18,586 This is what was happening to his country in the '80s, and its cinema. 382 00:35:31,450 --> 00:35:34,446 After David Lynch, the second great American director 383 00:35:34,471 --> 00:35:38,005 to emerge in the '80s, was Spike Lee. 384 00:35:38,012 --> 00:35:41,865 He thumbed his nose at white America and bourgeois blackness 385 00:35:41,889 --> 00:35:44,587 and was inventive with movie form. 386 00:35:45,861 --> 00:35:50,379 Take his film, Do the Right Thing, which was shot on this block in Brooklyn. 387 00:35:50,403 --> 00:35:54,793 It's set on a single, sweltering day and builds like a pressure cooker 388 00:35:54,817 --> 00:35:58,648 as tensions between local blacks, Latinos, and whites 389 00:35:58,672 --> 00:36:01,326 are sparked by events at a pizzeria. 390 00:36:02,397 --> 00:36:06,719 Lee and his cinematographer, Ernst Dickerson, use heightened colors 391 00:36:06,743 --> 00:36:09,350 to match the film's boiling themes. 392 00:36:10,263 --> 00:36:14,841 They filmed with tilted camera angles to render things off kilter. 393 00:36:14,846 --> 00:36:17,061 Move on. You're blocking my view. 394 00:36:19,222 --> 00:36:22,613 You are ugly enough. Don't stare at me! 395 00:36:22,637 --> 00:36:25,104 The evil eye doesn't work on me. Mother-sister. 396 00:36:26,017 --> 00:36:28,945 A technique borrowed from one of Lee's favorite films, 397 00:36:28,969 --> 00:36:33,216 The Third Man, in which the non-horizontal camera 398 00:36:33,240 --> 00:36:36,702 was used to show the imbalance of the world of the story. 399 00:36:39,033 --> 00:36:42,919 Lee himself plays the character Mookie, in the film's climax, 400 00:36:42,943 --> 00:36:47,573 the most striking moment of protest in '80s American cinema. 401 00:36:47,597 --> 00:36:49,544 Again, saturated color. 402 00:36:49,568 --> 00:36:52,412 Lee picks up a trashcan. 403 00:36:56,559 --> 00:36:58,592 The camera tracks with him. 404 00:37:03,670 --> 00:37:05,015 Hey! 405 00:37:05,668 --> 00:37:08,594 Then it rushes with the can as Lee throws it 406 00:37:08,618 --> 00:37:10,714 through the window of the pizzeria. 407 00:37:18,319 --> 00:37:23,122 At the end, Lee pairs a quotation from Martin Luther King denouncing violence 408 00:37:23,146 --> 00:37:28,337 with one from Malcolm X, advocating it in self-defense. 409 00:37:32,805 --> 00:37:35,374 David Lynch and Spike Lee were high water marks 410 00:37:35,398 --> 00:37:38,857 in the otherwise low tide of American cinema in the '80s. 411 00:37:39,261 --> 00:37:43,382 Neither, however, spoke the truth about modern life and helped create 412 00:37:43,406 --> 00:37:46,964 the radical independent film movement in America in the '80s 413 00:37:46,988 --> 00:37:49,306 as much as this man and woman. 414 00:37:49,330 --> 00:37:53,154 Writer-director John Sayles and producer, Maggie Renzi. 415 00:37:53,178 --> 00:37:56,485 They used a road less travelled to get their movies made, 416 00:37:56,510 --> 00:37:59,599 and became America's state of the nation filmmakers. 417 00:37:59,623 --> 00:38:03,965 When we started we really had no idea of the future. 418 00:38:03,967 --> 00:38:09,011 Yeah, that there was any place for us, we didn't really analyze it a whole lot. 419 00:38:09,017 --> 00:38:10,335 We just started making stories. 420 00:38:10,336 --> 00:38:12,156 We probably knew by that time 421 00:38:12,181 --> 00:38:15,206 that like Lucas and Spielberg had gone to film school, 422 00:38:15,230 --> 00:38:18,527 but they belonged to Hollywood which was a place that we never 423 00:38:18,551 --> 00:38:20,599 thought we would have anything to do with, although, 424 00:38:20,624 --> 00:38:22,440 John had started writing for Hollywood. 425 00:38:22,464 --> 00:38:24,571 So there you were on the periphery of it, 426 00:38:24,595 --> 00:38:26,261 but there was no expectation that 427 00:38:26,285 --> 00:38:29,517 we were building a career when we made "Return of the Secaucus Seven". 428 00:38:31,671 --> 00:38:34,883 It was about the reunion of a group of college friends, 429 00:38:34,907 --> 00:38:39,896 ten years after they'd been arrested on the way to an anti-war demonstration. 430 00:38:39,920 --> 00:38:44,996 The film felt truthful because it wasn't edited in a flashy, MTV, way. 431 00:38:45,442 --> 00:38:50,863 The camera patiently observed intelligent, adult conversations about politics. 432 00:38:50,845 --> 00:38:52,621 - I mean fighting for what you believe in. 433 00:38:52,645 --> 00:38:55,293 - No offense, but your senator is just fighting to keep his job 434 00:38:55,318 --> 00:38:56,716 and his house on Martha's vineyard. 435 00:38:56,740 --> 00:38:58,389 - Do you know that? Do you really know that? 436 00:38:58,412 --> 00:38:59,713 Have you looked at his record? 437 00:38:59,738 --> 00:39:02,050 - Alright, how did he stand on the canal treaty? 438 00:39:02,075 --> 00:39:02,815 - Wait a minute. 439 00:39:02,840 --> 00:39:05,236 When we started making movies, one of the things 440 00:39:05,260 --> 00:39:10,790 I was always interested in was: What do I see in life around me 441 00:39:10,814 --> 00:39:12,684 that I don't see on a big screen? 442 00:39:13,562 --> 00:39:17,593 When I started working for the studios, a lot of those were more heroic movies 443 00:39:17,617 --> 00:39:21,753 and I was aware of, you know, that's movie making. 444 00:39:21,778 --> 00:39:22,249 You know? 445 00:39:22,274 --> 00:39:24,826 There is the hero and the girl and the best friend 446 00:39:24,850 --> 00:39:26,590 and everybody else is an extra. 447 00:39:26,614 --> 00:39:32,645 Whereas the stories I was interested in, and I came out of being a novelist, 448 00:39:32,669 --> 00:39:41,115 on screen, the characters were more complex and they weren't absolutely heroic. 449 00:39:41,139 --> 00:39:45,212 They might be the protagonist but like your friends they might be somebody 450 00:39:45,237 --> 00:39:49,925 you love and care about, but they don't always act in a noble way. 451 00:39:49,950 --> 00:39:52,260 They don't always do what you wish they would do. 452 00:39:53,707 --> 00:39:56,424 I think from the beginning the smartest thing we did 453 00:39:56,448 --> 00:39:59,239 is decide to make the movies in our own way. 454 00:39:59,263 --> 00:40:03,672 That meant casting them in our way and having complete creative control 455 00:40:03,696 --> 00:40:07,740 over the way we made them, and that includes 456 00:40:07,764 --> 00:40:11,020 non-hierarchical and not luxurious. 457 00:40:11,043 --> 00:40:15,543 It was like Hollywood was only there to see if John could get screenwriting work. 458 00:40:15,568 --> 00:40:18,117 I have less and less respect for them. 459 00:40:18,141 --> 00:40:21,243 I think they don't even do what they do very well anymore. 460 00:40:21,267 --> 00:40:23,372 They spend much too much money. 461 00:40:23,396 --> 00:40:27,323 They have lost whole huge sections of the market place. 462 00:40:27,347 --> 00:40:29,854 I was talking before about the adult audience. 463 00:40:29,878 --> 00:40:34,120 It takes them, you know, nine writers to come up with a script 464 00:40:34,145 --> 00:40:36,481 that's no better than the first version. 465 00:40:36,505 --> 00:40:39,723 I used to be afraid of them and intimated by them, 466 00:40:39,747 --> 00:40:42,766 and now I realize that they don't do their jobs very well. 467 00:40:43,426 --> 00:40:45,936 And that's one reason why the dinosaur is dying. 468 00:40:45,960 --> 00:40:47,648 And now you are older than them. 469 00:40:47,673 --> 00:40:51,727 And now I'm older, now I could be their mother heaven for fend. 470 00:40:51,751 --> 00:40:58,848 Our movies do require paying attention, taking time, engaging with characters 471 00:40:58,873 --> 00:41:03,418 and because of that, I mean the legacy is good. 472 00:41:03,443 --> 00:41:06,439 It's tough... Tough to get the money for what we do, 473 00:41:06,464 --> 00:41:08,815 but when I meet the audience I'm always glad 474 00:41:08,840 --> 00:41:10,487 that we have never changed that. 475 00:41:10,511 --> 00:41:14,028 Yeah, and most, you know, mainstream filmmakers that we know 476 00:41:14,052 --> 00:41:17,767 who work within the studio system, haven't done much better than we have. 477 00:41:17,791 --> 00:41:20,378 As far as the number of movies they've gotten to make 478 00:41:20,403 --> 00:41:23,093 and getting to make their dream projects or whatever. 479 00:41:23,117 --> 00:41:25,404 And they're much more likely to end up saying, 480 00:41:25,428 --> 00:41:29,283 "oh you should have seen my cut," which we've never had to do. 481 00:41:30,651 --> 00:41:35,930 Sayles and Rrenzi were the standard bearers for new independent American film. 482 00:41:35,954 --> 00:41:41,573 Much of the do-it-yourself and political cinema of the '90s derives from their approach. 483 00:41:45,678 --> 00:41:48,568 In France in the '80s, movies seemed to want to kick 484 00:41:48,592 --> 00:41:52,041 the protest films of Sayles and Renzi in the teeth. 485 00:41:52,880 --> 00:41:56,763 Influenced by advertising, cinema became shining again. 486 00:41:59,371 --> 00:42:03,985 French philosophy had become interested in popular culture and postmodernism. 487 00:42:05,853 --> 00:42:07,925 This was a protest too. 488 00:42:08,123 --> 00:42:11,111 A reaction against seriousness. 489 00:42:17,892 --> 00:42:21,628 Into all this sped Luc Besson's, Subway. 490 00:42:21,653 --> 00:42:25,318 Besson had excelled at pop promos and had lived in America. 491 00:42:26,382 --> 00:42:28,958 A roller-skater's snatched a handbag. 492 00:42:28,982 --> 00:42:33,102 His flight from the cops filmed like a car chase on skates. 493 00:42:33,126 --> 00:42:34,540 The flow of action. 494 00:42:34,564 --> 00:42:36,523 The camera in his point of view. 495 00:42:36,583 --> 00:42:40,118 Wide angle shots to make the space deeper. 496 00:42:47,063 --> 00:42:50,520 The best new French director of the '80s, Leos Carax, 497 00:42:50,544 --> 00:42:54,172 combined the visual hyperactivity of Besson with a punky sense 498 00:42:54,196 --> 00:42:56,534 of outrage at modern life. 499 00:42:59,271 --> 00:43:03,223 We're on the Pont Neuf in the grand center of Paris, the city of light. 500 00:43:03,229 --> 00:43:04,429 Fireworks. 501 00:43:04,454 --> 00:43:05,962 Public enemy plays. 502 00:43:05,964 --> 00:43:08,198 Juliette Binoche. 503 00:43:16,161 --> 00:43:19,319 This could be a modern dance about high class people, 504 00:43:19,344 --> 00:43:21,977 but in fact these characters are homeless. 505 00:43:21,985 --> 00:43:23,978 They sleep rough on the bridge. 506 00:43:23,980 --> 00:43:27,111 She's going blind, he's a drunk. 507 00:43:30,134 --> 00:43:35,232 Around this gritty truth about modern life, Carax built his gigantic film. 508 00:43:35,238 --> 00:43:37,769 The most expensive ever made in Paris. 509 00:43:37,793 --> 00:43:42,346 He had the entire bridge rebuilt as a set, a "folie de grandeur," 510 00:43:42,370 --> 00:43:48,439 with sweeping camera moves, glossy and wasteful in a glossy, wasteful age. 511 00:43:49,938 --> 00:43:53,495 The plight of homelessness was treated with the exact same style 512 00:43:53,519 --> 00:43:55,034 as this Hollywood musical. 513 00:43:55,794 --> 00:44:03,435 Grand studio sets of Paris, modern dance, color splashed across the screen. 514 00:44:10,725 --> 00:44:14,313 Romantic ecstasy and agony. 515 00:44:19,665 --> 00:44:25,007 Sashay down to Spain in the '80s and you find that protest had had a sex change. 516 00:44:25,031 --> 00:44:30,305 On the left is Pedro Almod�var in his 1982 film Labyrinth of Passions. 517 00:44:30,329 --> 00:44:35,558 Camp, a touch of goth in his eyeliner and purple drawn-on sideburns. 518 00:44:35,582 --> 00:44:37,816 Purple '80s lighting. 519 00:44:40,613 --> 00:44:42,666 Dictator Franco had died. 520 00:44:42,690 --> 00:44:47,044 Madrid's underground culture was transgressive, anarchic. 521 00:44:48,119 --> 00:44:54,297 And to this, Almod�var lobbed in a dash of the stylistic antics of this Beatles film. 522 00:44:54,321 --> 00:44:59,076 He loved its celebration of pop music, camera work that makes you feel you're there. 523 00:44:59,296 --> 00:45:01,275 It's youthful surface. 524 00:45:06,285 --> 00:45:08,808 A scene like this was so provocative. 525 00:45:08,832 --> 00:45:13,066 It's a porn shoot, which conservative Spain would have hated. 526 00:45:13,090 --> 00:45:16,603 But the porn star is male, even more of a no-no. 527 00:45:16,627 --> 00:45:20,272 And it's making fun of the so called Driller Killer, video nasty. 528 00:45:20,296 --> 00:45:24,462 And the porn star's wearing fur, and the color's bright, 529 00:45:24,487 --> 00:45:27,009 and the style is cheap, not classy. 530 00:45:36,207 --> 00:45:39,066 Almod�var's signature was the comic grotesque. 531 00:45:39,090 --> 00:45:43,426 He challenged old-fashioned Spain with sex and style. 532 00:45:46,541 --> 00:45:49,076 And in complete contrast, to see the range 533 00:45:49,100 --> 00:45:52,310 of Spanish cinema after Franco, look at this film. 534 00:45:52,334 --> 00:45:53,704 The Quince Tree Sun [El sol del membrillo] 535 00:45:53,729 --> 00:45:56,192 directed by Victor Erice. 536 00:45:57,463 --> 00:46:01,193 A man has been painting this quince tree for weeks. 537 00:46:01,195 --> 00:46:04,649 He painted a line on the fruit then drew a line on the canvas, 538 00:46:04,674 --> 00:46:07,371 to get the fruit's position exactly right. 539 00:46:07,395 --> 00:46:12,387 But then, the fruit tree drooped a bit, so he painted another line and another. 540 00:46:13,258 --> 00:46:15,443 Erice uses no camera moves. 541 00:46:15,445 --> 00:46:19,536 Natural light and a gentle pace to capture the passing of time 542 00:46:19,561 --> 00:46:21,905 and the delicacy of the moment. 543 00:46:26,653 --> 00:46:29,779 Spain, under Franco, was all about lies. 544 00:46:31,173 --> 00:46:35,288 The Quince Tree Sun was a return to the truth. 545 00:46:35,312 --> 00:46:38,240 A national detox. 546 00:46:48,184 --> 00:46:54,177 Where politics softened in Spain in the '80s, here in Britain they hardened. 547 00:46:54,183 --> 00:46:58,363 A right-wing government brought protesters to the streets. 548 00:46:58,365 --> 00:47:01,420 The government's view was that culture should reassure 549 00:47:01,444 --> 00:47:04,681 and bolster a traditional sense of national pride. 550 00:47:05,153 --> 00:47:10,316 But the best filmmakers kicked back or focused on other identities. 551 00:47:14,923 --> 00:47:15,995 We're in London. 552 00:47:16,019 --> 00:47:18,328 A high level shot like a musical. 553 00:47:18,352 --> 00:47:23,159 A middle class Pakistani business man is reopening his launderette. 554 00:47:23,183 --> 00:47:25,901 The right-wing government liked entrepreneurs. 555 00:47:25,925 --> 00:47:28,426 Immigrants, less so. 556 00:47:28,450 --> 00:47:31,188 He dances with this white woman. 557 00:47:31,472 --> 00:47:33,693 A Sardu of South London. Yes. 558 00:47:33,718 --> 00:47:36,840 But the film lobbed in more provocations. 559 00:47:36,864 --> 00:47:40,637 In the back room the entrepreneur's nephew is having sex. 560 00:47:40,661 --> 00:47:42,050 With a bloke. 561 00:47:42,074 --> 00:47:43,710 A white bloke. 562 00:47:43,734 --> 00:47:48,049 The guy dribbles champagne, the drink of '80s "nouveau riche" yuppies, 563 00:47:48,073 --> 00:47:50,775 into the mouth of the nephew. 564 00:47:53,143 --> 00:47:55,551 Gay, mixed race sex. 565 00:47:55,575 --> 00:47:58,477 Oh, and the white bloke is a Neo Nazi. 566 00:47:59,807 --> 00:48:03,070 A waltz of multi-cultural Britain. 567 00:48:04,629 --> 00:48:08,712 My Beautiful Laundrette was a knee in the balls to the right-wing government. 568 00:48:08,737 --> 00:48:14,667 As much as a provocation as Bunuel's films were in Franco's Spain. 569 00:48:18,814 --> 00:48:21,149 Shit! 570 00:48:21,173 --> 00:48:25,386 Far more serious but equally bold was this Scottish film. 571 00:48:25,410 --> 00:48:30,844 This boy, wee Jamie, is being brought up in poverty by his granny. 572 00:48:35,752 --> 00:48:37,561 She sits at the fire. 573 00:48:37,585 --> 00:48:39,269 Keeps her back to him. 574 00:48:39,293 --> 00:48:43,076 He's always behind her here, in the cold, watching. 575 00:48:44,274 --> 00:48:47,306 This shot's exactly from Jamie's point of view. 576 00:48:47,330 --> 00:48:48,716 Under the table. 577 00:48:48,740 --> 00:48:51,369 We see the top of it in the image. 578 00:48:51,393 --> 00:48:55,534 The granny sits down as usual, ignoring Jamie. 579 00:48:57,781 --> 00:49:01,946 But then, unusually, she takes a swig of beer. 580 00:49:04,945 --> 00:49:07,861 The beer seems to warm her heart... 581 00:49:16,977 --> 00:49:20,931 Because she reaches back into Jamie's space. 582 00:49:20,932 --> 00:49:24,619 As director Bill Douglas had rigorously filmed the spaces, 583 00:49:24,643 --> 00:49:27,641 we know how unusual this reach is. 584 00:49:34,586 --> 00:49:40,972 A simple scene but one of the great moments of reconciliation in cinema. 585 00:49:42,826 --> 00:49:45,086 Who is it, my darling? 586 00:49:49,338 --> 00:49:53,720 Another Scottish filmmaker, Bill Forsyth, looked at working class life too, 587 00:49:53,745 --> 00:49:55,460 but he was more romantic. 588 00:49:55,484 --> 00:50:01,140 I mean I could just sit in a hole and look at a housing estate 589 00:50:01,164 --> 00:50:05,406 and listen to the ice cream van, you know, for quite a long while, you know, 590 00:50:05,431 --> 00:50:08,440 that would fill me with good feelings. 591 00:50:09,048 --> 00:50:11,003 Do you want to dance? 592 00:50:11,027 --> 00:50:11,950 It's really good. 593 00:50:11,974 --> 00:50:15,714 You just lie flat down and dance. 594 00:50:15,738 --> 00:50:16,831 I'll show you what I mean. 595 00:50:16,855 --> 00:50:20,089 I'll start it off and you just join in when you feel confident enough. 596 00:50:20,113 --> 00:50:21,009 Okay. 597 00:50:22,941 --> 00:50:26,214 Forsyth's movie, Gregory's Girl, looked at young people 598 00:50:26,238 --> 00:50:29,309 and the ordinary places where they fall in love. 599 00:50:31,003 --> 00:50:34,200 For most of the film, the camera's horizontal, as normal, 600 00:50:34,225 --> 00:50:37,654 but then he has it tilted, a touch of poetry. 601 00:50:37,662 --> 00:50:40,607 We are clinging to the surface of this planet while it spins through space 602 00:50:40,630 --> 00:50:46,093 at a 1,000 miles an hour, held only by the mystery force gravity. 603 00:50:46,118 --> 00:50:47,070 Wow. 604 00:50:47,121 --> 00:50:51,088 A lot of people panic when you tell them that and they just fall off. 605 00:50:51,112 --> 00:50:53,311 I see you're not falling off. 606 00:50:53,336 --> 00:50:54,710 That means you've got the hang of it. 607 00:50:54,969 --> 00:50:58,794 You know, people in landscape, I don't mean that in a visual way, 608 00:50:58,818 --> 00:51:02,965 but just someone finding themselves somewhere in that moment of, you know, 609 00:51:02,989 --> 00:51:07,523 apprehension that you are here and this is where you are. 610 00:51:07,805 --> 00:51:10,473 It's a difficult moment to describe. 611 00:51:10,475 --> 00:51:15,035 But it's a moment that is very, very cinematic for me. 612 00:51:16,965 --> 00:51:20,881 This man, Terence Davies, made the greatest British film of the '80s, 613 00:51:20,906 --> 00:51:23,616 Distant Voices, Still Lives. 614 00:51:23,640 --> 00:51:28,494 We're in Davies' own childhood, Liverpool in the 1950s. 615 00:51:28,518 --> 00:51:32,189 A family home terrorized by a brutal father. 616 00:51:32,213 --> 00:51:37,159 We see his mom in the present and then hear the kids in the past. 617 00:51:37,183 --> 00:51:41,415 We're flashed backwards in time without a cut. 618 00:51:41,439 --> 00:51:44,298 So this image is a memory image. 619 00:51:44,323 --> 00:51:46,504 Tony are those two sisters of yours up yet? 620 00:51:46,529 --> 00:51:47,088 Yeah. 621 00:51:47,113 --> 00:51:48,526 They're just coming down. 622 00:51:50,581 --> 00:51:52,301 Hiya mum. 623 00:51:52,326 --> 00:51:54,511 Morning Maisie. 624 00:51:54,536 --> 00:51:56,530 Morning mum. 625 00:51:56,554 --> 00:51:58,641 Morning Eileen. 626 00:51:58,665 --> 00:52:00,290 Nervous, love? 627 00:52:00,314 --> 00:52:01,623 A bit. 628 00:52:01,657 --> 00:52:05,258 Have a cup and a ciggy. 629 00:52:05,283 --> 00:52:08,982 ? I get the blues ? 630 00:52:09,006 --> 00:52:12,605 ? when it's raining. ? 631 00:52:12,638 --> 00:52:16,446 ? The blues I can't lose ? 632 00:52:16,470 --> 00:52:19,450 ? when it rains. ? 633 00:52:19,474 --> 00:52:22,826 ? Now each little rain drop ? 634 00:52:22,953 --> 00:52:25,578 Davies' camera tracks down the hallway. 635 00:52:25,603 --> 00:52:27,070 ? Falls on my window pane ? 636 00:52:27,094 --> 00:52:31,226 ? reminds me of the tears I shed ? 637 00:52:31,250 --> 00:52:35,090 ? the tears were all in vain ? 638 00:52:35,114 --> 00:52:38,739 ? so I sit and wait ? 639 00:52:38,763 --> 00:52:42,325 ? for the sun to shine ? 640 00:52:42,349 --> 00:52:48,737 ? to shine all my blues away ? 641 00:52:48,761 --> 00:52:52,469 ? it rained when I met you ? 642 00:52:52,506 --> 00:52:56,512 ? and it rained when I lost you ? 643 00:52:56,536 --> 00:53:00,686 ? so I get the blues ? 644 00:53:00,710 --> 00:53:04,186 ? when it rains ?? 645 00:53:04,536 --> 00:53:08,113 One of Davies' signatures is the very slow dissolve. 646 00:53:09,871 --> 00:53:16,040 ? There's a man going 'round ? 647 00:53:16,065 --> 00:53:21,756 ? taking names. ? 648 00:53:21,780 --> 00:53:24,752 ? There's a man... ?? 649 00:53:24,777 --> 00:53:27,551 Davies nearly always frames symmetrically. 650 00:53:27,789 --> 00:53:31,257 I think it's due to Catholicism and because when I was growing up 651 00:53:31,282 --> 00:53:34,264 it was the Tridentine mass and you were... 652 00:53:34,289 --> 00:53:37,334 The altar was there and you were looking at it like this 653 00:53:37,359 --> 00:53:39,251 and it was literally like that. 654 00:53:39,275 --> 00:53:47,087 And everything in the church tended to be like that, symmetrical. 655 00:53:47,112 --> 00:53:52,224 My great love is Vermeer, and I am sure that has had a huge 656 00:53:52,248 --> 00:53:56,449 subconscious effect on me, you know, that stillness that you get, 657 00:53:56,474 --> 00:54:01,173 that everything tends to be symmetrical and beautifully composed. 658 00:54:01,174 --> 00:54:05,158 There's the most wonderful stillness about it. 659 00:54:05,612 --> 00:54:08,543 Davies' love of the slow forward tracking shot 660 00:54:08,567 --> 00:54:12,001 comes from this moment in Intolerance. 661 00:54:12,424 --> 00:54:14,733 And they literally built a crane. 662 00:54:14,757 --> 00:54:18,783 And they haul the camera up this crane and you see it come up like this. 663 00:54:18,807 --> 00:54:21,569 And these elephants and all these people going up these steps. 664 00:54:21,593 --> 00:54:23,291 Absolutely breathtaking. 665 00:54:23,942 --> 00:54:29,343 If you were feeling exactly the same at the beginning and the end of the track, 666 00:54:29,368 --> 00:54:31,988 you're using the track incorrectly. 667 00:54:32,012 --> 00:54:35,294 You've got to feel different towards the subject. 668 00:54:39,601 --> 00:54:42,633 And another influence on Davies was this crane shot, 669 00:54:42,658 --> 00:54:45,156 in the Hollywood musical Young at Heart. 670 00:54:45,180 --> 00:54:47,887 A main character seems to have killed himself, 671 00:54:47,922 --> 00:54:49,830 a painful moment in the story. 672 00:54:49,855 --> 00:54:54,626 But the camera glides beautifully into a perfect world. 673 00:55:01,869 --> 00:55:07,152 And Davies uses this combination of beauty and pain in Distant Voices, Still Lives. 674 00:55:07,176 --> 00:55:09,549 His youth was often painful. 675 00:55:09,573 --> 00:55:12,815 He lines it up and re-enters it through cinema. 676 00:55:12,840 --> 00:55:17,217 ? There's a man going 'round taking names ? 677 00:55:17,241 --> 00:55:22,163 In doing so he makes it beautiful and so transcends the pain. 678 00:55:25,409 --> 00:55:29,877 A wholly cinematic way of speaking truth to power. 679 00:55:33,595 --> 00:55:39,139 ? Oh death is that man ? 680 00:55:39,163 --> 00:55:43,940 ? taking names. ? 681 00:55:43,964 --> 00:55:46,314 ? He has taken... ?? 682 00:55:47,858 --> 00:55:51,939 And then look at this movie by the Welsh filmmaker Peter Greenaway. 683 00:55:51,963 --> 00:55:56,653 Like Terence Davies, Greenaway likes his frames to be perfectly symmetrical. 684 00:55:58,351 --> 00:56:01,151 But here he takes symmetry much further. 685 00:56:01,436 --> 00:56:03,705 Why do we have to have two nostrils? 686 00:56:03,729 --> 00:56:05,858 Why do we have to have two of everything? 687 00:56:05,883 --> 00:56:07,160 Symmetry is all. 688 00:56:07,184 --> 00:56:08,251 We're twins. 689 00:56:08,906 --> 00:56:11,617 The two chairs and lamps balance. 690 00:56:11,642 --> 00:56:15,109 The woman's hair is echoed by the gilt mirror. 691 00:56:15,133 --> 00:56:20,060 Everything is symmetrical except that the woman has only one leg. 692 00:56:21,656 --> 00:56:27,011 And so, like the director himself, she wants to make the scene, her world, 693 00:56:27,035 --> 00:56:31,613 symmetrical, so she has the other leg cut off. 694 00:56:32,545 --> 00:56:37,141 Greenaway analyzed imagery more than any other British director. 695 00:56:37,143 --> 00:56:42,034 He says that the story of film is only just beginning. 696 00:56:44,220 --> 00:56:47,404 If British cinema of the '80s was a brilliant tempest, 697 00:56:47,428 --> 00:56:51,567 its god of thunder was Derek Jarman. 698 00:56:52,553 --> 00:56:55,787 A man walks through a bleak, ruined landscape. 699 00:56:55,811 --> 00:56:59,680 It's like we're in an Italian rubble movie after World War II. 700 00:56:59,704 --> 00:57:04,264 This is intercut, fast, '80s style, with men with machine guns, 701 00:57:04,288 --> 00:57:09,223 and Morris dancers, a symbol of genteel village England. 702 00:57:10,201 --> 00:57:12,844 It's like there's been an ideological storm. 703 00:57:23,623 --> 00:57:27,270 Jarman's rage and values could not be clearer. 704 00:57:27,294 --> 00:57:30,513 Here, a male dancer is intercut with a wreath 705 00:57:30,537 --> 00:57:34,237 to remember the war dead of the British empire, 706 00:57:34,261 --> 00:57:38,073 and with a fire, and we hear a Nazi speech. 707 00:57:44,358 --> 00:57:47,051 Video editing meets Leni Riefenstahl, 708 00:57:47,075 --> 00:57:51,557 meets Kenneth Anger's imagery of magic, and dance, and frenzy. 709 00:57:52,315 --> 00:57:55,734 The Last of England was a thunderbolt in '80s cinema. 710 00:57:57,365 --> 00:58:02,744 It's hard to imagine a greater provocation to the establishment. 711 00:58:05,955 --> 00:58:09,282 As was this film, Videodrome. 712 00:58:11,083 --> 00:58:17,615 A man is watching TV alone, late at night, half switched off, half turned on. 713 00:58:18,205 --> 00:58:20,717 The TV throbs. 714 00:58:23,582 --> 00:58:25,248 I want you, Max. 715 00:58:26,543 --> 00:58:27,596 You. 716 00:58:30,131 --> 00:58:31,969 Come on. 717 00:58:34,133 --> 00:58:35,641 Come on. 718 00:58:40,907 --> 00:58:46,692 The idea that a machine can be sensual, something that we can kiss, have sex with. 719 00:58:46,716 --> 00:58:50,624 Writer director David Cronenberg is foreseeing the sexualization 720 00:58:50,649 --> 00:58:54,275 of our solitary relationships with screens. 721 00:58:55,830 --> 00:58:56,792 Please. 722 00:59:13,946 --> 00:59:16,167 Cronenberg continued to be fascinated 723 00:59:16,191 --> 00:59:20,926 by the boundary between hard and soft, skin and metal, in modern life. 724 00:59:21,987 --> 00:59:25,793 Never more so than in this scene from his film Crash. 725 00:59:26,955 --> 00:59:30,250 A car show room as an erotic place. 726 00:59:30,274 --> 00:59:32,350 Almost whispered dialogue. 727 00:59:33,016 --> 00:59:35,092 I'm caught. 728 00:59:37,493 --> 00:59:40,168 No outside traffic noise or music. 729 00:59:40,192 --> 00:59:41,967 Gleaming metal. 730 00:59:41,991 --> 00:59:43,878 Pacing like velvet. 731 00:59:43,902 --> 00:59:48,597 Rosanna Arquette's hair the same color as the leather upholstery. 732 01:00:05,125 --> 01:00:10,620 Cronenberg's using a novel by J.G. Ballard to tell modern, liberal society 733 01:00:10,645 --> 01:00:14,781 that we are all more down and dirty than we pretend. 734 01:00:18,148 --> 01:00:22,409 Canadian directors have been particularly good at blasting hypocrisy. 735 01:00:22,433 --> 01:00:26,860 Norman McLaren won an Oscar for this astonishing stop frame animation, 736 01:00:26,884 --> 01:00:31,179 in which two neighbors fight over a single flower in their garden. 737 01:00:34,523 --> 01:00:37,705 They use an innovative electronic score. 738 01:00:37,729 --> 01:00:41,345 A white picket fence, a symbol of suburbia. 739 01:00:45,747 --> 01:00:51,002 Painter Pablo Picasso called it the best film ever made. 740 01:00:54,056 --> 01:00:57,106 And in French speaking Canada the decade ended 741 01:00:57,130 --> 01:01:01,848 with this brilliant assault on hypocrisy and '80s consensus. 742 01:01:03,316 --> 01:01:06,712 A group of actors stages a passion play as a promenade, 743 01:01:06,736 --> 01:01:09,972 where the audience walks to follow the action. 744 01:01:09,996 --> 01:01:12,392 The brutalization of Christ is very real 745 01:01:12,416 --> 01:01:16,636 but the actors describing historical crucifixions do so coolly, 746 01:01:16,660 --> 01:01:18,788 like a textbook almost. 747 01:01:28,372 --> 01:01:30,490 And they make the audience feel uncomfortable 748 01:01:30,514 --> 01:01:32,927 by pointing out their voyeurism. 749 01:01:46,588 --> 01:01:52,280 Jesus of Montreal, like the best films of the '80s, again speaks truth to power. 750 01:01:52,305 --> 01:01:56,425 This time, the power is us, the audience. 751 01:02:02,118 --> 01:02:05,846 It and Cronenberg's films tell us that we lie to ourselves 752 01:02:05,870 --> 01:02:09,544 about our bodies, our sex, our values. 753 01:02:10,867 --> 01:02:14,790 The bravery of the best '80s films was exciting. 754 01:02:14,792 --> 01:02:19,841 And then came the '90s, the era of digital and the Internet. 755 01:02:19,843 --> 01:02:27,197 When reality started to lose its realness, but cinema entered another golden age. 756 01:02:29,348 --> 01:02:32,718 Synced and corrected by job0@whatkeepsmebusy.today 66566

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