All language subtitles for Watch Dancing on Glass 2022 Movie Free Online

NETFLIX PRESENTS

A BALLET IN TWO ACTS

ACT I

WEDNESDAY
WEIGHT 46.7

ARM 22.2
HIP 87.2

WAIST 56.1
CHEST 87.3

-Irene, we're leaving.
-Can you give me a ride?

I can't, honey.
I'm taking your dad to court.

-Good luck today. Talk to you later.
-Thanks.

Good morning.

Good morning.

-Do you ever take breaks?
- When I get the spot.

-You'll go crazy, Lidi.
-Well…

You can't be the only crazy one
in the family, sis.

You know Mom will catch you, right?

I'll open a window.

What time is it?

Damn it!

I'll clean up. I need a break.

Thanks. I'm late.

You'll get news today, right?

Today I'll hear my life
isn't changing whatsoever.

Don't say that.

They might accidentally
take a chance on you.

I don't think so.

You look beautiful.

Is it tight?

I don't think so.

Just let me know,
and I'll fix it right away.

Are you all packed?

Now I am.

What about me?

Do I look okay?

I can go on my own, Mom.

It's your first day at the company.
You really think I'd miss it?

Let's go. I don't want you to be late.

Yes?

-Hi. Irene?
-Hello.

-It's Laura, Norma's assistant.
-Oh, hi. How are you?

Yes.

Thank you.

Okay.

Mom…

Okay, see you later.

I want all the details.

-She didn't even take her stuff.
-She wanted to come back.

Then what was María doing in New York?

Enough.

Maybe she was tired
of being the company's pet.

I don't think she even told Ruth.
Norma told her.

-What is it?
-Enough already.

See you later.

Bye.

Bye.

Hello.

-Hi.
-Good morning, Ruth.

Do you have a tampon?
I just got my period.

Hi.

Hi.

How are you?

Fine. I'm fine.

Thanks for your text, by the way.
I never replied.

No problem.

-Listen, I just wanted you to know--
-Yes, it sucks, period.

That's all.

Hey, if you want to talk--

Oh my God. I'm fine, really. Okay?

So what?

Any news about her replacement?

It's you, Ruth. It's obvious.

We welcome the newcomers.

You all know it's an honor
to join this company.

I hope it'll also be an honor
having you here.

Excuse me.

Sit down with the others.

I won't make any exceptions.

Every day you'll have to prove
why you chose to be part of this company.

Or rather, what for.

Does anyone know?

Does anyone know why they're here?

Any of the newcomers?

To dance?

Dancing is for nightclubs.

You're here for something else.

To turn years of sacrifice
into a moment of perfection.

Only an instant

that will live forever
in the memory of anyone watching.

Nothing is more important
than that, understood?

Nothing.

You all know this year's
main production was Giselle.

It will continue to be,
as a tribute to María.

It won't be the Giselle
we know from other productions.

This time it'll be a woman
whose death will spark a revolution.

I imagine you already know
who's been chosen for that revolution.

-It was Ruth, right? Surely.
-It has to be her.

I see she hasn't rushed to tell anyone.

It won't be me who says it.

Giselle is a brave woman.

She'd surely embrace madness
to stand up for what she believes in.

If the person who's just been
promoted to principal dancer

is not able to say it out loud,
stand up, lead this company…

You didn't tell anyone?

I didn't have time.

Of course you didn't. You were late.

I'm sorry.

Don't let it happen again, Irene.

You can sit down.

The rest of you, be ready.

Auditions for the rest
of the characters are in a few days.

Nothing is decided yet.

Prove you want it
as if it were your last wish.

Eight and…

One.

Two.

Big.

And fifth.

Now, circle with your head and stand firm.

Raise. One…

Eight, two, three, and one…

And fifth position.

All right, let's switch groups.

All right, hair up.

Guys…

Let's begin.

Let's go. Music.

Head outward…

What's your name?

Good, well done.

Let's go with another group.

And, one, two. One, two.

One, two, and…

Again. One, two, and…

Two, one, two, and chaîné.

And…

Good.

One, and one…

That's it. And one, two, one…

Last one. Two, three…

Go on. Two, and diagonal spot.

Congratulations.

Thanks.

-I wanted to--
-But you didn't.

You thought I wouldn't find out?

-Maybe she's afraid of you.
-Afraid of what, jerk?

I don't know.
You're the one hiding things.

Giselle, are you coming
to the party tonight?

Or are you afraid we'll spike your drink?

It's okay.

You could wear the green dress
I made you this summer.

You look great in it.

I don't want to go.

I'm very tired.

Rest later.

Today is an important day,
and so are these parties.

Mom, I don't know anyone.

You're not a little girl now.
You belong here.

You could've been a soloist.
You think I don't know?

Corps de ballet.

You'll see.
They'll give you the spot you deserve.

They'll come around soon.

That's why you have to go
wherever they go, show yourself.

Talk to everyone,
don't hide, let them see you.

Come on. I'll wait up for you.

Hi.

Are you out for a smoke?

Yes.

Want one?

Okay.

You don't smoke, do you?

You can stay here if you want.

I don't feel like going in.

Toss it if you don't like it.

Thanks.

Stop saying thanks for everything.

You're in the company.

You have the same right as them

to be inside, outside, wherever you want.

I'm fine here.

I'll have a cigarette, and we'll go.

-Who cares about being principal, anyway?
-We've been here all night.

Ruth isn't a bad girl.

She's just hurt over María.

Were they friends?

They were always together.

What was she like?

María was…

Just María.

And how do you feel?

Me? About what?

About being the company's principal.

The new Giselle.

What's wrong?

It's just that
no one has asked me about it.

I'm Irene.

I'm Aurora.

Did you meet a lot of people?

Yes, everyone.

Was the whole company there?

I think so.

Did you talk to the replacement?

The replacement?

I barely spoke to her.

What's she like?

Is she better than María?

I guess so.

Is that all you're gonna say?

I had a lot of fun, Mom.

I told you it was a good idea.

I'm very proud of you.

Get some rest.

Good night, sweetie.

IRENE
THIS WAS MARÍA

I was going to ask for silence,
but you went quiet.

Well, as you know,

we don't have
resident choreographers in the company

because we always want
the best creator for each production.

There isn't a soul in the dancing business
that doesn't know the name and work

of Erik Christensen.

He's choreographed the most
cutting-edge productions of recent years.

I could rave about his plans for us,
but it's best he tell you himself.

Erik, all yours.

Good morning.

First of all,

I'd like to ask you to focus

on this.

This moment.

Our present moment.

A present moment that must be Giselle.

Just Giselle.

Who can tell me something
about this story?

Not even Giselle herself?

Yes.

Giselle is the story of a peasant

who gets her heart broken
by a man named Albrecht,

and that makes her spiral into madness.

And death.

Okay. But is that it?

I'm sure there's more you can tell me.

There's also the Wilis, right?

What are the Wilis?
What do you think they represent?

The Wilis are the spirits of the woods
that welcome Giselle when she dies.

Their queen's name is Myrtha.
And they're the women that died unmarried.

So today…

No one dies for that reason, right?

Our Wilis will be dark, beautiful,
but cold creatures.

A mix between a nymph and a vampire.

Don't get me wrong,
what Irene said is true.

And you are right too.

But that's just the surface.
Giselle is so much more.

It's a story about betrayal,
forgiveness, death.

That's why I'd like to ask you

to think about what we love.

We love our family.

We love our mothers.

Our partners.

We love dancing.

Now, let's get started.

I can't wait to see what you've got in you

and why you should be
a part of this new Giselle.

Shall we?

I like her for the role of Myrtha.

Stop.

What's the matter?

Irene?

Yes?

She hasn't looked at you once.

Albrecht has to be a powerful force,

unintentionally destroying
everything in his path.

And this Giselle

hasn't looked at you once
while you danced.

Again.

From the entrée.

I want to see a dancer doing his job.

Listen. A danseur, not a ballerina.

We have those already.

She looks like a good Wili of the forest.

Sorry.

He called again.

-He did?
-Yes. And threatened to come here.

I didn't know what to say, Norma.
He was out of it.

He wouldn't dare.

Don't take his calls anymore, understood?

Okay.

Thank you.

You're a perfect Wili.

What's wrong?

I don't like watching myself.

You make it look so easy.

I've had a trick for years.

A trick?

Yes, but promise me
you'll keep it a secret.

I promise.

Really?

Of course.

What's the matter?

Don't make fun of me.

I'd never make fun of you.

Come on, tell me.

Well,

when I close my eyes,
it's like I stop thinking.

I go to a place I've imagined before,
and only I know.

Sometimes I don't want to come back.

You know that feeling of being in a place
where no one can hurt you?

That doesn't exist.

Why not?

It's my place, and nothing can harm me.

Nor you, if you want.

Why would anything harm me?

Because everyone wants to be Giselle.

But only you get to be her.

This one's free.

Yummy.

Hands off. Call your sister, please.

Irene, dinner is ready!

-Did you get salmon?
-Yes, here you go.

-Are you okay?
-Yes, I'm just tired from rehearsal.

Dad, you know I can't handle wine.

Just a little to toast.

Knowing how to enjoy yourself
is what you can't handle.

Okay, then.

That's what wine is for.

We couldn't celebrate the other day.

Yes, one of your father's clients
insisted on inviting us to dinner.

He wouldn't let it go.

It was a very tough trial, Rosa.
Of course he was delighted.

As should you be.
You won, didn't you? So that's that.

Let's make a toast.

Yes.

-To Giselle.
- To Giselle.

To Giselle.

It's delicious.

I have a question.

For how long can you do
this Giselle thing?

For as long as Norma lets me.

Isn't it a teenager or child character?

Yes, but that doesn't matter in ballet.

Are there any adult characters
in the story?

-My mom, but she doesn't dance.
-I see.

Enjoy what you're going through.

Things go by quickly,
and you miss them when they're over.

I just got the part, and you're
already talking about me losing it?

-No one said that.
-Of course not.

But at some point,
you'll have to work in something

that won't run its course
by your mid-thirties.

If you want to be a civil servant,
I'll leave you my notes.

I'm joking.

But Dad has a point. I don't know what
a dancer does after retiring either.

I really don't know.

-I thought I'd become a choreographer.
-Interesting.

That's cool.

A choreographer?

-Yes, a choreographer. What's wrong?
-Nothing.

How many dancers
are there in your company?

I don't know, around 50.

Fifty.

And how many choreographers?

One.

No further questions, Your Honor.

Come on, have some wine.

Choreographer sounds awesome.

-It's great, right?
-Wow.

He has vineyards, right?

His family does.

It sure is delicious.

-Yes, it's very nice.
-It's good.

-Give me your glass.
-Just a little.

It's so good.

Do you like the wine, Lidia?

Yes, it's delicious.

He's your father.

You can't blame him
for wanting the best for you.

He's just worried. It's normal.

What if he's right?

About what?

About it being too short-lived.

Well, if it ends, so be it.

You'll find something else.

Can I be honest with you?

You know the only thing
I don't like about the play?

What?

That Giselle is a woman
who goes mad over the love of a man.

I don't know.

I know these classical ballets
are like that, but

we always end up looking dumb.

Well.

I'm gonna get some rest.

Don't be hard on your father.

He might be clumsy with words,
but he loves you dearly.

And so do I.

Congratulations.

-They are beautiful.
-Thanks.

These are from my first performances.

I actually made this dress.

Really?

I'd make them.
My mother was a seamstress. She taught me.

And this house is hers.

-Is it?
-I inherited it from her.

We kept everything, even the shoelaces.

This one is very beautiful.

Good times.

I was looking forward to meeting you.
Aurora talks a lot about you.

All the time.

Majorca.

We were doing The Firebird.

It was a very small and simple production,
not like what you guys do.

The school couldn't do much more.

But you all seem happy.

We hated each other's guts.

Really?

See this girl on the right?

They put glass shards in her shoes
when she was chosen to be Anna Karenina.

This is Laura.

They broke her maillot
right before going on stage.

I've even seen mice inside a locker.
Dead ones.

Is that why you left?

I fell hard.

I put too much trust in the wrong person.

Was it on purpose?

Those were good times.

Let's eat.

Irene, you're rushing
through the preparations.

You need to slow down.

I'm trying.

Stop trying and do it.

I'm not changing the choreography for you.
I know you can do it.

Okay.

From the top.

Stop.

Irene, it's still not right.

If your preparation isn't correct,
Israel can't help you.

Okay.

Do I have to find another Giselle?

No, it's not that.
We just need to rehearse more.

We don't have time.

I either solve this now
or find myself another cast.

Let's go again.

That's it. It was perfect this time.

You synced with the music,
and you were in character.

You see? You can do it.

Yes, you got it.

You should consider the choreography
as a matter of life or death.

Okay?

That or you're back to the dance troupe.

Understood?

Let's do it one last time.

I don't get it.

There's nothing to it.
You got it right, that's all.

No, it happened when I saw you.
As if I wasn't afraid anymore.

Afraid of what?

Disappointing them.

Not being able to deliver.

See?

Nothing can harm us there.
Now it belongs to both of us.

You think so?

I'm sure of it.

I'm also sure of it.

100% sure.

About what?

That you're gonna love this.

-What's this?
-An amazing production.

You have to see it tonight.

It'll blow your mind.

-Why are you so sure?
-Because everyone loves it.

It's just that
we're not like everyone else.

Okay, "special girls,
unlike everyone else,"

you've just earned a discount.

Nice.

You must be part of the company, right?

-Yes.
-Okay then, we have a good reason.

Thanks, but we're really busy
with rehearsals.

Oh, you rehearse at night?

-No, but…
-What's the discount?

Nice. A little initiative.

A classic two for one. What's your name?

Like Sleeping Beauty.

I'm Irene.

Hi, Irene. I'm Jon.

I'll put Sleeping Beauty on the list,
and you just have to pay one ticket.

This company is nuts. I'm telling you,
none of that classical stuff.

Like nothing you've ever seen.

How do you know what we've seen?

I know for sure you haven't seen this.

Well then,

eight o'clock?

All right, then.

Don't be late.

Eight o'clock.

Bye, Jon.

Bye.

-Hi.
-Hi.

Check this out. It's amazing.
Tonight at Garaje Lumière…

NEW GARAJE LUMIÈRE

-Hi.
-Hi.

-Your names?
-She's on the list. I'm paying.

Aurora Ruiz.

I'm sorry, you're not on the list.

And what about "Sleeping Beauty"?

That one is. Welcome.

Thanks.

-So he didn't want to meet you?
-No, but I don't care.

He left when my mom
told him she was pregnant.

I don't know my dad either.

You don't?

My mom never wants to talk about it.

You're in luck
because I know the method to get over it.

Yeah, well…

-Wanna know what it's called?
-Sure.

Hold this.

What are you gonna do?

It's called the…

"fuck them" method.

-I like it.
-You do?

-Yes.
-It's very useful.

For example, if your dad
never attended your birthday parties…

Fuck him?

Fuck him.

If my dad never helped me with anything…

-Fuck him!
-Fuck him!

-Fuck him!
-Fuck him!

-Okay, now you try.
-Okay.

Here.

My dad's never seen me dancing on stage.

-Fuck him!
-Fuck him!

-Fuck him!
-Hell yeah! Do you like it?

I love it.

Did you hear that?

She loves it!

Watch the canon.

Better.

Accent on head.

Up.

More tension in the hands, Wilis.

Up on the tips of your toes.

Stress on the accents.

And stinger.

Vigorously. Out.

And up.

Bourrée in place.

Don't rush.

Sorry.

Are you okay?

Ruth, you have to be very careful here.

Myrtha only walks
around the Wilis while they dance.

-Okay.
-It's important you don't get in the way.

-I'm sorry, but she was in the way too.
-Ruth.

Ruth, you need to focus
on what we're doing,

or we won't make it to opening night.

-I am focused.
-No, you're not.

You're very angry,
and it's making you lose focus.

So take all that spoiled-brat rage
and pour it into the character.

Myrtha needs it more than you do.

Do you think you can do that or not?

Come on, girls.

Let's take it from the top.

-For God's sake, I have to see Norma.
-You can't go inside.

I'm coming in.

I'm coming in!

No, Óscar, what are you doing here?
You have no right to be here.

Of course I have the right.

I've been calling for three months.

Three months to get
my daughter's things back.

Are you drunk?
I won't allow you to make a scene--

I won't allow you
to steal her things from me.

She was my daughter.

My daughter.

Not yours.

Should I call the police to retrieve them?

Sir, it'd be best if--

-Don't touch me!
-Okay.

I don't know who the hell you are,
but stay out of it.

Are you going to torment me
just like you tormented her?

What would you know about her?

You fucking bitch.

This woman will ruin your lives.

Every one of you.

Don't you doubt it.

You continue.

Let's go.

Okay, from the top.

Excuse me.

Yes?

I just wanted to say
I really admired María.

Thank you.

Excuse me.

You remind me of her a lot.

A lot.

Wait!

NOTEBOOK FOR GISELLE MARÍA POZA

I don't get how María
could have feelings for this bitch.

She wasn't always like this.

Stop defending her, Irene.

Or do you really think
she pushed me accidentally?

ACT II

This isn't ours.
We should return it to María's dad.

If this is Giselle's notebook, it's yours.
Who is Giselle now?

Don't say that.

It's not mine.

It is now.

I'm sure María left it for you
as an instruction manual.

SANTA MARÍA RESERVOIR

THE FOREST OF THE WILIS

-"The forest of the Wilis."
-"The forest of the Wilis."

Now I understand
why María loved this place so much.

It's very beautiful.

-Was this her mother?
-Yes.

She was American.

She went back to the States
after divorcing María's father.

She adored her.

Did you meet her?

Not much.

When we went to New York on tour,

she always came to the shows.

Hey.

Do you like your parents?

I mean, you don't get the choice.

I know, but do you like them?

I like my mom, but…

I don't have much in common with my dad.

What about you?

Do you like your mother?

Sometimes.

I don't know if she likes me though.

She totally loves you.

My mom loves how I dance.
That and me getting into the company.

You know what I think?

Fuck them.

Fuck them.

-Fuck them!
-Fuck them!

You know what?

We could stay here forever.

It'll be our safe place.

We can be whatever we want here.

No one can harm us here.

I like it here.

This is…

…ours.

Unique.

Forever.

Hurry!

-Hurry up, please.
-It's okay, relax.

One second.

-Irene, hurry, please.
-It's okay.

Oh my God.

-Got it?
-Yes.

-You sure?
-Yes. Done.

How does it feel?

How does what feel?

This?

No, with someone.

Sex?

Yes, that.

Sex.

I don't know.

To me, it's like dancing at the club,

and I prefer doing it on stage.

I've never…

-Never danced at a club?
-Yes, I have. With you.

Maybe you should do it
with someone else, Sleeping Beauty.

Didn't you give him your number?

I did.

But he hasn't called.

Did you call him?

Isn't it chilly in here?

-When's the last time you saw him?
-That day.

Today's Saturday, right?

Yes, why?

NEW GARAJE LUMIÈRE

-Are you sure this is a good idea?
-I'm sure.

What if he says no?

Quit playing and go already.

Your backpack.

You won't be sleeping at home tonight.

See you tomorrow.

Excuse me, we're closing.

Is Jon here?

He'll be out soon. Wait here, please.

Help!

Are you okay?

Help!

Are you okay?

Please, help!

ACT II

Hi, I'm Pedro Ángel Sánchez from El País.

Hi.

Ready. Can you say something
for soundcheck?

Yes.

Hi, I'm Irene Solís,
and this is the National Classical Ballet.

And I am…

How are you feeling?

-I'm fine.
-Yeah?

How was your week?

I've been rehearsing a lot.
Dancing is like that.

What do you mean?

It's challenging.

Challenging or too hard?

Nothing's too hard
when you're living your dream.

A dream?

How was it?

Everyone was made of glass.

But I felt fine.

Why?

Because no one made fun of me.

Were you alone?

I was with Irene.

Tell me, for example, who Irene is.

Irene is a normal girl

with a normal family

and a not-so-normal job.

And that's it.

And Giselle?

Giselle is a woman who

spirals into madness and death
because of a man's betrayal.

You feel like he betrayed you?

But you barely knew each other.

I guess.

Aurora, do you understand that the texts
you've been sending him since then

are wrong, that they aren't…

fair?

And that this hurts you even more.

Well, pain is part of the job,

just like any emotion
we have to convey from up here.

Do you think of anyone in particular
when you feel that pain while dancing?

I think

about how tough it can be
when you miss someone.

Look.

The thing is,
I can't continue treating your daughter.

Or, at least, shouldn't.

And why is that?

I've only been treating her for a month,
but I think she should see a psychiatrist.

-When did she last see Irene?
-The day of the accident.

Perfect. Keep it that way.

The sooner she breaks the bond,
the sooner she'll be back to normal.

The number you are calling
is switched off or unavailable.

Aurora, please let me know
when you turn on your phone.

I miss you. I need to know you're okay.

I only know
what they tell us at the company.

You never forget your first time.

How are you feeling?

I could feel better,

but it's like I'm dizzy.

Or afraid.

-Isn't it the same thing?
-No.

It isn't.

Let's go home.

I'll get you a drink.

-I shouldn't. I have class tomorrow.
-No. You have class right now.

You were great today.

The Paris Opera House.

She did 12 reverences.

I've never seen anything like it.

Thanks.

Can I ask you a question?

Do you want to?

Why did you choose me?

Because you're the best.

I'm not.

-Ruth is the best.
-Ruth is a perfect Myrtha.

But you're a lone warrior, like Giselle.

Like me.

How's your mother?

She hasn't come by the company in a while.

She's doing fine. Busy with work.

My parents didn't
take me seriously either, Irene.

They never did.

Even as I ended up directing

the most important
dance company in the country.

That's why you have to be strong.

Norma,

I don't know if I'm strong enough.

Come.

I want to show you something.

What do you see?

I don't know. Me.

What else?

I don't know.

Stop bottling up your feelings.

You can tell me anything.
This is your space.

María struggled too,
but she eventually did it.

I don't know if I'm able enough.

If you weren't,
I would never have chosen you.

You're the only one that thinks so.

What's important is that we think so.

And that you trust me.

I'll take care of you, no matter what.

I didn't choose you.

María did.

The night before she left for New York,

she told me
that you'd make a perfect Giselle.

And she was right.

María was perfect. I'm not.

If she were perfect, she'd be alive.

María could have been immortal.

She had it all.

Your friend Aurora too.

But no…

They both threw it all away.

It wasn't Aurora's fault.

It's strange, but

when we're together,
it's as if nothing can harm us.

Stop making yourself
responsible for other people's lives.

You are this company's principal dancer.

That means you must learn to be alone
and not depend on anyone.

Principal dancers don't have
friends on stage, Irene.

I don't like what happened to her,

but I'm relieved you had to split ways.

She wasn't a good influence on you.

Things happen for a reason sometimes.

Take this.

This is for you.

I want you to write down
all of Giselle's thoughts in there.

What she's like.

The things she likes.

The things she fears,

the ones that help her get out of bed
in the morning and keep her up at night.

All of that will help you
forget about Irene and become Giselle.

Until you're in her head,
you won't be her.

That's your only job.

-Norma…
-Class dismissed.

Does it hurt?

It stings a little.

See? That's because it's healing.

Doctors get it wrong sometimes.

And you're very young, Aurora.

In a few months,
everything will be back to normal.

And I'll be able to call Irene?

Of course.

But, at the moment,
the phone is nothing but trouble,

so I'll keep it for the time being.

The therapist asked what would happen
if I could never dance again.

That man is useless,
and we're not going back, okay?

He keeps insisting you see a psychiatrist.
You broke your leg, not your head.

What if it's true?

What if he's right
and I can never dance again?

That's not happening to you.
That's not happening to my daughter.

-Mom!
-Yes?

Now it hurts a bit.

I'm sorry.

Shit, I'm sorry.

What the hell? Can't you knock?

-Sorry, I thought I could enter.
-Well, you can't, okay?

Okay, I'm sorry.

I just wanted to know how you were doing.

Great. Awesome.

I'm glad to hear that.

It went great for me.

What did?

The exam, Irene.

When is it?

Yesterday.

The waist.

-All right, arms down.
-So?

You're keeping in shape.

Can you finish that later?

Of course.

Go, we'll finish later.

Yes?

I need Giselle's costume.

-Which act?
-Second.

Okay.

Give me a second.

-Has she tried it on yet?
-No.

It's her turn in 20 minutes.

Bring it down a size.

She still doesn't realize what's at stake.

God.

Be strong.

Be strong.

No. But there's a cool bar nearby.

-Yeah? Okay.
-Yeah.

Well, see you there.

Okay, great, see you there.

-Bye. Thanks.
-You're welcome. Bye, see you.

There's an exhibition at Garaje Lumière…

-What are you doing?
-I'm working.

-Do you have to come here?
-I don't pick the spot.

I can't. I'm very busy.

Seeing yourself must be really something.

I noticed her name is missing.

How is she doing?

-What do you think?
-I don't know.

You tell me.

How is she?

Irene,

I'm sorry, but it's not my fault.

I think Aurora's great,
but it was just one night.

One night and two kisses.

Sure.

"Fuck her," am I right?

Irene, I'm not a bad guy,

but texting me like that over something
that only happened in her head isn't fair.

What texts?

You're her friend, you must know.

She didn't mention it?

-When did you last talk?
-Why do you care?

I don't care, actually.
But I bet she does.

I have to go. This area is huge.

Oh, and

break a leg.

Yes?

Pilar, it's Irene.

One second. I'm coming down.

Hi, Pilar.

Aurora is resting.

Can I see her?

It's not a good idea.

Why not?

You know what happened
the last time you were together.

I just want to apologize.

Please.

Well…

-Irene?
-Aurora, go back inside!

You came.

Mom, let her in.

Please.

You want me back in the company, right?

Irene can help me.

That's why she's here.

Right?

Yes.

Mom, please.

Mom.

It doesn't hurt as much anymore.
It's actually a lot better.

What's this?

It's just a splint.

It's not comfortable to walk in,

but my mom said if I wear it,
I might be able to dance soon.

I missed you.

I missed you too.

-Why didn't you come sooner?
-I didn't have the chance.

Norma doesn't allow any distractions.

Including me, right?

It wasn't your fault.

I left you alone. And look what happened.

That's why we can't be apart again.

Norma gave me an identical one.

This notebook is one of a kind.

What does Giselle want?

What does Giselle want?

Giselle just wanted to dance.

But…

Careful.

Okay.

-Ready?
-Ready.

I need you with me on opening night.

I can't do it without you.

They all want me to fail.

Of course I will.

Swear it.

I swear.

I miss our place.

Me too.

But beware.

They're after you.

Her mom's a judge, and her dad's a lawyer.

I don't think--

I imagine they must know.
She must've told them.

Hello.

She's an asshole.

-She totally caught us.
-Fuck her.

Did you see her face?

No, no, stop.

Stop.

I don't like it. Again.

Let's start from the drop.

Stop.

I don't need you to jump.
I need to see you fly.

I need to feel
you're going to take off and disappear.

Yes, you dance with your soul.

You don't just follow steps.

Again.

Stop. No, it's not working.

Enough.

It isn't working.

Why don't we take five, Norma?

No, I can't because I'm meeting
our press manager in ten,

and I don't feel like
postponing the premiere.

This depends on you.

The work of your peers depends on you.

The whole company does.

Again.

And I don't want any funny looks.

Can we take it from the arabesque, please?

Shit!

Are you all right?

Yes, I think so.

Can you move?

Stand up.

How's the foot?

-Okay.
-Yeah?

Irene.

I'm sorry, I slipped.

-Don't fucking touch me!
-It was an accident.

-It was?
-I'm sorry. Yes, an accident.

-This is what you wanted, isn't it?
-What?

Say it. Weren't you talking about this
in the dressing room before?

-You don't know what you're talking about.
-Ruth.

One second.

Irene, please.

These things happen.

Luckily it was nothing,
and we can continue.

Continue?

-You want to continue after this?
-I'm sorry, but we have to.

You know we have very little time.

The dress rehearsal is on Tuesday.

-Don't you see it?
-See what?

Irene, there's nothing to see.

-I told you it was a fucking accident.
-It wasn't a fucking accident!

You're losing it. Don't ever
talk to me like that, crazy bitch!

-What did you say, you son of a bitch?
-Irene.

-Norma, tell me you saw it.
-Irene, that's enough.

She's after me. And you all know it.

My goodness, you're just as crazy
as your friend.

Irene.

Goddammit!

Off the stage.

-But, Norma, tell them why.
-Enough.

Tell them why you chose me as Giselle!
I want them to know!

One more word,
and you're out of the company.

Your rehearsal is over.

Leave.

You were right.

We were talking about you earlier,
but not in the way you think.

I'm asking Norma
to take Israel off the first cast.

Israel didn't do anything.

He'd never let you fall.
He's a professional.

You were there. You saw it.

I saw a dancer
who doesn't trust her partner.

So I should trust you, the one leaving
broken glass on my shower floor?

That wasn't me.

I told the person who did it
that it wasn't funny. It was dumb.

-I don't believe you.
-You don't believe anyone.

Not even in yourself.

You never accepted
that Norma chose me to replace María.

I think you're the one who never did.

With that attitude,
you'll end up like María.

How is that?

Dead?

I'm sorry.

You wanna know what we were discussing?

That we don't like how hard
Norma is pushing you,

and you should do something.

You're upset because
she didn't choose you for Giselle.

Is that your revenge?

Getting rid of any director
that doesn't choose you?

Look, I don't like you.

And you don't like me.

And it seems we'll never get along,
but I don't like to see you suffer.

Who says I'm suffering?

-Why would I?
-For the same reason María did.

Norma's method isn't healthy.

The damn stage
is the only thing she cares about.

But when we get off the stage,
we have to go back to the world.

Hasn't she already told you
you're better off alone?

María believed her and isolated herself.

Don't let Norma do the same to you.

Why are you telling me this?

Because I never said it to María.

She might still be with me if I had.

She isn't coming.

I'm sure she will.

Let's be patient.

We've been waiting half an hour.
She isn't coming.

This isn't like your sister.

Something's wrong.

What's wrong is that
she's not interested in this family.

Did you call her?

She's not answering. It's switched off.

Shall we order? I don't have all day.

Let's give it a little longer.

Five minutes?

All right.

Rosa, we've waited enough.

We're celebrating Lidia getting the job,
with or without Irene.

She wasn't going to eat anyway.

She'd just throw up later, as usual.

What's that nonsense, Lidia?

Yeah, it's nonsense. Sorry, Mom.

Forget it.

Can we order? I know what I want.

You came to the right place.

Not everyone understands this career.

The hours you put into it,
how tough that stage is…

What's wrong?

Nothing.

I just missed it, that's all.

Done.

Thanks a lot.

-Feeling better?
-Yes.

You could move in with us.

That way, we could
sleep together every night.

What would your mom say?

She'll say yes.

It'll be as if nothing happened to me.

Shit, Mom.

Where were you yesterday?

I hope you apologized to your sister.

I will, but you knew I was rehearsing.

I don't like you barging in.

I don't like not hearing from you
for so many days.

What do you want to know?

I want to know how you're doing.

-I'm busy, Mom, can't you see?
-No, I can't, because you're never around.

It's easy. I have rehearsal today,
tomorrow, the next day,

and every day until opening night. Happy?

Can you stop that
and look at me for a second, please?

Irene.

What do you want?

How are things at the company?

Is everything okay?

Yes. Everything's okay. Why?

I don't know.

We never talk anymore.

Do we have to talk now?

I can't be late. I don't want Norma
to warn me a second time.

Why?

Is she being hard on you?

Like always.

Why so many questions?

I got a call at work
from a dancer at your company.

Her name's Ruth.

What?

How is Norma treating you?
Don't lie to me.

Mom, don't believe
anything that bitch says, okay?

-That girl just wants to help you.
-Help me, Mom?

-You really believe that?
-What else would she want?

To screw me over,
which is what they've been doing

since Norma chose me as principal.
That's what.

No, Irene, they don't.

They just want to help you.

How are they helping me?

They want to report Norma.

-Report her for what?
-For the way she treats you.

Irene, how is Norma treating you?

Please.

What do you want from me?

Tell me, and I'll do it
so you can all leave me alone.

Just tell the truth.

And what's the truth, Mom?

It seems to me the truth
is with anyone other than your daughter.

-Excuse me, I have to go.
-Listen to me. Please.

Your father is very worried. I'm worried.

You know what I'm worried about?

Opening night.

And no one in this family

has asked me how I feel about that.

No one!

I don't have much time,
but they said it was urgent.

You know what this is?

A notebook with the measurements
of my daughter's belly and hips.

She takes them daily

as if her life depended on it.

Because her life does depend on it.

So what they say is true.

About what?

About how you're never satisfied.

Your daughter knew how I was from day one.

The whole company knows.

That's why they give their all
to be a part of it.

They know we are making them better here.

-No matter the consequences.
-What consequences?

Art must be an obsession.

Otherwise, it isn't art.

It's entertainment,
and we're not here to entertain.

We have the monkeys at the zoo for that.

And now, if you'll excuse me…

I'm here to talk.

Now.

If you refuse, I will press charges.

You know I can do it.

Press charges for what, Rosa?
For a notebook?

For María's death.

To prevent it from happening again.

I'd appreciate it if you'd leave me alone.

You know I have a hand
in every court in Madrid.

I can force you to testify.

That's none of your business,
and certainly not a court's.

As you wish.

But may I remind you that a court
can order up to an eight-year suspension.

Eight years away from any dance company

or any dancer.

Eight years.

That's a long time, Norma.

It's up to you.

Very well.

As you wish.

I have two minutes.

Sit down, please.

I'll be brief.

What happened to María Poza?

Why did she do it?

Straight to the point, I see.

I don't have much time.

María pushed herself.

But she didn't suffer.

She didn't know any other way.

She was pure instinct and passion.

Her passion was dancing.

There wasn't room
in her life for anything else.

Including friends, partners,

or a mother who was dying of cancer.

I didn't know.

No one did.

The last thing María wanted
was people feeling sorry for her.

She told me because
she needed my permission

and my word that I'd wait for her.

Otherwise, she'd never leave a production
to go to New York and take care of a woman

who had only a few days left to live,
according to the doctors.

She was there for four months.

And never returned.

Maybe she didn't want to.

Of course she wanted to.

All María wanted
was to come back and dance.

More than anything.

Have you ever had that feeling, Rosa?

Loving your job more than anything else?

Until it hurts?

Until your feet are bleeding?

Until your skin falls off
and you love it all the same?

Have you ever felt that way
about any of your trials?

Not for a trial.

For Irene, yes.

You wouldn't know
because you don't have children.

My dancers are my children.

I hope you won't judge me for that too.

No, I won't.

But I would die if any of my children
jumped off a roof.

Is this how you win your cases,
by manipulating people?

Is this how you run this company?

Is this how you directed
my daughter and María?

Yes, of course it is.

I manipulate them.

That's my job!

How do you think
you turn María or Irene into a star?

A common dancer into an unforgettable one?

How do you think that happens?

I'm taking you to court.

Take me wherever you want,
but I didn't kill anyone.

She jumped because of what she did.

What she did?

What did María do?

Norma, what did María do?

This career isn't kind to anyone, Rosa.

It takes years to build a career
and a second to forget it.

Four months is a long time.

I set a date.

If María didn't come back,
another Giselle would do her part.

Okay.

It scared her.

She was afraid.

Afraid the company
would move on without her.

That she would ruin her career.

That all those years of hard work
would lead to nothing.

Her mother was only suffering.

She just had to let her go.

So she killed herself
because she felt guilty.

Because she felt like a monster.

You're the monster.

You pressed her.

You set the deadline.

Many families depend on this company.

Many.

You can't stop a company like this.
This isn't a game, Rosa.

How do you know all that?
Am I supposed to take your word for it?

Not my word.

Take María's.

Norma, I hope you get this message.

I did something terrible.

I stood there, looking at her.

Her eyes, Norma, I…

I just let her go.

You love Irene
because she's your daughter.

I loved María as if she were mine.

It's my only way of taking care of her.

I want her
to be remembered for her talent,

as I do with all of my dancers.

You want to blame me
for the sacrifice it takes to be a dancer?

So be it.

Let them say I'm a tyrant.

I'd rather they think
María jumped because of me

than because of what she did.

Don't take this company away from me.

It's all that I have.

It's all that your daughter has.

I'm very worried about Irene.

I'm sure you are.

Your job is taking care of her.

Mine is taking care of the company.

And I have to keep doing so.

Allow your daughter to have one night.

Opening night is tomorrow.

Tonight, forget about everything
that has happened.

All that matters now
is the audience and Giselle.

Relax.

You'll be great.

Welcome. Thank you.

Hello.

Thanks.

I'm going to the bathroom.

-Do you need help?
-I'm fine, don't worry.

Sorry, you can't go in.

-I'm with the company.
-I'm sorry, no one's allowed.

How are you?

I'm fine.

-How's your leg?
-Can I come in?

I don't think that's a good idea.

Erik, I'd like to see Irene,
just to wish her good luck.

Being inside won't do you
any good, trust me.

Please, let me in.

It's up to you.

She's in the back.

-Go on.
-Thank you.

I thought you weren't coming.

I swore I'd be here with you, didn't I?

Stay here, please.

There's a lot of people.

Relax. She's worked very hard.
She'll be great.

Ladies and gentlemen,
the show is about to start.

Goddamn! Why don't you
dance like that in rehearsals?

-Norma, let go of me.
-Come here.

Norma, please.

I'm allowed to be here.

You're hurting me. Norma, let go!

Calm down!

-What are you doing here?
-Erik let me in.

It's company staff only.

I'm in the company.

Aurora, I already told your mother
about your new circumstances.

What circumstances?

We'll discuss it later.

Go back to your seat now.
She must be waiting for you.

No. What did you tell my mom?

That doesn't matter now, Aurora.

You need to go back to your seat
and calm down.

You don't get it, right?

Irene and I are connected.

When she dances, it's like I'm dancing.
She needs me by her side.

Irene just needs to focus,

and you need help,
or you'll end up jeopardizing us.

-For the last time, go back to your seat.
-Norma.

What are you doing?
You have to change for your next scene.

Let her stay, please.

When you leave and change.

Do you want to ruin your friend's night?

Do you want to ruin
the premiere with your fantasies?

We need to be together.

So when I dance in the company again--

You will never dance again.

That's not true.

Right, Irene?

You will never dance again.

If your mother hasn't told you,
it's because she's in denial.

They told us on the day of the accident.

-Norma, stop it, please.
-Go change.

-You have to change for your next scene.
-You're lying!

I'm sorry, Irene.

-Get out, you monster!
-Let go!

Get out of my theater!

-Out!
-Let's go.

Stay away from her!

Leave her alone!

Irene, you have to go, now.

Everyone is in the dressing room. Run.

No one will ever separate us. Never.

Have you seen Norma?

No, not for a while now.

I saw her in the tailor's room.
She was with that girl.

Excuse me.

IF I COULD TELL YOU WHAT IT MEANT,
THERE WOULD BE NO POINT IN DANCING IT.

Subtitle translation by: Felipe Mathews