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At the end of the 1800s a new art form
flickered into live.
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It looked like our dreams.
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00:00:16,610 --> 00:00:20,881
Movies are multi-billion dollar
global entertainment industry now.
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00:00:20,906 --> 00:00:25,600
But what drives them
isn't box-office or showbiz.
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00:00:25,625 --> 00:00:28,271
It's passion, innovation!
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00:00:29,389 --> 00:00:34,007
So let's travel the world
to find this innovation for ourselves.
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00:00:35,819 --> 00:00:38,926
To discover it in this man,
Stanley Donen,
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00:00:38,951 --> 00:00:41,224
who made Singing in the Rain.
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And in Jane Campion in Australia.
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00:00:44,222 --> 00:00:46,361
And in the films of Ky�ko Kagawa
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00:00:46,386 --> 00:00:49,628
who was in perhaps
the greatest movie ever made.
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00:00:50,777 --> 00:00:55,033
And Amitabh Bachchan,
the most famous actor in the world.
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00:00:55,058 --> 00:00:58,435
And in the movies
of Martin Scorcese and Spike Lee,
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00:00:58,460 --> 00:01:00,664
Lars Von Trier and Akira Kurosawa.
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00:01:01,925 --> 00:01:05,494
Welcome to the story of film,
an odyssey.
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00:01:05,519 --> 00:01:09,450
An epic tale of innovation
across twelve decades,
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00:01:09,475 --> 00:01:13,136
six continents
and a thousand films.
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In this chapter we discover that
in the days before digital fantasy films,
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directors had a final love affair
with real emotions
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in movies like In the mood for love
and Japanese horror.
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This is the story
of the end of an era.
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00:01:56,250 --> 00:02:00,440
For a 100 years movies
had been shot on this: celluloid.
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Paper thin.
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Shiny.
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Perforated.
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A medium so sensitive that it could
capture the subtle colors in snow.
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But in the '90s the digital image
and Terminator 2 came along
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and reality got less real.
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In these last days before that happened,
as if to stave off the moment
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when the link between reality
and the movies would finally be broken,
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filmmakers around the world
made passionate movies
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about emotions,
not spaceships or other worlds.
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00:02:41,747 --> 00:02:45,541
The story starts here
in snowy Iran.
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Take this extraordinary film,
The Apple, [Sib] based on a true story.
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A handheld camera moves
into the enclosed world of this girl.
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Her father thinks that the outside world
is so scary and dangerous
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that he's done something remarkable
to her and her sister.
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The film's director
Samira Makhmalbaf:
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This is the scene where the girls
come blinking back out into the real world.
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00:04:03,837 --> 00:04:04,837
They taste it.
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00:04:04,861 --> 00:04:06,115
They're shy.
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Makhmalbaf captures
the gentleness of the moment.
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It's remarkable that she didn't judge
the parents for doing this to the girls.
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But what's even more remarkable is
that these aren't actors playing the girls.
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The girls and the dad
play themselves.
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Not in a straight documentary
about what happened,
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but in a kind of self-role play
or re-enactment.
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A risk that worked because the family
found the process therapeutic.
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00:04:40,154 --> 00:04:43,951
And the film feels
like an extraordinary intimate myth
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00:04:43,976 --> 00:04:47,317
about modern parental love
gone wrong.
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The real life event
was so fertile, so moving,
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that Makhmalbaf used film
to double back over it.
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00:05:07,643 --> 00:05:11,510
This doubling back so that
the real experience can fertilize the film,
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was unique
to Iranian cinema of this time.
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This is Makhmalbaf's dad, Mohsen,
in exile from Iran in Paris.
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He double backed on reality too.
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His film, A Moment of Innocence
[Nun va Goldoon],
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is even more remarkable
than his daughter's.
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In the early '90s, Mohsen Makhmalbaf
put an advert in a newspaper
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asking for non-professionals
to come to a casting call.
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Nothing unusual in that.
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But one of the people who showed up
to audition for a part in Makhmalbaf's film
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was a policeman, who Makhmalbaf
had stabbed way back in the '70s
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when Makhmalbaf was a teenager
fighting the shah's regime.
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Makhmalbaf loved this.
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He scrapped his planned film and decided,
instead, to make one about the stabbing.
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He recreated the events on camera from his,
the attacker's, point of view,
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and, even more unusually,
he asked the policeman,
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00:06:11,921 --> 00:06:14,179
who of course had never
made a film before,
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to recreate them from his,
the victim's, point of view.
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Here's a scene from the film,
directed by the policeman,
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who films himself, he's the taller
of the two guys here,
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telling a young actor
who is playing him in the '70s,
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how to behave.
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The policeman films
in a panning shot from far away
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and has cast quite a handsome actor
as his younger self.
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Already, he is trying to make what happened,
a touch more glamorous.
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00:07:18,074 --> 00:07:21,053
Again we have doubling back
on the found experience
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to imbue it
with extra intensity.
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In this case the doubling back revealed
something unexpectedly moving.
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In the days of the stabbing,
the policeman was in love with a girl
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and he thought
that she might love him back.
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During the shooting of the film,
20 years later, the policeman discovered,
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to his dismay, that she was only pretending
to like him to distract him
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because she was a revolutionary too,
and in cahoots with Makhmalbaf.
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Here's Makhmalbaf's restaging
of the moment when
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the real policeman discovers
that the love was not real.
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An actress playing the girl
walks quickly with the actor
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playing the young Makhmalbaf.
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00:08:08,390 --> 00:08:12,425
The real policeman has now seen
that she was with the young Makhmalbaf,
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and upset, he puts his hand in front
of the camera to stop the filming.
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He's carried a flame for her
all these years and it's just gone out.
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Makhmalbaf ends this film about life,
reworked exquisitely.
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Beautiful close ups, haunting music,
the girl asks the policeman the time.
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Will he be stabbed?
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00:09:08,993 --> 00:09:10,452
Will he shoot her?
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A moment of innocence.
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00:09:17,340 --> 00:09:21,380
Then, Makhmalbaf improves
on what really happened in the '70s,
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he offers "flowers for Africa " as he put it,
and " bread for the poor."
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00:09:32,507 --> 00:09:37,203
A Moment of Innocence is the single
greatest work of autobiography in cinema.
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00:09:37,227 --> 00:09:39,804
It brilliantly shows
that not only fantasy films,
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like The Matrix, are fascinating but,
fasten your seat belts,
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because the story of reality in the last days
of celluloid is about to get even more complicated.
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00:09:55,961 --> 00:09:59,905
In the '90s, this Iranian filmmaker,
Abbas Kiarostami,
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seemed to worship reality in a way
that few artists ever did.
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00:10:04,669 --> 00:10:09,843
He started by trying to reduce all falseness
from the process of filmmaking.
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00:10:59,309 --> 00:11:01,492
This film, Where is the Friend's Home?
[Khane-ye doust kodjast?]
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is a triumphant result
of Kiarostami's filming
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like a football coach.
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00:11:06,108 --> 00:11:10,230
He selected a great young player actor,
Babek Ahmed Poor,
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00:11:10,254 --> 00:11:12,191
put him in a world that he knew,
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00:11:12,216 --> 00:11:15,584
this ordinary courtyard house
in northern Iran.
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00:11:15,608 --> 00:11:20,647
Kept the camera on the sidelines,
and asked Babek to do scenes
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he could understand.
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Here he talks to his mother
about his homework book.
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00:11:46,265 --> 00:11:48,571
Where is the Friend's Home?
was one of the greatest films
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00:11:48,595 --> 00:11:51,918
about childhood and friendship.
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00:11:55,760 --> 00:11:58,298
But then tragedy struck.
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00:11:58,322 --> 00:12:02,826
A terrible earthquake hit the region where
Where is the Friend's Home? was filmed.
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00:12:02,850 --> 00:12:08,484
50,000 people died,
including 10,000 kids.
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Kiarostami and his crew drove
there at once, in tears, to look for Bebak.
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00:12:15,643 --> 00:12:20,721
Instead, when they got there,
they found something else: human resilience.
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00:12:20,727 --> 00:12:23,718
In looking for one thing,
they found another.
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00:12:24,818 --> 00:12:27,662
And so, Kiarostami decided
to make a film about them
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00:12:27,700 --> 00:12:30,800
going to an earthquake zone
to look for the boy.
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00:12:32,244 --> 00:12:35,075
Reality doubling back
on itself again.
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00:12:35,076 --> 00:12:38,101
It was called: And life goes on.
[Life and Nothing More...] [Zendegi va digar hich]
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This man is playing Kiarostami.
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00:13:12,054 --> 00:13:17,006
In this shot, it was Kiarostami himself
who was behind the camera talking to the man.
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00:13:19,492 --> 00:13:23,080
The second film's mostly set
in the car.
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00:13:35,085 --> 00:13:38,515
On the second shoot,
Kiarostami met a man called Hussein,
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00:13:38,540 --> 00:13:41,828
who had a passionate story
about life going on.
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00:13:41,852 --> 00:13:45,695
Hussein got married
just days after the earthquake.
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00:13:45,719 --> 00:13:47,727
Kiarostami loved this.
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00:13:47,751 --> 00:13:51,063
Here in the second film,
using a static camera
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and naturalistic dialogue,
Kiarostami depicts himself
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00:13:54,584 --> 00:13:57,585
meeting Hussein
and hearing this story.
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00:14:08,887 --> 00:14:12,815
Whilst filming this small scene,
Hussein, despite being married,
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00:14:12,839 --> 00:14:17,467
became rather infatuated
with the woman playing his fianc�e.
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00:14:18,454 --> 00:14:22,349
She, however,
did not return his feelings.
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00:14:22,373 --> 00:14:25,108
Kiarostami was fascinated
by this.
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00:14:25,132 --> 00:14:28,627
His response to it was unique
in movie history.
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00:14:28,651 --> 00:14:32,035
Two years later, he made
this whole third film
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about the feelings during
Hussein's small scene in the second film.
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The same actors, the camera's still static,
but it's further back this time.
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00:14:51,169 --> 00:14:55,041
We see a director who's playing
the man who was playing Kiarostami.
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Hussein goes upstairs
to try to woo the new woman.
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00:14:58,365 --> 00:15:01,281
An objective frontal shot.
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00:15:03,922 --> 00:15:06,683
And then Kiarostami films
from her position,
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00:15:06,707 --> 00:15:09,380
and then his point of view.
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Through the olive trees
[Zire darakhatan zeyton]
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was about Hussein's infatuation
but also, you could say,
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about Kiarostami's love of his love
and how he tried to film it,
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00:15:28,132 --> 00:15:31,856
and how cinema can film
the complex layers of reality.
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00:15:31,880 --> 00:15:35,219
And how cameras
can change lives.
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00:15:53,237 --> 00:15:56,642
This complex trilogy
about the circle of life and love
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had started 7 years earlier
with this reserved boy
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filmed from the sidelines.
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00:16:02,277 --> 00:16:05,268
Seven years later
filmed from a car.
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00:16:05,269 --> 00:16:08,131
Kiarostami's favorite way
of looking at the world.
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00:16:08,133 --> 00:16:13,022
Bebak suddenly appears again,
taller, but still serious.
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00:16:13,024 --> 00:16:16,050
He was still alive after all.
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A country that didn't invent cinema,
that wasn't rich enough
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to have a major film industry.
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A country, whose religion, Islam,
was in some way suspicious of imagery,
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was, in the last days of celluloid,
using film devotionally, as if it's sacred.
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As if what it films is sacred.
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One critic said, "we're living
in the era of Kiarostami."
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00:16:50,114 --> 00:16:52,883
Just as the Lord of the Rings
movies were coming at us,
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like an express train,
Kiarostami's love of simple reality
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captured the spirit
of his times.
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00:17:05,932 --> 00:17:10,734
Far away from the snowy north of Iran,
film was also being used to transfigure,
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to focus on real people
not hobbits or virtual reality.
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00:17:15,842 --> 00:17:19,281
So far in the story of film,
Hong Kong has been associated
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with action movies of Bruce Lee
and what came after.
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00:17:24,346 --> 00:17:27,604
But one team of Hong Kong
new wave filmmakers
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00:17:27,628 --> 00:17:31,007
made films with
such an intoxicating look and texture,
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00:17:31,031 --> 00:17:34,591
that they seemed to be celebrating
the sheen of celluloid itself,
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00:17:34,615 --> 00:17:38,020
and the romantic melancholia
of real life.
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00:17:57,116 --> 00:18:00,040
To watch even a few frames of
Days of Being Wild,
[Ah fei zing zyun]
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the first distinctive film of Wong Kar-Wai,
his designer-editor muse, William Chang,
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00:18:05,423 --> 00:18:07,748
and their cinematographer,
Chris Doyle,
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00:18:07,773 --> 00:18:12,600
is to notice the soft shadowing
and shallow focus and gorgeous colors.
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00:18:12,624 --> 00:18:15,658
The beauty
of the sad, lonely people.
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00:18:16,897 --> 00:18:19,185
Wong trained
as a graphic designer.
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00:18:19,187 --> 00:18:22,084
He found the martial arts
films of the Shaw brothers
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too bright eyed
and bushy tailed.
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00:18:24,335 --> 00:18:26,959
Young people
were sadder than that.
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00:18:30,449 --> 00:18:34,920
Fluorescent light, saturated color,
and the landscape of faces,
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together, create
the beauty of the Wong world.
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00:18:43,383 --> 00:18:45,338
To travel around Hong Kong today
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00:18:45,362 --> 00:18:49,688
is to feel Wong's sense of time,
and color, and composition.
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00:18:54,419 --> 00:18:57,314
Time drags its heels.
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00:19:03,409 --> 00:19:06,326
This exquisite film,
In the Mood for Love,
[Faa yeung nin wa]
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00:19:06,350 --> 00:19:10,490
sums up the night-time
celluloid vision of Wong's team.
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00:19:12,016 --> 00:19:13,467
Time's slowed down.
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00:19:13,491 --> 00:19:16,108
A woman slaloms past a man.
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00:19:16,132 --> 00:19:17,512
He glances.
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00:19:17,545 --> 00:19:20,119
We're in Hong Kong in 1962.
200
00:19:20,143 --> 00:19:22,599
Music in 3/4 time.
201
00:19:22,623 --> 00:19:25,228
Suddenly it rains
like in a movie.
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00:19:36,352 --> 00:19:38,367
Steam and rain.
203
00:19:38,391 --> 00:19:40,412
We feel the sultry heat.
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00:19:40,436 --> 00:19:44,070
The man and the woman
are in separate marriages but are unhappy.
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00:19:44,094 --> 00:19:45,179
Lonely.
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00:19:52,358 --> 00:19:53,999
Heads lowered.
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00:19:54,023 --> 00:19:56,090
They're in the mood for love.
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00:19:59,888 --> 00:20:03,903
As in the films of Rainer Werner Fassbinder
and Terrence Davies,
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00:20:03,927 --> 00:20:07,682
hope has left the building,
so rapture has migrated
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00:20:07,706 --> 00:20:09,728
into the imagery and sound.
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00:20:11,606 --> 00:20:13,759
Maggie Cheung and Wong's team
had created
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one of the most striking personas
in world cinema.
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00:20:21,669 --> 00:20:25,563
Soon, Cheung was playing
a silent movie icon in France.
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00:20:25,587 --> 00:20:29,076
In a telling comment on what directors
sometimes do to actors,
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00:20:29,100 --> 00:20:34,377
the director, Olivier Assayas,
literally scribbled on the celluloid.
216
00:20:43,319 --> 00:20:47,405
And in neighboring Taiwan,
moviemakers seemed haunted by slow,
217
00:20:47,429 --> 00:20:51,884
photographic truths, and real,
not fantasy worlds, too.
218
00:20:52,444 --> 00:20:55,628
Bernardo Bertolucci said
that this Taiwanese director,
219
00:20:55,652 --> 00:20:59,121
Tsai Ming-liang,
reinvented film language.
220
00:21:00,521 --> 00:21:02,902
Tsai is influenced
by Taiwanese history.
221
00:21:36,717 --> 00:21:39,213
Along with Edward Yang,
Hou Hsiao-hsien
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00:21:39,237 --> 00:21:43,340
used film to stare intensely
at Taiwanese society.
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00:21:43,364 --> 00:21:46,525
This is his movie,
A City of Sadness.
[Bei qing cheng shi]
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00:21:46,549 --> 00:21:48,531
It's the late 1940s.
225
00:21:48,555 --> 00:21:53,022
An uneasy moment of stasis
in Taiwan's turbulent history.
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00:21:53,046 --> 00:21:57,482
Hou captures this stasis
by using long static shots.
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00:21:57,506 --> 00:22:01,193
They average more
than 40 seconds each.
228
00:22:02,494 --> 00:22:07,246
Hou said that holding a long shot
has a certain kind of tension.
229
00:22:08,480 --> 00:22:13,016
The pleasure and intellectual distinction
of Hou's films lies in their rigor.
230
00:22:14,110 --> 00:22:16,374
Take this scene for example.
231
00:22:17,602 --> 00:22:21,372
One of the brothers in the story
is treated in a local hospital.
232
00:22:23,264 --> 00:22:26,981
The story takes us back
to the hospital several times.
233
00:22:27,005 --> 00:22:30,797
An ordinary director might want
to vary the shots on each return
234
00:22:30,822 --> 00:22:34,621
but Hou shoots
from the exact same camera angle.
235
00:22:35,652 --> 00:22:39,229
Reality, doubling back
on itself again.
236
00:22:41,893 --> 00:22:45,363
Not a reverse angle
or alternative shot.
237
00:22:46,952 --> 00:22:49,849
If A City of Sadness
is about national recall,
238
00:22:49,873 --> 00:22:54,530
Hou seems to suggest that we
remember places in just one way.
239
00:22:56,572 --> 00:23:01,772
Hsiao-hsien revered the other master
of special rigor: Yasujiro Ozu.
240
00:23:02,521 --> 00:23:08,132
His frames within frames,
square on imagery, no camera moves.
241
00:23:08,156 --> 00:23:12,325
Like Ozu, Hou seldom
uses big close-ups.
242
00:23:12,349 --> 00:23:15,920
Space in Hou is not something
to move through at speed,
243
00:23:15,944 --> 00:23:21,570
as it was for most '80s directors
and, later, films like The Matrix.
244
00:23:23,570 --> 00:23:28,483
This makes Hou the great classicist
of cinema's modern era.
245
00:23:29,293 --> 00:23:33,183
Hou's bold seriousness
paved the way for Tsai.
246
00:23:55,342 --> 00:23:57,563
Tsai's second film,
Vive l'Amour,
[Ai qing wan sui]
247
00:23:57,587 --> 00:24:00,850
is about the loneliness
of life in modern cities.
248
00:24:05,864 --> 00:24:10,044
At its end, a young woman
walks to a park bench and cries.
249
00:24:10,046 --> 00:24:12,816
We don't know exactly why.
250
00:24:19,635 --> 00:24:23,558
Waves of emotion cross her face
as the sun comes out.
251
00:24:23,560 --> 00:24:26,789
Tsai's camera remains static.
252
00:24:29,912 --> 00:24:34,120
A scene that's the opposite
of fantasy cinema like "Terminator 2."
253
00:24:34,145 --> 00:24:38,584
Tsai believes in the fascination
of the human face.
254
00:27:02,318 --> 00:27:06,237
James Cameron's, Avatar,
was coming soon and was great fun.
255
00:27:06,242 --> 00:27:12,036
But Tsai's focus on real human bodies
was timely indeed.
256
00:27:22,295 --> 00:27:24,981
Move from Taiwan
to Japan in the '90s,
257
00:27:25,005 --> 00:27:28,267
and you find movie makers
who were using film in the opposite way
258
00:27:28,291 --> 00:27:32,078
to those we've met so far
in the last days of celluloid.
259
00:27:32,103 --> 00:27:36,096
Many of Japan's best directors
used film to scare us.
260
00:27:36,098 --> 00:27:40,554
Their movies were so distinctively made,
and so often re-made by Hollywood,
261
00:27:40,578 --> 00:27:44,214
that a new term,
"J-horror," was coined.
262
00:27:46,085 --> 00:27:50,977
To get under the skin of '90s J-horror
let's start with one of its pioneers,
263
00:27:51,001 --> 00:27:56,673
this man, Shin'ya Tsukamoto,
Japan's movie cyberpunk.
264
00:28:57,844 --> 00:29:01,457
In Tsukamoto's film, Tetsuo,
an ordinary Japanese man
265
00:29:01,481 --> 00:29:03,295
starts to turn into metal.
266
00:29:03,507 --> 00:29:06,259
The handheld, punky,
black and white imagery,
267
00:29:06,283 --> 00:29:09,900
captures the man's terror
and disorientation.
268
00:30:14,149 --> 00:30:18,286
And in the sequel to Tetsuo,
in which a man is transformed into a gun,
269
00:30:18,310 --> 00:30:22,633
Tsukamoto used 43 seconds
of single frame images
270
00:30:22,657 --> 00:30:25,873
of biology and women and space.
271
00:30:27,555 --> 00:30:30,769
The technique of Abel Gance
way back in 1923.
272
00:30:39,623 --> 00:30:42,049
One-thousand images to represent
273
00:30:42,074 --> 00:30:45,766
the flickering decay
in the man's cellular life.
274
00:30:46,688 --> 00:30:49,195
Tetsuo's wild energy
was a brilliant expression
275
00:30:49,220 --> 00:30:52,771
of modern life's fear
of machinery and computerization.
276
00:30:54,254 --> 00:30:57,079
But then came
Hideo Nakata's, Ringu.
277
00:30:57,134 --> 00:31:00,986
The most influential
horror movie of its time.
278
00:31:05,732 --> 00:31:09,661
Imagery colored Navy blue,
a haunted young woman,
279
00:31:09,686 --> 00:31:12,317
industrial noise,
and screeching.
280
00:31:20,977 --> 00:31:24,939
It was Japan's biggest ever
international box office hit.
281
00:31:24,964 --> 00:31:29,693
In the last days of celluloid,
in the country of Sony and Panasonic,
282
00:31:29,718 --> 00:31:33,562
the object of fear
was the video image itself.
283
00:31:33,587 --> 00:31:37,082
A human emotion
about a digital future.
284
00:31:38,270 --> 00:31:43,999
The scary thing, the girl, climbed
out of the video image into our homes.
285
00:31:51,295 --> 00:31:53,897
Nakata saw and loved
The Exorcist.
286
00:31:53,922 --> 00:31:57,911
He borrowed its domestic setting,
innocent girl possessed by the devil,
287
00:31:57,936 --> 00:32:01,236
it's banging
and sudden violence.
288
00:32:03,160 --> 00:32:05,990
Alright, let's see
what the deal is.
289
00:32:08,528 --> 00:32:13,062
And he borrowed, too, the eerie calm
of the dreamlike female ghost
290
00:32:13,087 --> 00:32:17,032
with the long black hair
in Ugetsu Monogatari.
291
00:32:20,778 --> 00:32:24,108
Nakata put this demonism
and grace into his film,
292
00:32:24,133 --> 00:32:27,471
which was about people
who die after watching a videotape.
293
00:32:40,140 --> 00:32:45,487
The sound in the videotape combined
a remarkable 50 tracks FX.
294
00:32:46,457 --> 00:32:50,327
Real sound doubling
back over itself.
295
00:32:51,360 --> 00:32:53,815
Ringu's scenes of the dead
walking amongst us
296
00:32:53,839 --> 00:32:56,812
and its avoidance
of the Christian idea of the human soul,
297
00:32:56,837 --> 00:32:58,987
made it distinctly Asian.
298
00:33:01,987 --> 00:33:04,168
Takashi Miike's film,
Audition, [�dishon ]
299
00:33:04,192 --> 00:33:07,327
also seemed to take place
in a floating world.
300
00:33:07,817 --> 00:33:11,042
A TV producer
has advertised for actresses.
301
00:33:13,188 --> 00:33:16,500
A shy young woman
with long black hair shows up.
302
00:33:16,524 --> 00:33:19,582
Echoes of Ugetsu Monogatari
and Ringu.
303
00:33:21,197 --> 00:33:23,964
The camera
is as stable as Ozu's.
304
00:33:23,988 --> 00:33:29,244
Miike uses such blankness and minimalism
to wrong foot us before the terror.
305
00:33:30,078 --> 00:33:32,739
We visit the woman's apartment.
306
00:33:36,088 --> 00:33:38,791
She is waiting
for the TV producer to call.
307
00:33:38,815 --> 00:33:40,239
He does.
308
00:33:42,117 --> 00:33:44,214
She smiles.
309
00:33:46,281 --> 00:33:49,246
In the background
of the shot is a sack.
310
00:33:55,562 --> 00:33:59,608
Horrific realization
that she has tied someone in it.
311
00:34:01,252 --> 00:34:04,206
Japanese directors of the '90s
were using stillness
312
00:34:04,230 --> 00:34:08,331
as a counter point to violence
in an almost Buddhist way.
313
00:34:09,153 --> 00:34:11,695
This and a chain
of Japanese fears
314
00:34:11,719 --> 00:34:16,056
of the atomic bomb, of machinery,
of video, and of women,
315
00:34:16,080 --> 00:34:20,693
had led to the most distinctive
horror films in a generation.
316
00:34:30,499 --> 00:34:33,971
If the Iranian's worshipped reality
in the last days of celluloid
317
00:34:33,996 --> 00:34:36,153
and the Japanese
were scared of it,
318
00:34:36,161 --> 00:34:41,463
here in Copenhagen, movie makers
made a revolutionary manifesto about it.
319
00:34:43,239 --> 00:34:47,278
They wanted to get back to the basics
of filmmaking and to human nature
320
00:34:47,303 --> 00:34:50,630
and to distance themselves
from fantasy cinema.
321
00:34:50,654 --> 00:34:54,717
A group of filmmakers who work in
this sleepy looking, former army barracks
322
00:34:54,741 --> 00:34:59,267
outside Copenhagen,
led the revolution, carried the banner.
323
00:35:00,486 --> 00:35:04,058
These filmmakers had won scores
of international awards.
324
00:35:04,082 --> 00:35:07,490
They call this wall
their wall of shame, not fame.
325
00:35:08,496 --> 00:35:12,188
They only hire lawyers if they can
also play a musical instrument.
326
00:35:12,212 --> 00:35:15,368
They swim naked
in this unheated pool.
327
00:35:15,393 --> 00:35:18,946
They've quotations
from chairman Mao on their walls.
328
00:35:20,398 --> 00:35:24,850
This editing table, which belonged
to the world's most quietly spoken filmmaker,
329
00:35:24,875 --> 00:35:29,091
Carl Theodor Dreyer,
sits like a shrine in their corridor.
330
00:35:29,115 --> 00:35:31,257
What sort of filmmakers
live here?
331
00:35:31,281 --> 00:35:31,940
Hippies?
332
00:35:31,964 --> 00:35:32,774
Punks?
333
00:35:32,798 --> 00:35:34,318
Provocateurs?
334
00:35:34,342 --> 00:35:36,496
Yes, yes, and yes.
335
00:35:36,520 --> 00:35:40,443
And their leading light
is this man, Lars Von Trier.
336
00:35:40,467 --> 00:35:43,298
Von Trier works
in this former ammunitions bunker,
337
00:35:43,360 --> 00:35:45,193
backed up against the world.
338
00:35:46,158 --> 00:35:49,229
In 1995, he and Thomas Vinterberg,
339
00:35:49,253 --> 00:35:52,220
took a leaf out of the books
of Bresson and Pasolini,
340
00:35:52,244 --> 00:35:55,794
by arguing that cinema
had to become primitive again.
341
00:35:55,818 --> 00:35:59,278
They said that the new wave
had turned to muck.
342
00:35:59,302 --> 00:36:02,648
In their manifesto, they pledged
a "vow of chastity"
343
00:36:02,672 --> 00:36:05,205
to the following daunting rules:
344
00:36:05,229 --> 00:36:07,988
The camera must be
taken off the tripod.
345
00:36:08,013 --> 00:36:10,789
The shape of the screen
must not be wide.
346
00:36:10,813 --> 00:36:12,707
No sets should be built.
347
00:36:12,730 --> 00:36:15,276
Real locations should be used.
348
00:36:15,301 --> 00:36:18,019
No props should be brought
to those locations.
349
00:36:18,043 --> 00:36:19,979
No music should be used.
350
00:36:20,003 --> 00:36:21,597
No lighting can be added.
351
00:36:21,621 --> 00:36:25,564
No flashbacks, and the director
must not take credit.
352
00:36:25,588 --> 00:36:30,003
All reminiscent of what Abbas Kiarostami
was doing at this time in Iran.
353
00:36:30,409 --> 00:36:36,496
A celebration of the primitive in cinema,
in the days before computer generated imagery.
354
00:36:38,550 --> 00:36:40,098
I know you love me.
355
00:36:40,432 --> 00:36:43,329
Von Trier's best film of the '90s,
Breaking the Waves,
356
00:36:43,353 --> 00:36:47,718
broke many of the Dogma rules,
but was revelatory and fresh.
357
00:36:47,742 --> 00:36:52,461
It's about the suffering
of this naive young Scottish woman, Bess.
358
00:36:52,485 --> 00:36:56,058
Von Trier follows her
with mostly handheld shots
359
00:36:56,083 --> 00:36:57,809
as life does its worst to her.
360
00:36:57,838 --> 00:36:59,832
Is there anything
I can do for you?
361
00:36:59,856 --> 00:37:01,548
Anything at all?
362
00:37:08,930 --> 00:37:12,219
I'd like you to go to Jan
and pray for him to be cured,
363
00:37:12,243 --> 00:37:14,311
and to rise
from his bed and walk.
364
00:37:16,261 --> 00:37:18,826
The actors were free
to move anywhere.
365
00:37:18,850 --> 00:37:21,251
Trier did take after take.
366
00:37:22,585 --> 00:37:25,309
Then edited together
the moments of each take,
367
00:37:25,333 --> 00:37:28,284
which seemed to him most true,
368
00:37:28,308 --> 00:37:32,511
even if they were out of focus
or broke the 180 degree axis rules.
369
00:37:32,815 --> 00:37:34,760
The ultimate movie roughness.
370
00:37:35,146 --> 00:37:41,465
We saw a thing on an American
television thing, called Homicide,
371
00:37:41,490 --> 00:37:47,130
which I'm sure you know that was kind
of a "ground-breaker" so to say.
372
00:37:47,230 --> 00:37:52,597
There was a lot of time cuts
and no continuity and all this stuff.
373
00:37:52,622 --> 00:37:58,105
And that was really
a burden to be freed of, I think.
374
00:37:58,130 --> 00:38:01,739
And I've kind of toyed around
with that ever since.
375
00:38:01,764 --> 00:38:04,770
- Are there people like Goddard
had done something similar?
376
00:38:04,794 --> 00:38:10,452
Yeah, but that was kind of
more in a stylized way,
377
00:38:10,476 --> 00:38:16,408
and this was kind of more to...
kind of be free of the whole thing
378
00:38:16,432 --> 00:38:20,883
and more like, you know,
if you cut a documentary
379
00:38:20,907 --> 00:38:26,385
you don't care if the cigarette has,
you know, is as long as in the other shot.
380
00:38:26,409 --> 00:38:27,868
Or you know, you don't care.
381
00:38:27,892 --> 00:38:34,004
And if you film, when you film these
jet planes coming flying into twin towers,
382
00:38:34,029 --> 00:38:36,547
you know, you don't care
which side of the axis you are.
383
00:38:36,571 --> 00:38:41,880
And nobody in doubt of where the planes
are coming from or you know.
384
00:38:41,905 --> 00:38:44,888
It was, for me, anyway,
very nice to get rid of.
385
00:38:46,723 --> 00:38:51,383
At the end of Breaking the Waves,
Bess dies, and then this happens.
386
00:38:51,407 --> 00:38:55,777
The most audacious moment
in the whole of world cinema of the '90s.
387
00:39:09,065 --> 00:39:12,503
Bess' partner realizes
she's gone to heaven.
388
00:39:14,010 --> 00:39:16,468
Then the camera is
suddenly in heaven.
389
00:39:16,492 --> 00:39:21,142
A static shot with heavenly bells
on either side of the screen.
390
00:39:29,163 --> 00:39:34,370
Most movies are secular,
but Breaking the Wave's ending was Christian.
391
00:39:34,376 --> 00:39:39,573
The good thing about going too far,
you know, is that if you kind of...
392
00:39:39,597 --> 00:39:43,996
If you see films that are going too far
you kind of...
393
00:39:44,021 --> 00:39:49,561
...you kind of make a mark,
"how long did I stay with it?"
394
00:39:49,585 --> 00:39:52,129
Right?
395
00:39:52,154 --> 00:39:56,468
A lot of people didn't stay
with the bells.
396
00:39:56,492 --> 00:40:03,380
And they... But they... some of them said
that it was a good film, the rest of it.
397
00:40:06,574 --> 00:40:10,360
In Breaking the Waves,
and in this later Von Trier film, Dogville,
398
00:40:10,385 --> 00:40:12,732
he sometimes operated
the camera himself,
399
00:40:12,756 --> 00:40:16,529
often touching Nicole Kidman
during a scene like this.
400
00:40:17,398 --> 00:40:21,980
This intimacy between director
and actor was new in film history.
401
00:40:22,691 --> 00:40:26,185
Dogville was even more innovative
than Breaking the Waves.
402
00:40:27,181 --> 00:40:30,637
Trier used no sets,
buildings or props.
403
00:40:31,627 --> 00:40:34,286
A technique as daring
as it must have been scary.
404
00:40:35,550 --> 00:40:37,049
No, I was not scared, no, no.
405
00:40:37,051 --> 00:40:40,273
Because I've...
406
00:40:40,274 --> 00:40:43,843
...you know, if you go back
to the '70s there was a lot of...
407
00:40:43,876 --> 00:40:47,998
People did much more strange things
and they worked.
408
00:40:48,022 --> 00:40:49,230
You know?
409
00:40:49,254 --> 00:40:52,120
So, I was... No, I was pretty sure
that it would work.
410
00:40:52,144 --> 00:40:55,677
But it only of course works
if you want it to work, as an audience.
411
00:40:55,710 --> 00:41:01,339
And no, I was not... I remember,
412
00:41:01,363 --> 00:41:06,450
one of Nicole's friends, Russell Crowe,
came to the set and he said
413
00:41:06,474 --> 00:41:08,125
"this demands an explanation!"
414
00:41:08,150 --> 00:41:11,045
And I said, "not from me!"
415
00:41:11,070 --> 00:41:11,443
You know?
416
00:41:11,445 --> 00:41:14,936
No, no. I'm very pleased
with "Dogville".
417
00:41:16,450 --> 00:41:19,086
Again we follow the suffering
of a woman.
418
00:41:19,110 --> 00:41:21,889
This time in an America village.
419
00:41:21,913 --> 00:41:24,620
The villagers start
to enslave the woman.
420
00:41:24,644 --> 00:41:27,916
In the end they shackle her,
like a dog.
421
00:41:27,918 --> 00:41:31,656
It was quite unlike "Dogville" to restrain
its indignation on any point.
422
00:41:31,680 --> 00:41:35,310
Perhaps things
had turned out well after all!
423
00:41:35,334 --> 00:41:37,630
Good morning, Mrs. Henderson
424
00:41:37,654 --> 00:41:38,482
Oh! Morning.
425
00:41:38,506 --> 00:41:43,038
I would have come earlier
but I overslept
426
00:41:43,062 --> 00:41:44,100
Oh, never mind.
427
00:41:44,124 --> 00:41:45,770
Liz put her back into it
this morning.
428
00:41:45,795 --> 00:41:49,479
Von Trier again breaks the
editing rules.
429
00:41:53,685 --> 00:41:57,282
Like his Scandinavian heroes,
Ingmar Bergman and Carl Dreyer,
430
00:41:57,306 --> 00:42:00,573
many of Von Trier's films
are about suffering women.
431
00:42:01,741 --> 00:42:06,862
But whereas in most movies
the women are distant objects of desire,
432
00:42:06,887 --> 00:42:10,119
Von Trier's women
seem to be versions of himself.
433
00:42:10,871 --> 00:42:17,215
I think I must admit that I'm...
That it's very much me in the women.
434
00:42:23,137 --> 00:42:24,681
I don't know
why it has become this way.
435
00:42:24,706 --> 00:42:30,824
But first of all, for me,
it's much easier to work with actresses.
436
00:42:30,848 --> 00:42:34,539
Whereas men, I think...
437
00:42:34,563 --> 00:42:40,917
Or can be more difficult because
they want to confront you, you know?
438
00:42:40,941 --> 00:42:46,203
And want to discuss which way
we're going which is something
439
00:42:46,228 --> 00:42:49,238
that's difficult because sometimes
you don't know,
440
00:42:49,263 --> 00:42:55,195
you just have a feeling, which is something
that actresses for some reason has...
441
00:42:55,220 --> 00:42:57,830
It's easier for them to accept,
I think.
442
00:42:57,855 --> 00:43:02,375
Or, it's easier for them to accept
that they...
443
00:43:02,399 --> 00:43:06,655
...cannot give in to the project
in another way.
444
00:43:08,753 --> 00:43:14,143
Von Trier once said that a film
should be like a pebble in a shoe.
445
00:43:14,167 --> 00:43:19,061
No, I... The films that I like,
they hurt a little bit.
446
00:43:19,085 --> 00:43:24,127
A lot of films are, you know,
reproductions.
447
00:43:24,151 --> 00:43:29,579
And I don't believe so much
in doing that.
448
00:43:29,604 --> 00:43:35,531
A lot of people do that,
so I'm trying to make something...
449
00:43:35,555 --> 00:43:45,645
...that in some sense makes
a little mark or a little pain.
450
00:43:51,755 --> 00:43:54,555
The primitive radicalism
of the Dogma manifesto
451
00:43:54,579 --> 00:43:58,086
and the searing,
sometimes mocking emotions of Von Trier
452
00:43:58,110 --> 00:44:03,329
made it and him amongst the most talked
about artists of their time.
453
00:44:03,353 --> 00:44:05,812
In the days before wizards
and hobbits,
454
00:44:05,836 --> 00:44:10,197
the Dogma films showed
human nature, warts and all.
455
00:44:20,578 --> 00:44:24,114
Jump from Copenhagen
to this train in France in the '90s,
456
00:44:24,138 --> 00:44:27,404
and you find a bunch
of French language directors reacting,
457
00:44:27,429 --> 00:44:31,513
like Lars Von Trier,
against glossy fantasy cinema.
458
00:44:31,537 --> 00:44:36,351
Celebrating truth and celluloid,
but doing so with more working class
459
00:44:36,375 --> 00:44:39,412
and ethnically diverse characters.
460
00:44:41,579 --> 00:44:45,103
This film, La Haine, was shot
in contrast-y black and white.
461
00:44:45,127 --> 00:44:50,438
It's sometimes static camera
stared at its blank characters.
462
00:44:54,378 --> 00:44:55,706
It was filmed here.
463
00:44:55,730 --> 00:44:58,476
Not in fancy Paris
but in the banlieue,
464
00:44:58,500 --> 00:45:02,873
the housing estates on the outskirts,
at the end of the train line.
465
00:45:02,897 --> 00:45:06,506
Director Mathieu Kassovitz,
took as his starting point,
466
00:45:06,530 --> 00:45:10,872
the real life shooting
whilst in police custody of a black teenager.
467
00:45:14,075 --> 00:45:19,050
Kassovitz shows us the day
in the life of several youths.
468
00:45:19,074 --> 00:45:22,274
The first we meet, Said,
is Islamic.
469
00:45:22,298 --> 00:45:26,900
Not for Kassovitz the hand held,
unplugged cinema of Lars Von Trier.
470
00:45:30,977 --> 00:45:33,923
He tracks into Said, in slow-mo.
471
00:45:33,947 --> 00:45:37,635
Then cranes over his head,
like Sergio Leone.
472
00:45:41,483 --> 00:45:46,412
The beauty of old style film techniques
in the last days of celluloid.
473
00:45:48,499 --> 00:45:54,665
Then we meet Vinz,
we see him dancing.
474
00:45:54,689 --> 00:45:56,885
It turns out to be
a dream sequence.
475
00:45:56,909 --> 00:46:01,525
Vinz is filmed in deep space,
like Orson Welles or John Ford.
476
00:46:03,412 --> 00:46:06,801
Vinz gets up
and goes to the bathroom.
477
00:46:06,825 --> 00:46:10,508
Kassovitz uses two actors
mimicking each other.
478
00:46:10,532 --> 00:46:11,902
There's no mirror.
479
00:46:11,925 --> 00:46:14,498
If there was we'd see
the camera reflected in it.
480
00:46:14,523 --> 00:46:18,452
There are two sets of toothbrushes
to enhance the illusion.
481
00:46:18,476 --> 00:46:22,392
Then Vinz starts to mimic
Robert de Nero in Taxi Driver.
482
00:46:32,247 --> 00:46:36,136
Kassovitz had been influenced
by Spike Lee's, Do the Right Thing,
483
00:46:36,160 --> 00:46:40,735
whose precise framing and heightened color,
showed that films about street life
484
00:46:40,759 --> 00:46:43,720
didn't have to be hand held,
or without style.
485
00:46:43,744 --> 00:46:44,839
Far from it.
486
00:46:44,863 --> 00:46:49,422
The street was style, form, grace.
487
00:46:49,446 --> 00:46:52,991
La Haine used the old beauty
of film to show new truths
488
00:46:53,016 --> 00:46:55,794
about multicultural,
working class France.
489
00:47:01,719 --> 00:47:06,962
This film, Bruno Dumont's L'Humanit�,
is also about working class France
490
00:47:06,987 --> 00:47:09,939
but its film style
is totally different.
491
00:47:09,963 --> 00:47:11,604
It's shot in color.
492
00:47:11,628 --> 00:47:13,557
Its camera hardly moves.
493
00:47:13,582 --> 00:47:15,753
None of the craning
of La Haine.
494
00:47:15,777 --> 00:47:18,438
This opening shot shows
a distant police man
495
00:47:18,462 --> 00:47:20,463
walking across a landscape.
496
00:47:28,469 --> 00:47:30,186
But then, we see him
on the ground.
497
00:47:30,210 --> 00:47:32,330
He's been traumatized
by something.
498
00:47:32,354 --> 00:47:34,272
A girl has been raped.
499
00:47:34,296 --> 00:47:37,610
The blank face of people
in Robert Bresson films.
500
00:47:37,634 --> 00:47:40,666
The film has a cold stare,
like marble.
501
00:47:40,690 --> 00:47:45,792
It's as un-glossy
as an early silent film, shot on celluloid.
502
00:47:53,496 --> 00:47:58,191
Later, astonishingly,
the man seems to levitate.
503
00:48:02,585 --> 00:48:05,075
Dumont has the shot
framed far back
504
00:48:05,100 --> 00:48:08,005
so we just clock that his feet
are off the ground.
505
00:48:08,030 --> 00:48:09,826
Maybe he's a Saint.
506
00:48:16,645 --> 00:48:20,937
And in the very last image
the man is filmed in medium long shot,
507
00:48:20,962 --> 00:48:25,229
turned away from us,
and we glimpse handcuffs on him.
508
00:48:25,236 --> 00:48:27,770
Could the policeman
be the rapist?
509
00:48:27,795 --> 00:48:33,777
Or maybe he's a simple, innocent man
who's suffering for all our sins.
510
00:48:38,653 --> 00:48:44,100
As devoted to real, not fantasy people,
were the Belgian, former documentarists,
511
00:48:44,124 --> 00:48:46,789
Jean-Pierre and Luc Dardenne.
512
00:48:49,280 --> 00:48:51,975
Like Kassovitz and Dumont,
they took as their subject
513
00:48:51,999 --> 00:48:55,787
disenfranchised life
in contemporary Europe.
514
00:48:57,635 --> 00:49:00,705
Rosetta was
about this feral teenage girl
515
00:49:00,729 --> 00:49:02,899
who's desperate for a job.
516
00:49:04,764 --> 00:49:07,584
The brother's brilliantly
simple stylistic innovation
517
00:49:07,608 --> 00:49:12,560
was to have her run throughout the film
and follow her with a hand held camera.
518
00:49:13,698 --> 00:49:17,240
Like Dumont they seldom used
the shot-reverse shot techniques
519
00:49:17,264 --> 00:49:21,058
which were established
in the movies by about 1913.
520
00:49:21,082 --> 00:49:23,177
Always moving forward with their camera,
521
00:49:23,201 --> 00:49:26,359
gave a unique sense
of being at the shoulder of the girl
522
00:49:26,383 --> 00:49:28,959
as she runs through the world
looking for work.
523
00:49:31,311 --> 00:49:34,034
It's a very easy thing
to learn, you know.
524
00:49:34,058 --> 00:49:38,207
Perhaps the greatest French language
director of celluloid in the '90s and since
525
00:49:38,232 --> 00:49:40,867
has been this woman:
Claire Denis.
526
00:49:41,645 --> 00:49:45,568
She worked with Wim Wenders,
and is thought of as an art movie director,
527
00:49:45,592 --> 00:49:48,223
but insists
that film is universal.
528
00:49:49,169 --> 00:49:53,497
I would love, in a second life,
529
00:49:53,522 --> 00:49:59,837
to be a sort
of James Cameron, you know?
530
00:49:59,862 --> 00:50:01,833
For me there is no difference
531
00:50:01,858 --> 00:50:05,120
between a James Cameron
and a Claire Denis, you know?
532
00:50:05,144 --> 00:50:07,269
I want to make film.
533
00:50:08,730 --> 00:50:12,143
Denis grew up in Africa
and greatly admired this film,
534
00:50:12,167 --> 00:50:14,999
in which the rebellious young man
slaughters oxen
535
00:50:15,023 --> 00:50:17,500
then puts their horns
on his motor bike.
536
00:50:17,524 --> 00:50:20,665
Old and new Africa
in a single image.
537
00:50:20,667 --> 00:50:23,737
I saw "Touki Bouki"
which for me, it still is,
538
00:50:23,761 --> 00:50:27,812
one of the greatest films
I've seen about hope.
539
00:50:28,743 --> 00:50:31,894
Teenage hopes, you know,
something like that.
540
00:50:31,896 --> 00:50:39,162
I am a white person who grew up in Africa
and it's a very powerful experience.
541
00:50:39,186 --> 00:50:48,167
We, people, growing in a country
possessed by white people
542
00:50:48,192 --> 00:50:51,048
but knowing
we were not from there,
543
00:50:51,072 --> 00:51:03,520
and it was wrong, make us immensely
not willing to be giving lessons.
544
00:51:10,620 --> 00:51:14,963
This is Denis's extraordinary
African film, Beau Travail.
545
00:51:14,987 --> 00:51:20,239
Its colors are beautiful,
burnt umber earth, azure sea.
546
00:51:20,263 --> 00:51:22,535
Jean-Luc Godard said
that the history of cinema
547
00:51:22,559 --> 00:51:25,296
is the history of men
photographing women.
548
00:51:25,320 --> 00:51:28,536
But in "Beau Travail,"
a woman photographs men.
549
00:51:28,560 --> 00:51:31,978
French legionaries,
intrinsically.
550
00:51:32,002 --> 00:51:36,495
Here they walk around each other
like they're in a classic western gunfight,
551
00:51:36,519 --> 00:51:40,590
but Denis is more interested
in the choreography than the aggression.
552
00:51:45,364 --> 00:51:46,870
They fight.
553
00:51:48,951 --> 00:51:52,570
Denis films the fight minimally
without testosterone.
554
00:51:52,594 --> 00:51:55,297
A single punch, slow motion.
555
00:52:03,859 --> 00:52:06,562
The main character
decides to kill himself.
556
00:52:06,586 --> 00:52:08,541
Close-ups of his body.
557
00:52:08,565 --> 00:52:11,848
We see the blood pumping
in his veins.
558
00:52:15,400 --> 00:52:16,651
The rhythm of his life.
559
00:52:24,036 --> 00:52:26,678
And then,
apparently after his death,
560
00:52:26,702 --> 00:52:30,332
we see a final scene,
this extraordinary dance sequence.
561
00:53:09,815 --> 00:53:14,282
He's filmed full height,
as Fred Astaire was in Hollywood musicals.
562
00:53:14,306 --> 00:53:15,756
The last days of disco.
563
00:53:15,780 --> 00:53:18,112
The last days of celluloid.
564
00:53:20,285 --> 00:53:26,434
This scene, it was written in the script
that he was going to the night club.
565
00:53:27,928 --> 00:53:28,866
Empty.
566
00:53:29,628 --> 00:53:36,826
Dancing a goodbye
to his life of a legionnaire.
567
00:53:37,933 --> 00:53:40,039
Dance to death.
568
00:53:40,041 --> 00:53:47,642
And then, in the script after, in Marseilles,
he was killing himself, you know?
569
00:53:49,434 --> 00:53:55,382
But I shot the dance scene in Djibouti
before shooting Marseilles.
570
00:53:55,388 --> 00:54:05,297
And when we did it, I was so moved,
and Denis was moved too.
571
00:54:05,322 --> 00:54:07,258
We were all moved.
572
00:54:07,260 --> 00:54:10,732
Only one take, you know?
573
00:54:10,734 --> 00:54:22,247
I thought, "My God. How can I have
that scene before?"
574
00:54:22,253 --> 00:54:29,393
Him, in his bed, taking the gun
to shoot himself down, you know?
575
00:54:29,395 --> 00:54:35,651
I think it's not fair,
it's better if the gun, the last scene,
576
00:54:35,675 --> 00:54:40,668
comes before and I keep
this dance scene
577
00:54:40,692 --> 00:54:46,604
as his last dream or as his last...
578
00:54:46,628 --> 00:54:49,108
The last moment he remembers, you know?
579
00:54:49,133 --> 00:54:55,907
Something... Plenty of life.
580
00:55:00,023 --> 00:55:06,277
Denis compared this last dance scene
to ending of Ozu's film Late Spring.
581
00:55:09,554 --> 00:55:13,151
In that case the father alone.
582
00:55:13,152 --> 00:55:19,237
He is peeling his apple like a lonely man
instead of sharing the apple.
583
00:55:19,261 --> 00:55:24,440
And the way he's peeling the apple
is also an elegant gesture, you know?
584
00:55:24,464 --> 00:55:27,526
Like the dance of Denis Lavant
at the end of "Beau Travail".
585
00:55:27,550 --> 00:55:29,416
It's very close in a way,
you know?
586
00:55:29,441 --> 00:55:34,198
It's... You're very sad,
it's the end of something and, yet,
587
00:55:34,222 --> 00:55:42,968
to show something that is, like
this beautiful loop who is the apple skin.
588
00:55:42,992 --> 00:55:55,508
And I think, of course
it's the way Ozu touch us deep.
589
00:55:55,533 --> 00:55:59,946
Deep in where we cannot resist.
590
00:56:02,035 --> 00:56:06,813
Claire Denis was using celluloid
in a non-masculine way in the 1990s
591
00:56:06,837 --> 00:56:11,278
and so was the Polish director
of this film, Dorota Kedzierzawska.
592
00:56:12,152 --> 00:56:13,287
We're on a boat.
593
00:56:13,311 --> 00:56:15,738
This little girl's been kidnapped
by an older girl
594
00:56:15,762 --> 00:56:17,640
who's always ignored by her mom.
595
00:56:18,791 --> 00:56:20,579
This is the older girl.
596
00:56:20,603 --> 00:56:23,358
She's pretending
to be a mum herself.
597
00:56:38,801 --> 00:56:43,203
Kedzierzawska uses old fashioned,
almost square frames.
598
00:56:43,227 --> 00:56:45,929
She keeps the filmmaking
as simple as possible
599
00:56:45,953 --> 00:56:51,180
in order not to distract the girls to get
these touchingly naturalistic performances.
600
00:57:00,435 --> 00:57:03,882
The film's color coded in
yellows and greens.
601
00:57:03,906 --> 00:57:06,490
Crows [Wrony ] is a movie
about the human face,
602
00:57:06,514 --> 00:57:10,991
the very thing that the coming digital age
will struggle to depict.
603
00:57:11,964 --> 00:57:16,145
And this film boldly shows the simple fact
that photographing human beings
604
00:57:16,170 --> 00:57:18,809
is one of cinemas great strengths.
605
00:57:18,817 --> 00:57:20,520
We're in St. Petersburg.
606
00:57:20,522 --> 00:57:24,447
Director Viktor Kossakovsky,
has tracked down every single person
607
00:57:24,472 --> 00:57:28,173
who was born in the city
on the day that he was.
608
00:57:28,180 --> 00:57:31,476
Wednesday,
the 19th of July, 1961.
609
00:57:32,620 --> 00:57:34,935
He follows a man
as he walks the street.
610
00:57:34,959 --> 00:57:38,425
Films others
as they stand in traffic.
611
00:57:40,920 --> 00:57:43,743
This person as he makes music.
612
00:57:45,353 --> 00:57:48,191
And this woman
as she gives birth.
613
00:57:48,193 --> 00:57:49,799
All photographed naturally,
614
00:57:49,801 --> 00:57:51,761
documentary style.
615
00:57:51,763 --> 00:57:57,586
In just 93 minutes, we feel we meet
a whole generation, a huge range of people
616
00:57:57,611 --> 00:58:03,482
even though each is on screen
on average for less than one minute.
617
00:58:07,976 --> 00:58:10,010
Wednesday [Sreda]
was a celebration
618
00:58:10,034 --> 00:58:13,380
of real human beings
in the last days of celluloid.
619
00:58:14,737 --> 00:58:19,340
This man, Michael Haneke,
saw them as dark days.
620
00:58:19,364 --> 00:58:23,056
In this documentary we see him tell
the actor how to hit an actress.
621
00:58:23,080 --> 00:58:25,213
The threat of violence in his work,
622
00:58:25,237 --> 00:58:27,987
and he's always consulting
his marked up screenplay,
623
00:58:28,011 --> 00:58:31,589
which shows how
meticulously planned his films are.
624
00:58:31,613 --> 00:58:35,909
Haneke studied philosophy
and started making films in 1989.
625
00:58:35,933 --> 00:58:38,926
Here is his film Code Unknown.
626
00:58:44,442 --> 00:58:48,773
This is one of the first shots
which lasts over 11 minutes.
627
00:58:48,797 --> 00:58:54,870
No cut and the camera starts
to move complexly, like in a... film.
628
00:58:56,086 --> 00:59:00,720
A white lad throws rubbish
at a Kosovan refugee who's begging.
629
00:59:00,767 --> 00:59:03,535
A black man confronts him.
630
00:59:12,739 --> 00:59:16,860
A very unsettling scene of tension
and conflict in modern life.
631
00:59:18,641 --> 00:59:22,534
But Haneke makes his point,
that we don't connect as human beings
632
00:59:22,558 --> 00:59:27,775
in European cities,
with a brilliant stylistic coup.
633
00:59:29,738 --> 00:59:35,650
Each long shot goes to black
before the next comes onto the screen.
634
00:59:35,674 --> 00:59:38,211
Even the shots don't touch.
635
00:59:38,236 --> 00:59:39,867
This was revolutionary.
636
00:59:45,616 --> 00:59:48,864
But it's this earlier film by Haneke,
Funny Games,
637
00:59:48,888 --> 00:59:51,941
which really sums up
the last days of celluloid.
638
00:59:51,965 --> 00:59:55,080
The anxiety, the sense
that something is on the brink,
639
00:59:55,104 --> 00:59:57,810
that human beings
are becoming unreal.
640
00:59:58,320 --> 01:00:01,863
Two youths visit their neighbors
to borrow eggs.
641
01:00:01,887 --> 01:00:04,896
The neighbors
are a nice middle class family.
642
01:00:04,920 --> 01:00:08,310
The boys are dressed in white
and wear white gloves
643
01:00:08,334 --> 01:00:12,421
like archivists, or thieves,
or angels of death.
644
01:00:13,145 --> 01:00:15,388
They brutally
terrorize the family.
645
01:00:15,390 --> 01:00:19,316
Calmly, often off screen.
646
01:00:24,477 --> 01:00:26,134
The power of suggestion.
647
01:00:26,136 --> 01:00:29,835
The violence
that's potentially in all of us.
648
01:00:29,837 --> 01:00:32,087
To break down the barrier
between them and us,
649
01:00:32,111 --> 01:00:36,057
Haneke has the boys wink
at the camera, the audience.
650
01:00:45,224 --> 01:00:49,019
This is unsettling,
but it's not ground-breaking.
651
01:00:49,044 --> 01:00:52,455
But this scene
is ground-breaking.
652
01:01:04,454 --> 01:01:08,839
The boys take a TV handset
and press rewind.
653
01:01:19,637 --> 01:01:25,546
The TV in the film doesn't rewind,
the film itself does,
654
01:01:25,570 --> 01:01:29,588
the sort of thing that people sometimes do
in the privacy of their own homes,
655
01:01:29,612 --> 01:01:33,394
something that would never happen
in the age of celluloid.
656
01:01:35,006 --> 01:01:40,532
Haneke is saying that we might
be enjoying vicariously the violence.
657
01:01:40,556 --> 01:01:46,147
He's saying: "Go on, you know you want to,
you're a degenerate, we all are."
658
01:01:46,573 --> 01:01:49,560
The film rewinding
is as shocking as this scene
659
01:01:49,584 --> 01:01:56,036
in Ingmar Bergman's Persona,
where the film melts.
660
01:02:02,540 --> 01:02:07,192
In both cases, we're suddenly
at a new level, in a new position.
661
01:02:07,216 --> 01:02:10,377
The spell is broken
and we're woken up.
662
01:02:10,411 --> 01:02:11,810
To what?
663
01:02:13,416 --> 01:02:16,413
Something massive
to get our heads around.
664
01:02:16,438 --> 01:02:20,344
A digital world, where seeing
is no longer believing.
665
01:02:20,368 --> 01:02:23,752
Where suddenly the people
on screen are avatars,
666
01:02:23,776 --> 01:02:29,223
or Neo in The Matrix,
or Harry Potter, or hobbits.
667
01:02:31,962 --> 01:02:35,191
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