Original subtitles

High school "Villa de Madrid" May, 19:45

We are lame, we are lame, do you know what will happen if they catch us?

-School council. -Shut up.

-That was the janitor. -We are alone. -You sure?

Ok Bosco, come out, there is no one.

-Hurry up, ok? -5 minutes. -Ok.

The building is ours.

We are ready.

No, take that off.

Why should I look ugly?

You are not going to look ugly, can you remove that please?

For once I will be recorded, and I'm not able to wear makeup.

You don't say anything to her?, look how much make up she is wearing.

She is the witch, you don't need to wear that much make up.

The character is not you, you get that?

-What if she is a sexy girl? -She isn't.

But why should I look ugly?

It's a character, fiction, another girl.

Any resemblance with you spoils it.

Don't you like becoming someone else?

Yes, someone that will be killed.

The girl goes to the office,

she finds no one and gets anxious.

She can't stand still.

So, you will get to...

Remember, in every open door, in every corner.

the girl feels the fear, ok?

Totally defenseless, ok?

Ok, let's rehearse.

Is smoking necessary?

-If I don't, I get nervous. -Ok.

When you are ready.

Bosco, don't start filming yet.

Mar�a no, I think you don't understand.

The girl needs to be very anxious.

More anxious?

-Yes, a lot more. -Ok.

But if I run faster, my cigarette will blow out.

Ok, don't film yet.

Maybe if you drop the cigarette.

Look, I can't do better.

Girls, I can't waste 3 days on this.

Neither can us, Mar�a.

Ok, let's see, Bosco,

do a close-up, then keep zooming out very slowly,

don't let her leave the field, ok?

Bosco, are you listening?

He is filming.

Bosco, are you filming us?

Bosco, don't waste the tape, what were you thinking?

I told you not to film yet, it's pointless to film now.

I told you, I will pay the tapes.

What is it?

Silvia, I don't like being filmed when it's not necessary.

Did you hear that Bosco?

By the way, when are we having lunch, I'm starving.

This isn't working,

M�nica, what do you think?

Really, what do you think?

I think Mar�a, don't take this wrong,

doesn't understand what you are doing, she doesn't believe it.

Thing is, you say the girl is afraid,

but I don't know what is she afraid of,

at the end, ok, but in the meantime?

What?

What is she afraid of?, she doesn't know she will be killed.

-What of?, what do you fear when you are alone? -Nothing.

But you have fear however.

No, why should I?

I'm not afraid of that, Silvia,

I need a concrete reference.

What are you afraid of, then?

I don't know, vampires.

Come on.

Mar�a, vampire stuff is old.

-Zombies? -Same.

Let's see Mar�a,

when you see a Dracula movie, are you afraid?

If it's well done, yes.

I'm talking about real fear.

Look Silvia, I need to concentrate somehow.

I don't want to make a fool of myself.

He never puts the camera down.

Let's just try to get you motivated.

Find real fear.

If I can make you do an extra effort,

you could do fine on the screen,

you only need to keep focus.

Focus on what?

Whatever I tell you, not your nonsense.

I have real, authentic fears.

Like what?

Someone insane.

Action.

Mar�a, go back, go back.

Look around, look for help.

Behind you.

Mar�a you are supposed to be scared.

Cut.

I can't do it better.

We have spent 3 evenings with this,

risking being caught by the janitor.

What do you want?, I can't concentrate.

You can't concentrate?

I only need fear in your face.

Fear in your face.

Look, I'm getting tired,

I'm getting tired.

I'm locked up, I can't study,

I can't go to the pool, I can't see my boyfriend.

I tell you something, I don't know why you got me into this.

-Really, if you don't like how I do it. -Ok...

relax, let's take it easy, ok?,

relax.

Now they gave you...

the first stab, that's what you wanted, right?, concrete...

references, pure red blood,

yours, you think this is a joke?, that this doesn't matter?,

you think this doesn't matter?, it does, a lot.

Can't you understand?, it's blood, stand up.

Action, run,

run.

Run Mar�a, they'll get you.

Faster.

Will you run?

Right, turn right.

You are scared.

Bosco, she's yours, get close, do a close-up.

Closer, beset her, she's yours.

-Silvia, leave the field. -She is yours, you got her.

That's it.

Closer, she's yours.

Bosco listen, you are the witch now, beset her, beset her.

More, I want her terrified.

Leave me alone.

-Mar�a. -Where are you going?

Mar�a, what's wrong?

Don't you realize I'm only trying to get you concentrated?

Using that moron!

Do you think I liked when he hassled me?

Do you think I work that way?, by letting that scamp shove me?

How far can you go, Silvia?

I'm sorry.

You cover me in blood, throw me down.

-I was trying to motivate you. -You humiliated me.

I told you I'm sorry.

You are sorry?

Of course, you apologize, and it's all in the past.

But now, he has everything filmed.

How do you know he filmed it?

You know he doesn't cut when you tell him.

He has issues.

You talk to him but he doesn't look at your eyes, only through his viewfinder.

I don't know why you got someone like him for this.

-He is a good cameraman. -He is a sadist.

Don't you know what does with insects?, he dissects them and films the pieces.

He is an observer of nature.

Of butchered nature.

What do you care?, it's only bugs.

You are a human, he's not going to hurt you.

When you told him to beset me, he was enjoying it,

do you think that's normal?

-Don't do it again. -What?

Using him to make me anxious.

You know I don't like him, so keep him away from me,

if he wants to make a close-up, he has to zoom in,

I want him to be at least five meters away from me, is that clear?

You are afraid of Bosco.

Disgusted, afraid, whatever.

Maybe you can use that fear in your performance.

What?

It may serve as stimulus.

Imagine is not her,

Imagine is Bosco who pursues you in the halls.

Why you mix everything with movies?

I'll take a shower.

Tomorrow we will film Mar�a's death.

He is a sadist.

-Mar�a. -I'm sorry, I'm really sorry.

I'm sorry, I can't get in character.

What?

Look Mar�a, there is no character.

There is no character.

It's just a scared girl,

you are afraid, of her.

-Mar�a. -I'm sorry.

Mar�a, she is the psychopath,

she is the insane person

whom you are so afraid of,

she is going to kill you.

-Ready? -Pissed off.

-This is your fault, you know? -What?

We talked about this,

she laughs because she doesn't believe your character.

Monica, you are not convincing,

make an effort, let her feel the knife.

Kill her!

You've built your character thoroughly,

you are the witch, she? what she does?,

she laughs, she laughs at you.

I wouldn't like that.

-She is scoffing. -She takes this as a joke.

Since day one she is ruining the short.

As you see, she is a nuisance,

you get it?, show her,

fiction is not a matter of scoffing.

Don't worry.

Let's go.

Ready?

Film.

Action.

Why?, why?

I'm going to kill you.

I'm going to kill you.

M�nica answer.

-Answer? -Shut up.

I hate you.

-Good. -This wasn't in the script.

Shut up, she is improvising.

M�nica, listen,

put the knife on her neck,

stab her,

stab her, come on, -No.

stab her.

Very good M�nica,

you hate her, you hate her

you have to kill her, keep going,

make her into pieces, kill her at once.

-No killing. -Shut up.

I hate you, I hate you.

You hate her, you hate her.

-I hate you. -This is the moment, now,

now, now, now, now,

now, now.

You tickle me.

Miss witch, you tickle me.

M�nica,

M�nica wait, don't worry,

there is enough material we can use from that take.

Do you really think I care about that?

Everyday I know you less, Silvia.

This is crazy.

Me and Mar�a have been friends for a long time.

She isn't very smart, but I love her,

but a moment ago, I hated her,

how could I?, how could I?

It's ok M�nica,

that means you were really in character,

and that's good, that's very good.

Do you like how I smoke, Bosco?

Give me the camera,

come on, give it to me,

Bosco, give me the camera,

now I will film you,

come on, give it to me.

-You made me turn against her. -What?

You were looking for a stimulus and used me, just like you did with Bosco,

you made me angry, so I could hate her for a moment,

nothing justifies what this was about to cause.

What?

A terrible accident.

Ok, M�nica,

did I tell you to kill her?

Just a few times.

-You told me to stab her. -Lower your voice.

What is it?, you don't like being in front of the lens?,

it's my turn Bosco, now I will film you,

Bosco, come on, let me film you, give me the camera.

You are making this a nightmare,

you know Mar�a hates Bosco,

-and what Bosco feels about her. -I didn't know that.

You are playing with reality, and this story is not worth that.

Give it to me.

Mar�a.

Mar�a stop it.

Loose her.

Bosco, loose her.

-Where are you going? -I'm leaving find someone else.

M�nica, we are not done with the short.

You think?

Bosco,

you screwed this up,

don't you see?, you made her mad,

what do you have anyway?,

100, 200 minutes of Mar�a in 8 millimeters?,

a Mar�a you can't touch, that is not yours,

you haven't woken up any positive feeling in her,

she will never love you,

never!

You've only captured the ghost of Mar�a.

Go back to your ants and cockroaches, only they can stand you.

You can butcher them, cut their legs,

pile up their antennae, I don't care,

bugs never complain,

but that's only small killings,

I need something overwhelming,

something really disgusting!

He has always been in love with me, everyone in high school knows,

but he went too far this time, I'm not looking at his face again.

It's Silvia's fault, because she got a guy into a girls' short.

Because she got him.

I don't know what she wanted,

get me focused, unfocused.

I'm sure she did it on purpose.

What do you mean?

She likes pushing, toying with feelings,

the short was just an excuse.

An excuse for what?

Don't you see?, Silvia is more attracted by reality than fiction.

If it were up to her, we would be dead already.

The thing is, she is a sadist,

just like Bosco, they belong together.

M�nica, you forgot your bag.

M�nica?

Who did this to you, honey?

Silvia you are not fooling me,

there is nothing to do, we are leaving.

We are leaving.

So you are dead, right?,

or dying, because you are breathing.

You are a jerk.

M�nica, come here, don't miss this.

M�nica.

It's enough Silvia.

Silvia.

It's enough.

If this is a joke, congratulations, I'm impressed,

but stop it now please.

Silvia.

Stop it don't play with me.

Wake up!

Wake up!

What a bitch.

Let her go now.

What the fuck are you doing?

Don't you see?, she is motivated now.

Motivated?, she is scared to death.

-I'm looking for her. -No!

-What is he doing? -He will just film her, relax.

Silvia, please wake up,

don't you see Bosco is unsafe.

He will film a new short,

20 or 30 minutes long, depending on the battery.

I got Mar�a into this because he asked me to,

I guess you knew that already.

At first, Bosco just wanted her image,

we made a deal,

now he wants her,

and I want a decent movie,

no editing,

no sound effects

and no makeup,

only a continuous shot, not interrupted,

not by her giggling,

nor by lunching, nor smoking,

nor by her tantrums, nor her depressions,

not even her death,

Bosco will film to the end.

You, you don't know where the end lies.

M�nica?

M�nica?

Bosco, stop it.

You hear me?, stop it.

It's enough, let her go.

It's ok, it's ok.

It's all Silvia's fault.

It was just a joke,

just a joke, right Bosco?

Just a joke. right?

No, don't let him come close.

Don't let him come close.

It wasn't for real,

I just wanted to motivate you.

It wasn't for real, Mar�a.

Ok, are you all right?,

are you hurt?

Nothing happened, nothing.

It wasn't for real,

it wasn't for real,

it wasn't for real.

Written and directed by ALEJANDRO AMEN�BAR

With RAQUEL G�MEZ as Silvia

NIEVES HERRANZ as Mar�a

JUANA MAC�AS as M�nica

and ALEJANDRO AMEN�BAR as Bosco

Photography MATEO GIL

Film and Sound editing ALEJANDRO AMEN�BAR

Music composed and performed by ALEJANDRO AMEN�BAR

Collaboration

We especially appreciate the collaboration of