All language subtitles for sweet.dreams.1981.dvdrip.x264-bipolar.Eng

- SWEET DREAMS -

Oh! Oh! Finally!
You're here! You made it!

Is that where you showed the film?

- But the screen is dirty!
- No!

Excuse me, we'll be quick: Michele
has to go to another debate.

So, how does Michele work?
Without a script;

with actors nonchalantly
playing themselves

totally identifying
with the issues in the film

or, if you like, of the "non-film",

as we could define work
that develops as it's being made,

without a beginning or an end,

where the characters use cinema
as an instrument for self-analysis.

And the next one? The next one?

You've been taking it easy
for three years. Three years!

Always the same topics:
Young people, 1968, school, family!

After the first one you could tell
you needed a change,

but now it's mandatory!
Mandatory!

So what will you think up this year?

Show this film to a laborer
from Basilicata, a shepherd from Abruzzo

or a housewife from Treviso.
I'll take it to them.

Listen, I wanted to say something.

- You can come up here if you want.
- No, no, here's fine.

- There's a microphone here.
- Yeah, but I prefer it here.

They may not hear you from there.

Yeah, but I'm shy.

You want me to come closer to you?

No, I just wanted to say... You made
a lot of money with this film.

How much did you make?
Did you make a lot?

Well... it's difficult to quantify.
Too much. Too much.

- Shall we start?
- Please.

OK.

If there's someone
who'd like to speak up...

Sorry, but this film only shows rich
villas, with fine books, paintings.

Aren't there
any young factory workers?

Well, I prefer to...

But you do realize that
cinema is not your field?

You wanted to make
a film about young people.

If the young are like that, well...
You're like that!

You speak about yourself,

of your own personal, what's more,
very limited, experience.

But this film isn't
representative of youth.

In fact, I didn't want
to represent them.

I barely represent myself.

Maybe we can understand
your intellectual games,

these linguistic experiments.

But a housewife from Treviso,

what does she understand
of your new language?

What does it matter to her
after working all day?

She's tired in the evening,
and wants to enjoy herself.

- So, see you tomorrow at the cinema.
- All right.

- A single room, right?
- Yes. - Perfect.

- Bye.
- Bye.

Second floor.

I have a good memory for faces.
I recognized you immediately.

- It's ending, huh.
- Michele!

The manager, owner and cashier
of the only cinema in town.

How do you do? I never wanted
to show your film.

- Why not?
- It never convinced me.

Of course, today it's full, thanks!
10 films 3,000 lire.

But, you, I've figured you out:
You're not central enough.

You have to make films
for the general audience!

I choose the films myself.
Sunday there's always a full house.

- Well, I'll give you
my phone number. - Okay.

In a year or two,
when you've gone out of business,

call me,
I have to tell you something.

My films may seem
natural, spontaneous, improvised.

You'll never see the tension
and labor behind my work.

Excuse me. It's me...

Speaking of hard work,

do you think a laborer in Basilicata,
or a shepherd from Abruzzo,

will want to see this great film
of yours after a long day's work?

Me, I didn't understand it at all.

No, I...

The working class recognizes me!

Well, yes, actually I've been working
for many years at the Hotel Pine...

Hi.

Sandro, Michele.
He's the technician from Telenova.

This TV thing is important for us,
it's a cultural reference point...

See you later.

- Can I keep my coat on?
- Yeah, yeah, sure.

Tell us about the cinema?
Talk about the young people. Okay?

I know young people, I observe them.
They are a barricade against reaction.

They're vivacious, with an urge
to do things, to understand, to build.

I have a lot of faith in the young.
Sixteen-year-olds...

Sandro! Sandro!

Sixteen-year-olds are a bit sad.

Seventeen-year-olds, however,
read a lot of fiction.

Nineteen-year-olds...

Nineteen-year-olds are
rediscovering competitive sports

and I noticed that twenty-year-olds
have good family relationships.

Twenty-one-year-olds... Help!

Help!

Help!

- Who's there?
- Who's there?

- Who is it?
- Hi!

- How's it going?
- Fine. And how are you?

- I finally finished
the debate tour. - Well done.

- Well done?
- Well done, well done!

Now, you have to read
this article about you.

Look: "The Story of
an Honest Young Man", that's the title.

You can imagine what the article's like.
You see how they exploit your film.

Mmm. You could have waited a minute,
I've only just got here.

One minute!

Well, a certain Nicola phoned,

calling from a town outside
Rome, I don't know where.

A bunch of calls.

The first: "Please, I want to work
as your son's assistant on the film".

"Please, I can't come to Rome,
I don't know what to do".

A quarter of an hour later:

"This is Nicola from before, I want
to be your son's assistant".

"Now I wanted to tell you
I might be able to come to Rome".

"Anyway, please, you've
always been so kind to me..."

I couldn't see what
had made him change his mind,

or why he'd changed it like that...

Sorry, what am I doing here?
Talking to myself, how wonderful!

He certainly didn't use that tone.

"He certainly didn't use that tone".

Freud, the father of psychoanalysis,
who lives with his elderly mother.

Freud, living with his elderly mother.

Yes!

I figured out
who the guy from outside Rome is.

Hello? The story you had me read
is pathetic, forget the cinema!

But it's Nicola, the one who
phoned you several times before.

I spoke to your mother, who was
always very kind to me.

Well, so what?

I wanted to know if it was possible
to work on your film, as an assistant.

No, no, no, no. No!

But I just want to see,
I want to learn.

Uh, well! What do I care?
So long, good-bye.

So, Freud is working,

he's dictating his notes
to his daughter, Anna.

Yes.

Even in the classicism of the Italian
Enlightenment and Alfierian tradition

Leopardi holds
a leading position.

In him, we reach the highest level

of that tension
between progressivism and pessimism

largely implicit in the theory

and literature
on which he had been nourished.

Already in the great
Enlightenment thinkers of the 1700s...

I wrote this poem
this morning.

You know, friends?

In my life,
I have passed with indifference through

male bodies and female bodies.

So get out.

You too, right.

Already in the great Enlightenment
thinkers of the 1700s

hints of pessimism surfaced...
OK, chess players get out.

Not only historical-social
pessimism, but also cosmic.

Not only historical-social,
but also cosmic,

relative, that is...

Those who are eating, get out.

Relative, that is, to the man-nature
relationship, you really make me sick,

and to some inalterable facts.

You're really enjoying yourself?
You really enjoy yourself, right?

Tolerably well.

It's convenient for you,
even easy.

You calmly come here, no problems,
do your lesson and then you go.

So how are you different from those
who are 30 years older than you?

Not at all, I guess.

Aren't you interested in anything
that's outside your room?

What's happening in the world,
how people live?

You're only concerned with yourself.

You have no hope,
no illusions, no passions.

You are cold, your life is useless
and I despise you.

Three flasks of wine!

No, I'm just saying this to goad you.

You know everything about me, right?

I have to work on your film.

I really need to work on your film.

I'm doing a show
for schools.

Theater. Ionesco.

For a certain type of audience.

When does this film of yours start?

What does that mean? I need to know
when you're starting.

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

Everyone always says the same thing.

But I'm going to do this,
I'm sure of it!

You're surprised, huh?

Surprised to see Marco and me
here, talking so calmly,

like old times.

Yeah, actually,
I thought you two...

I'll be right back.

You know, we ran into each other
a few days ago

and we made love.

It was something... intense.

We didn't even think about it
at the beginning.

Then I moved closer...

- It's not necessary to go into...
- No.

Excuse me.

Look, you know Marco:
He's very proud.

Anyhow he's a truly
exceptional man.

Sometimes our relationship
is exciting

and sometimes heart-rending.

But there is a relationship,
it exists.

Yes, it's true.

I frequently went to that bar because
I had a good chance of being known.

Nobody knew
the horrible secret.

- Have you seen Don Siegel's
latest film? - No.

Full of clich�s, banality,
stock characters...

It's disgusting, a dreadful film.

- Pardon me, I know nothing
about cinema. - Then keep quiet.

Listen, I didn't see the film
because cinemas are too expensive.

Then they told me it was
like the first one, but not as funny.

And young people aren't like that,
the way you describe them.

- But did you see Don Siegel's
latest film? - No.

Now, that's something!

It's all based on clich�s,
banality, stock characters...

It's a real gem.
American cinema is great.

But I don't care
for intellectuals.

- I do. I adore them. Bye.
- No! No!

I have to say "Bye" first,

or it looks like you want to dump me.
Let's start over, come back here,

talk to me, you're talking...

Talk. Bye.

- What were you doing?
- I'm finishing a screenplay.

My God! Another one!

Yeah, I'm waiting for an answer
from France about one.

For the other one

the TV station's Board of Directors
hasn't decided yet,

but it feels like...

Then I have a project
for a country in the east.

I don't want to tell you about it,
just in case, but it's there.

I haven't made a film
in six years.

- Good morning, Director.
- Good morning.

Perhaps you don't remember me.

No, I really don't think so.

My film was at this cinema
for months.

Ah, yes! But you're so drawn!
What's up? Aren't you making films?

Why did you quit?

I want to show you something.

These enormous theaters are so sad
when they're empty!

But this way, the audience
no longer feels alone.

People are starting
to get out of the house again

and the cinema once again becomes
a place where you meet people.

Hello, how's it going?
We're starting in five minutes.

Do you know each other?

He's the director of the film.

He does exactly what you used to do
some years ago:

He comes, checks who's here,
watches the audience reaction.

Michele! Michele!

I'll wait for you there,

I can't support
your snobbish ways.

Well, what do you say, huh?

I think very highly of you, I respect
your opinion. What do you think?

Hey, you can't deny that
at a certain point the film grows.

The tedium of the story grows.

- But this is my first film.
- So what do I care?

Okay, you were the instigator,
you cleared the way,

but now there's a whole new cinema
coming out, from the younger crowd.

Anyway you were the first.

I wasn't the first.
I'm the only one.

Well, there are more of us, you'll feel
less alone, with less responsibility.

Basically, you and I
make very similar films.

Well, I wouldn't say so.

Uh, yeah.

Hello?

No, I'm working. Yeah.

Yes, the feminists protested
because you put

some naked women on the cover, right.

But I can't
get my picture taken nude as well...

Yeah, to demonstrate
that you also show men.

But no, yeah, yeah,
I'm a witty man... Yeah, yeah.

But no, no. No, no, no...
Huh? No. Let's forget it, okay?

Yeah, no, no,
let's forget it. No.

I know. Uh, fine, I'll make
a bad impression... Yeah, I know.

Yeah, not just shyness.
Yeah, uh... Good-bye. Yes.

Hurray!

Heard the latest? They asked me
to join in the alumni dinner.

And how much does it cost?
20,000 lire? Right!

I said: "For you
I'm not spending 20,000 lire".

"Ah, but we'll lose money",
says Violante.

Sorry, I'm so sorry that you
are going to lose out.

This year we even gave a contribution
to the Alumni Association,

next year they can forget it.

For all he cares!
As long as he's there, with his job.

Because it's always me
and the others who make a fuss.

No, I said I'm not going.
In fact, I said I'm not going.

Anna, dear, are you ready?

Schreib mal. Write.

Like dreams, daytime fantasies are
wish fulfillment, comma

like dreams
they are largely based

on impressions
from childhood experiences

like dreams they enjoy
a certain level of relaxation.

Am I going too fast?

Of relaxed censorship.
Punkt.

Their connection to the childhood
memories they originate from

is quite similar to the connection

that joins some Baroque palaces
in Rome

to the ancient ruins.

To the ancient ruins.

Sorry, I can't seem to concentrate.

Just a moment.

I don't know what to tell you, dad.

- Did you book the call to Jung?
- Yes, I booked it.

In Zurich.

Jung is sorted out.

Life is difficult.

Life is very difficult,
especially these days, my dear.

What can you tell me?

"What can you tell me"? I don't know
what the female characters should say!

What do we want to talk about?

We're getting nowhere here.

Improvise!

Oh, no! Lmprovisation is
not for Freud! Out of the question!

Anna, let's go!
It can't be!

Let's go!

No way! What's this half an hour?
A film should be seen from start to end!

Even on TV.

I took the phone off the hook.

Silvia!

Silvia!

Silvia!

Silvia!

Hello?

It's Nicola. I'm in Roma.
Just joking, I wish I were there.

Look, right now
you'd be a little in the way

and then you coming to Rome
just for me, it's embarrassing!

Tonight I need to go to the cinema
with a friend worthy of the name.

I'll call you from Rome at 10:00.

Okay, I'm happy to, but this is
also coercion, it's blackmail!

The world is not at your disposal!

- I don't know, it seems like such
a fascinating story that... - No, no.

No?

We're looking for a youthful treatment,
fresh, in contact with reality,

with actors taken off the street,
no script, improvised, new,

low budget,
but especially funny.

- Well, my film could fit in...
- No. Your film doesn't interest us.

Dear me, what a harsh tone...

I would like more warmth.

I can't take it anymore!
I can't take it anymore!

If not power,
at least give me warmth!

They all reject me:
Producers, women, television!

Here I am!

I was one of those kids
who were never invited to parties!

- You're laughing at me. I saw you!
- Where you going, Sandra? Come here.

Sorry, you made an enormous mistake
by leaving me, and you'll regret it!

I feel sorry for you,
but you'll regret it

because my film will be the greatest
in the last 30 years! Got it?

Well yes, I work in television.
I'm not afraid of words, not I.

Elevator! Elevator!

You hear that noise?
It's my script burning.

Yeah, burning.

Primarily, he's a troublesome man,

who always has something
to reproach his colleagues for,

his producers, the actors,
politicians, the whole of Italy.

He says he won't make any more films,

he doesn't want to see himself
exploited by the system.

But after a long silence, here he is,
re-surfacing as determined as ever.

Troublesome, but essential.

Pardon me, this film has been
mistakenly described as a comedy,

yet, instead, it's rather dramatic.

Yes. I'm pleased
you noticed that, because...

I don't think

a laborer from Basilicata, a shepherd
from Abruzzo, a housewife from Treviso

could really be
interested in this

unpleasant, vulgar, insipid film,

a film about incommunicability,
about boredom,

difficult relationships with women.

By the way, tell us one thing:
You like men? Right?

Well, I would say it's significant

that my film, which isn't calculating,

went over well, not only in big cities,
but also in small villages,

in small towns, on the islands!

It's good!

- Have some chicory, too. - But that's
not real chicory, real chicory is Roman.

By the way, I wanted to ask you:

You identify with young people,

so nowadays is religion
a widely regarded issue?

Well, not really, no, in short...

So many, at least in my situation,
are a bit indifferent.

Anyway, I myself
am not a believer.

However, for some years now
there's been a return to religion,

this new interest
in the person of the Pope. - Yes.

In any case...

This year's been terrible: A lot
of people unemployed, no one working,

it's a crisis for us...
- Here I am.

Sorry I'm late.

- Who was first?
- Me.

- This is it?
- Yeah.

- Are you ready?
- Here. - Do you have the list?

Let's start.

No!

Yes.

No.

No.

Yes.

No.

No.

No!

- Is that you?
- Yes, last year.

This one.

I like it, a different kind of cinema.
But I haven't seen your film yet.

It's not compulsory.

- I don't know if acting
is my real ambition. - What is it?

Well... For now it's fine to say:
"Okay, acting suits me".

And then my boyfriends say
I have a really sensuous voice.

Next, come in!

- You know me.
- No.

You know me!

No. Maybe I saw you
in some flick. Are you an actor?

I'm Nicola
and this is Claudio, my brother.

We gave ourselves five years to learn.
During that time we can do any job:

Be assistants,
extras, grips...

However, we eventually have to
make a film, as directors.

Until a couple of days ago
I taught in a school.

- But I chose to leave.
- What? Are you crazy?!

Leave a job to come here and play
the fool! What do you want from me?

I can't do anything for you!
Good-bye.

- Hi.
- Hi. - What are you up to?

I'm making a film
with the same producer.

- Here? - Yes. - I don't think so.
- It's almost certain.

- I'm working on a musical about '68.
- Oh.

Yeah, the student struggle,
the fight for housing, the repression,

but seen in a much
more mysterious light.

- A musical. - Yeah.
- You'll see, you'll like this one.

Sure, I'm not someone who frets
over a topic for years, like you.

- You're much more superficial.
- Listen, I was thinking,

if our films came out together,
there could be conflict,

basically we have the same
type of audience. - Well...

- Yeah.
- No.

It's better if we stagger the dates.

- Let's have a press conference...
- See you. - Bye.

Great. Tell me, how far
have you got with the preparations?

You know, I leave you
completely free,

I'm not the kind of producer
who's checking up on you all the time.

Good. It's better like that.

Yes, but I'm worried
the public might forget you,

a lot of time has gone by
since your last film came out.

I'd like this to be ready
for the period when...

I ran into that
stupid director out there.

If you're making crap films on the youth,
I won't make mine with you.

But I have to work,
I have to do other projects.

- I'm a producer.
- Exactly, mine.

- Did you finish that job?
- Which one?

That change in the script,
scene 91!

- Scene 91, the key scene!
- The key scene?

I'll think about it for a moment.

- You keep putting it off!
- No, no...

91.

Silvia!

Silvia!

I don't like these freshmen pranks.

These guys aren't joking around.

Nobody says anything, you're
happy because you're not in school,

the professors watch
the spectacle from the window,

the dean enjoys it.

Enough already, I'm going in.

No admission! Go home!

No admission!

Where are you going?
You should leave!

Get away from here!

Go on! You're disgusting!
Vile worm, go on! Clown!

Go home! Get away from here!

Beat him up! Beat him up!

Go away!

Michele, let's choose?

- I'll be right back.
- OK.

Hello?

Nicola and Claudio,
I told you...

I'm not busy, I wasn't
doing anything. Where are you?

All right, come on up.

For example, the headmaster at my
school isn't interested in anything.

If it weren't for me

and two or three of my very active
colleagues, who stir things up,

are maybe even a bit hotheaded,
nothing would happen.

Today students aren't interested
in anything except passing.

I mean, it's a very different
matter from years ago.

There used to be
a political stance as well.

Your mother's right,
it's not like in our day.

Well, he knows that.
You remember, right?

Yeah, look, he gets the paper,
looks at the front page headlines,

then goes right to the entertainment
section to look at cinema program.

He's not interested.
Or not interested any longer.

Well...

Anyway,

in 30 years of government,
they've lorded it over everyone.

And we've had to "grin and bear it",
as they say in Rome, right?

They were... like that...

They've ruined what they could
of this country, its institutions.

But who are "they"? What does it mean?
What's with the bus conversation?

Mom, why do you have to make
such a bad impression?

You're so dreary, predictable!
Dammit!

What is this?

Nothing. Cocoa, sugar, ricotta cheese,
milk, nothing fancy, but it works.

Yes, because his other interest
is dessert, I was forgetting.

No. No. No.

#Don't believe her! #

#You're just a toy to her! #

- #A momentary whim,
but to me... # - Come on, be good...

#... you're my life. No, no, no. #
What nonsense are you talking?!

What nonsense are you talking?!

- Enough, speak softly.
- Why?

Because the whole building will hear?
Are you worried about those things?

Stop with the mother scenes
from your films!

- Leave my films out of it!
- No, I can't stand them anymore!

- Why don't you move out of the house?
- I'll never leave this house!

I don't want to get over
my Oedipus complex!

- You... You...
- Shut up!

- Don't talk nonsense, got it?
What do you say? Nonsense! - Oh!

Listen, don't call me anymore.
You make me too sad.

For me you are a script
that's already been written.

I'll pay for the cinema.

- Hello?
- Hi, did I wake you?

So, any news? Nothing?

At least, tell me about someone
who hasn't managed to make a film!

I'll read you the review
of a wretched film that just came out,

I went to get the paper
expressly.

This film is a delicate,
tender first effort

which reveals the style and maturity
of this young director

who has the cinema in his veins.

No, for pity's sake, let it be!
I beg you, no!

Okay, bye, enough.

New elements enrich
the panorama of Italian cinema...

A pan...

Zurich, 34452?

Is Professor Carl Gustav Jung there?

It's Professor Freud
calling from Vienna.

Oh, it's you? I'll hand you over
to my father, good day.

Hi, Gustav. How are you?

Did you get my letter?

Stanley Hall wrote me again
from Worcester.

He wants us to go to that university
together to do a conference

on psychoanalysis.

They're very kind.
They'll put us up. Exquisite.

And they don't know
we're plague carriers.

Yes, I'm working a lot.

I'm working a lot,
particularly on my mother.

Yes, I still live with her,
for a while.

Self-analysis, Gustav,
here we do some self-analysis.

So all's well with the Americans?
Are you available?

Perfect.

Wait a moment, Gustav.

- Boo!
- Idiot!

Chubby! So radiant a mother, the most
radiant in the world, like the sun!

- I'll kill you! I'll kill my mother!
- Enough! Enough already!

- I'm joking!
- Joking at your age! You're an idiot!

- I'm what?
- An idiot!

We worked all morning,
Anna, tell her,

on child psychoanalysis!
- There, exactly!

Enough, Enough!

Enough! What did you bring me?

- Look.
- Radiant like the sun! Thanks.

Stop it, enough already!

I'm tired, you know?
I work, at my age.

Look at the other mothers!

- If I only had a son...
- "If I only had a son" what?!

A rich son, with piles of cash,
who only thinks about money?

- I'm not...
- Oh! Stop!

Why shout? Why shout?!

What are you shouting for?

Do you understand
the meaning of this scene?

Sorry, she confused me before,
at the beginning.

You're right, sorry...

We filmed outside Rome.
It was an American production.

Piles of money then.

We were saved by
some fabulous pasta and beans.

It was freezing cold, in Subiaco.

If it weren't for the pasta and beans,
we all would have died.

A good scene.

Yeah, it came out well.

But I'd have used a different lens;
the 32 doesn't work for me.

Yeah...

No, not the 32.

- Silence!
- Quiet, everyone!

Action.

I'm tired, you know? Tired!

Working, at my age!
Just look at the other mothers!

- Oh! If I only had a son...
- A son what? What do you mean?

A son who earns lots,
with piles of money, bourgeois?!

I'm different,
money doesn't interest me!

I'm a poet,
a scientist, a doctor!

I'm a genius!
You're the mother of a genius!

What genius? Enough already!

I discovered the unconscious!
I'm Sigmund Freud!

- Freud died 40 years ago!
- No!

That's not true! He's not dead!
He's still living, understand?

It's my tragedy,
I'm a genius!

To hell with this mother,
she's killing me!

It's impossible,
I can't take it anymore!

I can't take my mother anymore,
I'll kill her! Mother!

They'll say the film's manipulative,
banal, predictable, facile.

Everybody feels it's their right,
their duty to talk about cinema.

Everybody talks about cinema.
Everyone talks about it! Everyone!

- But we can talk about it because...
- No!

Do I ever talk about astrophysics?
Do I ever talk about biology?

You're inventing problems
that don't exist.

You shut up,
I've got you pegged already!

- In what way? - I figured out
your interest! - What?

- You'd better be quiet,
let me talk. - No!

Do I ever talk about neuropsychiatry?
About botany? About algebra?

You're making a great film.

I don't talk of things I don't know!
Do I ever talk about Greek epigraphy?!

About electronics?! About dikes
and bridges?! About highways?!

- You're making a stupendous film!
- I don't talk about cardiology,

about radiology,
things I don't know about!

- Enough!
- I don't talk of things I don't know!

- Michele!
- I don't talk of things I don't know!

- Listen. - Get out of here!
- Try to... - Go on!

- Michele!
- What? What do you want? Huh?

I'll take you to an amazing place.
Let's go.

Almond paste!

Chocolate and zabaione cream puffs!

The Mont blanc!

Blackberry, raspberry, blueberry tart!

The Saint-Honor�
with chocolate, zabaione and cream!

And then... the Sacher-Torte!

This is one of the few bakeries
where they make Sacher-Torte.

Scene 118 wasn't there last night,
you didn't print it,

it's a vital scene!
Find it! That's not acceptable...

Good morning.

- Hello.
- Hi.

- How's it going?
- The usual problems with nerves.

Anyhow, now we're setting up
the scene in the bedroom.

- Michele...
- Hi. - Hi.

- See you later.
- Okay.

Let's go over there.

So, Michele,
do we want to finish this film?

Of course, why not?

Because I know
there are some problems,

that you're not happy,
the actors aren't right,

you didn't like some scenes...
- No...

You know, I hear things,
it's not that they tell me.

Then I don't come to see you,
so I don't interfere with your work,

but if I can be useful
in some way, I'm here.

- Tell me, is it true that...?
- No. No.

(Today I'm happy.)

In South America? Why?

I'm not washed up!
I still have lots to say, you know?

I still have lots to say!

Bye.

Michele, wake up! You ready?

- We're ready when you are.
- No, take a break.

Do I keep the same vest on Freud
as the previous scene?

The ball of wool, Michele,
the key scene!

Michele! His relationship with his
mom, the umbilical cord, the symbol!

- No, no. It's awful, I got rid of it.
- Michele!

- Why didn't you tell me?
- I've just decided.

Break!

If we don't develop
these characters,

we'll have problems going ahead.

In my opinion, it should be a choral
thing. Better yet, a jam session.

- What?
- Jam session.

- But what are you doing here?
- We're writing a treatment.

- And then what?
- We'll make a film of it.

Follow me.

Cinema isn't done like that,
because you have some ideas...

Forget it for now.

Look, we're determined.
And you see such horrible films!

I read some foolishness,
then I write a novel?

- Anyway, you want to make a film?
- Yeah.

Do it, but don't let me see you
around here again.

Michele, you make me sick
and you're playing a nasty game.

You know why you behave like this?

One: You're going through a bad time;
we don't care, that's your business.

Two: Because unfortunately
you really believe what you're saying.

Three: Because you're such a twit
that you're afraid of us.

The break's over.

- The break's over.
- No, I'll say it: "The break's over".

We wanted to tell you one last thing.

I'll tell you one last thing:
Watch your backs.

You're getting yourselves into
something that's bigger than you are.

Dammit guys, don't throw yourselves
away, don't wear yourselves out!

My studies have shown

that women's anxious neurosis
shows a standard case history:

Irritability,
states of anxious waiting, phobias,

fits of total anxiety
or basic... - Smoking? Stop. - Stop.

I wasn't smoking.

- Irritability.
- Irritability.

- States of anxious waiting.
- States of anxious waiting.

- Phobias.
- Phobias. - Silence!

Again. Camera!

- Rolling. Mark it!
- 2, 9, take 12!

- Remo, in 5 seconds.
- Our relationship was different then.

I don't know anything else about you,
we never talk.

- You're right, it's not easy
to relate... - Stop!

What do you want to relate?
Shut up!

Camera.

- Rolling. Mark it!
- 2, 9, take 13!

Action!

You're neurotic.

Why don't you remarry? Why don't you
get yourself a man, a life

instead of making me suffer and
pestering me with your obsessions?

The son considered as a son,
not as a person!

- My studies have shown
that anxious neurosis... - Stop!

Camera!

Rolling.

No, I still don't like it.

- Is the dolly all right?
- Ready to shoot.

Excuse me, I think there's a pause

between the mother's line
and Remo's reply.

- I don't like that light!
- Turn it off!

But I didn't tell him anything.
Luciano, get the grease.

- You tired?
- Huh! Since 7:00 this morning!

Less exaggerated!
Don't exaggerate, don't insist!

- Don't you smell anything?
- Something burning?

Not burning, something else.

We need to tone it down,
to take away, we need...

We need to eliminate.
Let's start over.

But, mom,
my goodnight kiss?

- But why? To bed without dinner?
- Stop.

What are you doing, getting angry?
You're in character? Don't exaggerate.

We have to take away.

Camera.

You see her?
Once in a while we meet up...

- She puts out.
- No! - Yeah!

But who is it?

To bed without dinner, fine,

but will you give me
my goodnight kiss?

What do I have to do
to make you change?

I'd like to see you settled down
like other people, with a secure job.

- I'm just joking!
- You joke too much!

I joke because I'm an artist,

I'm a scientist
who works with the imagination,

with dreams that I interpret.

Mom, do you remember
when I was little?

I talked like this, and we
would go to the park, you bought us...

You did love me then.
But now...

Now what? I have
a mission to carry out.

But I'd like to see you relaxed,
serene, with a woman beside you!

The man-woman relationship
is very difficult nowadays.

So says Sigmund Freud.

Sing me a lullaby
and I'll go right to sleep.

Will you sing me a lullaby?
I'll go right to sleep.

Well, two days filming outside Rome
and then you're finished.

Shooting yes.

I don't know if the film
I'm making is any good.

- Why?
- Just because.

What do the others
working with you say?

Nothing, what do you want them to say?
That they like it.

I tell everybody it's fantastic,
a masterpiece, they believe it.

- Or they pretend to. Are they faking?
- No, I don't think so.

I'll take a few books.

Wait!

Stop!

Again!

Here I am
in the public square!

Me, Sigmund Freud,
the father of psychoanalysis,

veteran of grand successes
in Berlin, Munich, Paris, London!

This is a democratic sale,
directly from the publisher

to the consumer,
this magnificent Italian audience!

Enough with the anti-psychiatry
and the feminist movement

that want to make me
into a filthy reactionary!

I'll sell you these books
at prices verging on madness!

In the best shops downtown
they ask 5-8,000 lire! Absurd!

I'm licensed
by the Italian Commerce Federation,

thanks to which I can set up
on any corner of the squares!

May a plague strike me!
May I spit up blood!

May I never find my daughter,
Anna, at home again

if it's not true that I'm losing money,
ladies and gentlemen!

This evening I received

a telegram from Vienna
telling me to sell everything

and set out this very evening
for that very same place!

Boy, move over there,
let me work!

I'm selling "Totem and Taboo"
and other essays on anthropology!

"Psychology of Love Life",

"Psychoanalysis of the Genius",
which is me,

"Psychopathology of Everyday Life"!

And here are the Freudian
eyeglasses, gentlemen!

For erotic nocturnal interactions
with your beautiful women!

When you're in the dark,
you turn on a light

and look at this magnificent face!

Above all, you look
reality in the face

with these Freudian glasses!

Boy, I'll even give you a nougat
with dark chocolate and nuts!

And to this young man
who's taking out his money

I'll add a beautiful double face tie
that never creases!

You could wear it to go out
with your girlfriend!

3,000 lire, throw the money in there!

What'll I do? I'll add

"Beyond the Pleasure Principle",

8 years of work,
"The Interpretation of Dreams",

"Freud", which is always me!

I'll add 4 rolls
of pink toilet paper

and, as if it weren't enough,
tear-resistant,

a red horn to ward off jinxes

and then this, perfect,
this Jung monkey,

made in fabulous Germany!

Jung is an ex-colleague of mine,
as you'll all remember, from Zurich!

I think I'll sell it to the gentleman!

I'll give you everything
for 3,000 lire!

This is a democratic sale
by Sigmund Freud

to the Italian proletariat!

You want to be directors, eh?

Now I'll show you what conditions
you work under.

I'll call a director friend of mine.

Of course he's not at home.

He goes around the city,
wandering like a madman.

He doesn't know how to be alone.

Michele, it's time
for your call.

I won't fall for it this time.

Look out,
the police charged!

Cristina! Cristina!

#Vietnam will win! Vietnam will win! #

#Vietnam will win! Vietnam will win! #

#Vietnam will win! Vietnam will win! #

#Vietnam will win! Vietnam will win! #

Good evening.

"Culture, spectacle,
participation".

That's our motto.

Dueling protagonists
the way you like it.

An open encounter, fair,
no tricks, broadcast live.

Who will win?

- Good evening.
- Good evening. - Good evening.

Michele Apicella. You know how
disagreeable, unapproachable he is.

He even physically rebuffs contact
with fans and journalists.

We've brought him here
in flesh and blood.

He's very badly behaved,
and yet, he's made us laugh a lot

telling us how the youth of today
are alone and desperate.

His challenger is Gigio Cimino,
a director on the launching pad.

He debuted years ago, very young,
with an essay entitled:

"The Comic Book at the Cutting Edge
of American lmperialism".

He went to prison
for attacking the Israeli embassy

during the Six-Day War.

Now working on a musical about
the struggle, hopes and loves

of the '68 generation.

Are you ready?

I urge you
to do your best!

Nowadays, spectators have
a different attitude

toward cinema, this is
also thanks to our films.

- So many colleagues...
- What colleagues? I don't have any!

I'm the only one among new
Italian directors to have any talent,

you're insensitive,
not knowing what cinema is,

you're corrupted by your desire
for power, an unjust desire,

given that you're idiots!
No, no, no...

Time out, referee!

- I can't stand it!
- It's the only weapon we have!

You bastard! Suck on this!
Look at this oaf! Still talking?

If you can't stand on your feet!
You're tall as a dick and 2 tin cans,

you'd drown in spit!
Piss off!

Look who you are? Dirty bastard!

Vote.

Red balloons
by a crushing margin.

Sadly, vulgarity has won the day
once again.

Michele Apicella is the winner
of this first confrontation.

#Sweet dreams. #

#Sweet dreams. #

#Sweet dreams.
Sweet dreams. Sweet... #

#Dreams... #

Well done!

#Fisherman
from the sea at Posillipo, #

#every night
he hears me sing. #

#Fisherman,
these words are tears#

#for Maria who is far away. #

#The sea sleeps,
oh, my lovely! #

#All is peaceful around me! #

#Oh, my life, my life,
you left me! #

#While I die for you tonight. #

An exchange of ideas,
and exchange of bodies.

You're used to weighing words,
messages, political choices.

We're offering you something more.

Referee Mr. Ra�l Garc�a!

I'm warning you: Fight cleanly,
no low blows or swings at the neck.

I'll split your head open!
I'm the cinema, I'm the greatest!

Mi-che-le!

Mi-che-le! Mi-che-le!
Mi-che-le! Mi-che-le!

I'm the strongest
and now I'll show you!

Seconds out of the ring!
Seconds out! Gong!

These days it's become hard
to satisfy the audience's taste.

It's not enough
that their heroes set the scene

while the lights are on.

They want to know
what happens behind the scenes,

in daily life,
perhaps in the bedroom.

Have you ever discussed
the issue of fidelity?

For example, how do you organize
your sex life?

Cimino, your opponent is not
very well-versed in this subject.

Don't let the chance
for considerable plunder slip by.

- Better!
- We...

We don't have any problems,
we talk openly about it.

It's been like that from the start,
we tell each other everything.

- If he has an affair,
he tells me. - Alas!

Does it happen often? Let's give
some numbers. How many times?

I haven't had an affair
with anyone else so far,

but probably
I will in future. - No!

- Sure.
- Why?

- It could happen!
- But it's not compulsory.

Anyway, he tells me,
I'm awfully jealous.

- He also says I'm possessive.
- Of course you are.

- I'd like to see you if...
- Fine, I allow for the possibility.

You accept in theory.

Don't be banal, believe me or not.
It's your business, do it.

- No, it's a double-edged sword to me.
- Do it, do it.

Well, the confrontation is heating up.

The discussion about sexuality
between Gigio Cimino and his wife

has clearly excited
Michele Apicella,

who's chafing at the bit
to give his opinion

in an area that, so far,
has not been very kind to him.

Is it a desire to match
the points earned by his rival

or has a new reality suddenly
opened up before his eyes?

Let's hear him out.

Nobody contemplates making love
out of joy, amiability, tenderness.

Then you would become accomplices
like two lucky bandits.

An orgasm is not mandatory

neither is penetration,
the body is extensive

and, if it weren't numb from
repression, it would all be sensitive.

I'll risk some hypotheses
to work on.

Remember, it isn't two sexual organs
in bed, but two people,

avoid rushing, overcome
any aspect of sports,

free yourself from your own ego not to
give yourself away, as Catholics say,

but because it takes two to make love.

Zero applause,
an unprecedented event.

For Michele Apicella, a catastrophe.

Our two thoroughbreds have
come, exhausted, to the finish line,

they are perfectly tied.
A surprise ending.

Focus.
It's the last race, the decisive one.

- Hit hard.
- Come on, Gigio, I beg you.

Come on, Gigio!

#Gigio! Gigio! Gigio! #

I won!

#Gigio! Gigio! Gigio!
Gigio! Gigio! Gigio! Gigio! #

A real apotheosis for Gigio Cimino.

The cold touch of defeat
for Michele Apicella,

who wants to speak
for perhaps the last time

to the audience
who once adored him.

Shitty audience.

Shitty audience!

Shitty audience!

Shitty audience!

#Shitty audience!
Shitty audience! #

#Shitty audience!
Shitty audience! #

Hey, what are you doing there in the
middle of the road? Out of the way!

What are you doing there?
Will you go on? Get out of the way!

What are you doing there?
Will you get out of the way? Go on!

You're a bastard! Will you go on?

Kill me.

- FREUD'S MOM -

This is the first street
where I found a poster for the film.

Not bad, huh?

- It's nice.
- Mmm. - Very nice.

If I start shooting my film,
I have a great idea for a poster.

What's with the four copies
of the same screenplay?

- They're not the same. - No?
- They're four different stories.

- Four films?
- Four films I'll be making, shortly.

- Leo, where are you going?
- To buy something. Be right back.

- Good evening.
- Good evening.

I'm turning it off.

In three days my film comes out

and this theater
isn't adequately equipped.

A different lens
from the one you use.

Regulation masks: 1 at 33,
1 at 66, 1 at 85. Can they hear us?

We'll restart it!
Let's restart it. Try it.

Come on... I didn't know.

Give me my money back!

This just shows that you don't respect
the various film formats.

You should respect the format and
as such, the shot a director chooses!

What do you do instead? Let's try it
on you. I'll give you a nice close up.

A really tight close-up.

So what happens?

You cut off the chin and forehead?

Hi, Gaetano. It's Ciccolini.

I got your screenplay
the other day,

but I didn't read it.

I'm leaving
and think I'll take it with me.

Don't know when I'll be back.
In any case, stay in touch. Bye.

What do you think?

He didn't advance me anything.
It's a ploy, I know.

He has great interest in me.

It seems, I have a feeling
that something new is happening.

- To me!
- Let's hope!

I feel it. I'll make this film.

- Shall we listen to it again?
- Sure.

Hi, Gaetano. It's Ciccolini.

Candies, chocolates, sweets.
Bon voyage.

So, see you Friday at the premi�re.

- Are you sure?
- Sure.

We just weren't up
to going tonight, sorry.

See you soon. We'll be back.

Hi.

- I don't know.
- Which model do you prefer?

That one, maybe.

- When did you get back?
- A few days ago.

- You were gone two years.
- Yeah.

Some Super 8 film.

That one, yeah.

This is fine.

Slowly, I'm tracking you, slowly!

Oh, are you nuts?

I don't know if the film coming out
is any different, I don't think so.

Anyway the characters in your films
are such good guys.

They don't take drugs, commit suicide,
go to India, shoot guns.

But what kind of life do they have?
Who are they?

Have you ever considered
making a musical?

Or a film with Indians,
an adventure, a cartoon?

You need to change, change, change!

Excuse me, I have to go now,
so go ahead. I'll think about it.

Hurrah! Think about it!

If someone wants to say something...

Pardon me for insisting,

but what do ordinary working people
care about this film?

A poor laborer from Basilicata?
A shepherd from Abruzzo?

A simple housewife from Treviso?

What do they care about these
intellectual, isolated themes,

of mental masturbation?

- I'm a shepherd from Abruzzo.
- Ah...

How do you do?
Housewife from Treviso.

- Laborer from Basilicata. - Pose
for a photo. Sorry, move back a bit.

Smile.

- My goodness, critics!
You want me to face them? - No, no.

- Remember it's your finest film.
- Huh?

It's your finest film.

- It's my finest film?
- Huh!

Yeah.

Good evening, it's my finest film.
It's my finest film.

It's my finest film.

It's my finest film.

It's my finest film.

It's my finest film.

It's my finest film.

It's my finest film.

It's my finest film.

It's my finest film.

Good evening.
It's my finest film.

- I am greatly changed.
- Yes.

I took a journey
that did me a world of good.

I have so many things to tell you.

I came back a changed person.

Yeah.

I am more sure of myself,
I feel more serene.

I have a job now, and my independence.

I live in a handsome house,
quite charming.

Don't you have my phone number?

- Ah, why not...?
- No.

I live on my own now,
no longer with my family.

And it's much better like that.

- Do you see the same old...?
- No, no.

I don't see many people,
different ones from before.

What?

- I see different people from before.
- Speak up a bit.

- I see people...
- Speak up, I can't hear you!

Tonight you're a stranger to me!
You seem far away!

I've thought over my past.

I reflected on it a long time

and now I feel changed,
completely different.

I think I see what...

- No!
- Yes!

- No, no!
- Yes! I'm a monster!

And I love you!

I love you!

I don't want to die!

I don't want to die!

I don't want to die!

Subtitles by
STUDIO ASCI - Crema

- SWEET DREAMS -