Original subtitles

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Senor Veron?

- Do you speak Spanish? - Very little.

We're in Paris, so let's speak French.

I wanted to say you move like an angel.

Thank you.

But it's more than that. You give, but not too much.

You use your presence on stage like an actor on film.

Walk, just walk.

It's difficult to walk backwards.

So let's walk forwards.

Now I feel I can't walk at all!

Find your centre.

Good morning.

A coffee...

A croissant.

- Any in black? - Black? Yes, I have black too!

Another nice model. I'll be right back.

It was a real pleasure.

Good dancer.

Good morning.

Lots of faxes, huh?

Do you think people's paths cross for a reason?

It depends if you believe in chance or destiny.

What do you believe?

I believe chance gives us the opportunity

to create our destiny.

- How? - With our will.

A question.

You believe in God?

Good luck in Hollywood!

I'm abandoning my film.

Really? Why?

I don't like the script.

Wasn't it your idea?

I wrote a film I wouldn't want to make.

So what will you do?

I don't know.

Something more personal.

Maybe something about tango.

I didn't notice how late it was. Where are you?

I waited where we said.

No, I'm sure we said...

OK, fine. It doesn't matter.

Good night.

Who is it?

We should define our relationship more clearly,

set some limits.

I agree.

You know, I also wanted to say something.

I have had difficult experiences before,

when I mixed the professional and the personal.

It's dangerous.

It can be.

It can destroy everything.

You know...

I think...

it's better to sublimate our attraction into our work.

Let go!

Stop thinking.

Less tension.

Do less.

I'm not doing anything!

You're blocking, leaning, doing too much.

You're using too much force.

Just centre yourself.

Why are you moving your head?

Follow me here.

Here.

Couldn't you encourage me instead of criticising me?

I'm trying, I'm really trying.

You should simply let go.

Let go! Let go!

I'm trying to!

- Yes. I know. - I'll let go.

You're doing it alone.

Wait for me.

Very good.

Right away.

More direct.

More prepared.

More direct.

No, don't move your arm.

There's a moment as if it stops.

Stay there. That's the idea.

Stay there?

- Why are you stopping? - Because you are.

I'm not. I'm ready.

You are stopping.

That's it!

- Better? - Much better.

It was very good.

For a first time.

Very good.

Why are you afraid of me?

I'm not afraid of you, but of your weakness.

What weakness?

Your emotional weakness.

I'm not weak, I'm expressive.

Could I direct films if I were weak?

I've never seen you direct.

What?

You don't know how to recognise what I do.

I have eyes. I haven't seen you do anything.

You don't know how to use your eyes.

You only want to be looked at.

Not to look. That's why you don't see.

That's why you know nothing about film.

You know nothing about tango.

You know nothing about me.

Maybe I don't want to know any more!

Then it's over between us.

What is?

Exactly.

You've been using me to live out your little fantasies.

Bullshit!

Sure. Anything else?

Ladies and gentlemen...

...after seven years...

...our very own Pablito Veron is back!

A big round of applause for Pablito Veron!

You really don't know what kind of film it'll be?

Not yet.

What did you tell the producers?

Lies.

All right, Pablo.

Shall I teach you something?

Yes, of course.

Say to me, "I am a dancer."

I am...

Why? You know that already.

Suppose I write a scene

where I tell you something important for me,

that I feel I'm a Jew.

And I say to you, "And you, Pablo?"

And you reply, "I am a dancer." Pause.

And you add, "And a Jew."

I might say that.

Then a tear rolls down my cheek

and a tear rolls down your cheek.

A tear?

Maybe I don't want to do that.

Maybe I don't want to cry.

Anything else you don't want to do?

Tell me now, because maybe I don't want you in the film.

Maybe I don't want to be in your little film.

Fine. Then I'll start looking for someone else.

"Gallo ciego".

Pugliese.

- Where are you from? - London.

- And you know our tangos? - Why not?

You have to have lived,

suffered,

to understand our tangos.

Tell me...

...are you alone?

Is it true you're going to make a film about tango?

With Pablo?

Dance studio?

This is it.

I can rent you...

...this half.

Perfect, right?

What's going on?

Nothing.

You seem different.

We're working. Remember?

You seem absent, somehow.

Didn't you enjoy dancing last night?

It won't be possible.

- Are you sure? - It's closed. Nobody's here.

How about later?

I don't think so.

We'll wait.

And also I don't belong in France,

but I don't belong here either.

I'm afraid.

Afraid of what?

Of being someone without roots.

I don't know where I come from, nor where I'm going.

I'm afraid I'll disappear...

...without leaving a trace.

Perhaps that's why we met.

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