All language subtitles for Here And Elsewhere (1976)

In 1970 this film
was called "Victory".

In 1974 it is called
"Here and Elsewhere".

And Elsewhere.
And...

In 1970 this film
was called "Victory".

In 1974 it is called
"Here and Elsewhere".

And Elsewhere.
And...

We have chosen a Palestinian revolution
to prove to the world,

that this Palestinian earth,

which has been taken away
by the Zionist enemy,

we would give it back to its people,
to its first origins.

And we won't give it back
by peaceful means.

After having lost hope to give it back
by peaceful means...

we undertook this task through war...

and with a gun.

And we shall construct peace
with the help of this gun.

"The most important result...

of the armed
Palestinian Revolution...

is the direct participation...

of the Palestinian woman...

in the revolution...

in order to accomplish her part...

side by side with the Palestinian man."

So it was in the middle
or the beginning...

So it was in the beginning
or the middle of 1970.

We go to the Middle East.
Who is that "we"?

In February, July 1970
there is I...

there is you, there is she, there
is he, who goes to the Middle East,

amongst the Palestinians,
to make a film,

And we shot things in this order,
and we organized it.

She, you, he,
I organized the film like that.

First, of course, the people...

the people...

"What Israel says is untrue;

It is not a problem of borders
between the Arabs in general,

and Israel in particular."

The people, the people's will.

Then there is the people
taking up arms, the armed struggle...

the people's war...

the armed struggle,
the people's war...

the armed struggle,
the people's war...

Then there was the political work.
The political work...

"There is truly a victory
of the Palestinian people".

...the political work.
The people's education.

Then there was the time that it takes,
the popular war extended.

The effort extended the long march.

The popular war extended,
commanded by the people's logic.

And all that, until victory.

"Revolution until victory".

"By the people, for the people,
revolution until victory".

All that, we had all organized like that.

All the sounds, all the images,
in that order.

All the sounds, all the images,
in that order...

saying: here is what was beautiful
in the Middle East.

Five images, five sounds that hadn't
been heard or seen on Arab earth.

The people's will, plus...

plus the armed struggle equal the
people's war, plus...

plus the political work equal the
people's education, plus...

plus the people's logic
equal the popular war extended...

extended...

extended until victory
of the Palestinian people...

And this is what one,
what he, what I, what she,

what you had shot elsewhere.

Elsewhere, 1970, February-July.

Elsewhere, Jordan, Lebanon, Syria.

Elsewhere, the Fatah's
Information Department.

Elsewhere, the 8,000 dollars
from the Arabic League.

And then we came back home,
I came back, you came back.

From that, anyway,
we haven't recovered yet.

She, you, he,
I finally came back here, in France.

It didn't go well.

And then days passed,
months passed...

THE ME'S AND THE YOU'S

"This one, I say, doesn't want to be
a member of the Socialist Party"...

THE YOU'S AND THE ME'S

"This past week, in order to
bring the government bankers

to submit on several demands,
we saw that the workers' strength..."

It doesn't go well anywhere.
Nowhere does it go well.

Here it doesn't go well,
I can't do anything.

Back in France, very soon you don't
know what to make of the film.

Very soon, as one says, the
contradictions explode, including you.

I begin to see it.
I begin to see it.

Very soon - as one says the
contradictions explode, including you...

...and you too, you too.

Because of this...this...this...

this...became that.

Or because that...that...that...

that...became this:

THINKING OF THAT AGAIN

ALMOST ALL THE ACTORS ARE DEAD

THE ACTORS IN THE FILM WERE
FILMED IN DANGER OF DEATH

DEATH IS REPRESENTED IN THIS
FILM BY A FLOW OF IMAGES

A FLOW OF IMAGES AND
SOUNDS THAT HIDE SILENCE

A SILENCE THAT BECOMES DEADLY

BECAUSE IT IS PREVENTED
TO COME OUT ALIVE

MAYBE,
IN A THOUSAND AND ONE DAYS,

SHEHERAZADE
WILL TELL THIS OTHERWISE.

Through adding hope to dream,
figures have probably been mistaken.

Or rather: since we find ourselves
near zero, we didn't add but subtract.

Or rather: it's negative that
has been added and first:

HERE AND ELSEWHERE

French Revolution and Arab Revolution.

Arab Revolution and French Revolution.

Here and Elsewhere;

Victory and Defeat;

Foreign and National;

Quick and Slowly;
Everywhere and Nowhere;

To Be and to Have;

Space and Time; Questions
and Answers; In and Out;

Order and Disorder; Interior and
Exterior; Black and White;

Yet and Already;

Dream and Reality.

Here or Elsewhere;

Powerful or Miserable;
Today or Tomorrow;

Normal or Mad;

Everything or Nothing;

Always or Never;

Man or Woman;

More or Less;

To Live or to Die;

Poor or Rich.

ABOUT WEALTHY AND POOR.

Too simple and too easy to
simply divide the world in two.

Too easy or too simple to say simply

that the wealthy are wrong
and the poor are right.

Too simple and too easy to simply say

that the poor are right
and the wealthy are wrong.

Too easy and...

Too easy and too simple.

Too simple and too easy.

Too easy and too simple to simply
divide the world in two.

Here is how the Capital functions;
something like that,

perhaps one poor and one zero
equal one less poor...

one less poor and another zero
equal one even less poor...

one even less poor and
one zero equal one richer...

one richer and another zero
equal one even richer...

one even richer and another zero
equal one much richer.

The Capital functions like that.

At one given moment it adds,
and what are added are zeros.

"Yes but zeros that represent tens,
hundreds, thousands of you and me,

the capitalist says, thus in fact
they are not really zeros".

One must see or learn to see that tens,
hundreds, thousands of me and you,

when it's time to pay...

when it's time to sum up
defeats and victories...

one gets it up the ass very often,
one gets it up the ass because one...

I didn't want to see
you either, she either...

and he either didn't want to see
that all those dreams are represented.

He didn't want to see
that all those dreams

are represented at a given time.

Time given and taken back again
by zeros that multiply them.

LEARNING TO SEE, NOT TO READ

But as they are zeros, it multiplies
and nullifies at the same time.

And so one hasn't had the time to see
that at this moment, in this place,

our hopes have been reduced to zero.

To see for instance that the image
of a 17-plus for instance...

...the image of a 36 equal already,
here in May, the image of a 68...

...whereas for instance, the image
of a 17-plus the image of a 36...

elsewhere in September,
still equal the image of a 70.

In the Soviet or American
capitalistic system,

it is the system that works,
works, works...

It works like that.

And since our dreams are most of
the time added as series of zeros...

it has to be said that
the images of the sum

will have nothing to do
with the sum of images.

Here as elsewhere...

One can be poor, here, at one place,
and be a millionaire elsewhere...

a millionaire in images of the place.

This should begin to be crammed
into your head.

Poor revolutionary fool.

Poor revolutionary fool.

Millionaire in images
of revolution.

Poor revolutionary fool,
millionaire in images of revolution.

THINKING OF THAT AGAIN,
HERE AND ELSEWHERE

Millionaire in images of revolution.

So, one can finally see that what
happened in this film happens

In any American movie,
where I added, you added...

Armed struggle.

Political work.

Extended war.

Until victory.

O.K., but here, the images
can be seen altogether.

At the movies, this is impossible.

One is obliged to see them separately,
one after the other...

which results in:

The people's will.

Armed struggle.

Political work.

Extended war.

Until victory.

But it is seen as such because in fact
when one makes a film,

things really happen this way.

Each time, one image ceases
to replace the other.

Each time the image after expels
the images before and takes its place...

keeping of course, more or less,
the memory of it.

This is made possible
because the film is moving...

and the images don't come altogether,
but separately to inscribe themselves

one after the other, on their support:

Agfa, Kodak, Orvo, Gevaert...

And on the whole, time has replaced
space, speaks for it, or rather:

Space - the people's will.

Space has inscribed itself on film
in another form...

Time - the people's will.

Space - the armed struggle.

which is not a whole any more,
but a sum of translations,

a sum of feelings
which are forwarded...

Space - political work.

...that is, time...

Time - political work.

Space - extended war.

...and the film that is, on the whole,
chain-work images...

Time - extended war.

...renders good accout, through this
series of images,

of my double identity, space and time
chained one to the other...

Time - until victory.

...as two workers on
the assembly line...

where each is at the same time
the copy and the original of the other.

FIRST

Well then, how to use one's time
to occupy one's space?

FIRST
QUESTION

How is a schedule organized?

Well, like this...like this...

But also like that.

Or like that.

Or again like that.

Moreover, in fact, like this.

As a matter of fact,
it is likely that a chain

also consists in arranging memories...

chaining them in a certain order...

which will get everybody to find
one's place on the chain again...

that is, to rediscover one's own image.

O.K. but then: how does one
find one's own image

in the other's order or disorder?

With the agreement or
the disagreement of the other?

And then: How to construct
one's own image?

One's trademark, that is, an image that
marks, an image that leaves tracks.

Well, like this...or this...
but also like that...

that is, like that...
or that...or that...

by using the gaze of another...

that for convenience one calls
"my likeness".

And under the gaze of a third person
who is not yet there...

but is already represented
by a photographic lens...

and who will believe you or me...

you and me when we will look
at this image.

As a matter of fact,

it is likely that one constructs
one's own image with the other's.

Friend or enemy,
you produce your image...

You produce and consume
your image with mine...

distributing mine to your image.

So, we have said stuff like that,
in all sorts of directions...

when we thought of what we had
done there 4 or 5 years ago...

and now thinking of what
we are doing here...

"Have you finished your homework?"

"Why hasn't Daddy found a job yet?"

"You'll ask when he comes back."

"Always asking
the same question 'why'..."

Nobody knows how to answer,
or answers are crooked.

We don't do much better, anyway.

And by continuously doing bad,

one ends up thinking that it's not
the answers that don't fit,

but the questions...

"Have you found anything?"

"No, I arrived too late."

"Can you explain to me, Daddy,
I don't understand..."

"No, I have no time for that,
maybe later..."

Thinking that this system of questions
and answers must be abandoned...

that something else has to be found.

How to find a job...

Earn one's living...

Live with one's time...

Be employed by the other's time
and employ it in turn.

Before producing,
one will have to distribute.

In order to revolt...

one must find the time to...

have the time to see things simply...

i.e. not to be scared anymore to say
that it's things that are complicated...

and that anxiety is simple,
too simple...

as for instance,
to put the sound too loud:

"No, no, no, the sound not too loud!"

"Say rather that it's you
who wants it that way!"

"Yes it's me! When I'm fed up,
I like it when it shouts!"

"Listen, it's not my fault
if I don't find a job."

"If you spent less time
at your political meetings,

you could maybe find
some to look for a job!"

"Really, that's bullshit!"

"You too! Please turn the sound down."

"Oh, come on!"

Turn the sound louder,
in reality, how does it happen?

Sometimes like this...

Sometimes, also like that...

or like that...

Well, let's split up one of these
movements and look at it slowly.

One sees that there isn't only one
but two movements.

Two noises that move in relation
to one another.

In time of panic and
lack of imagination...

there is always one that takes power.

Here, for instance, there was first the
noises of the school and the family.

Then there will be the noise
erasing that of the family and school.

A point in time...

when one sound takes power
over the others.

A point in time when this sound seeks,
almost desperately, to keep this power.

How did that sound take power?

It took power because at one given time
it made itself represented by an image.

This one for instance:

The image of a gangster
who represents the Mafia.

Or more simply, the image of a foreman
who represents his boss.

To take power is made possible
when the image,

at the same time it reinforces
a sound by taking its place...

when the image in return makes itself
represented by another sound.

Like a worker, making himself
represented by a union...

and this organization translating
this fact by keywords

which are in turn given back
to the worker.

MY GUN

A young guy who reads a porn novel
to forget the factory.

Any daily image will also be part of a
vague and complicated system,

where the whole world enters
and leaves at each moment.

Any image. Any image.

Daily. Daily.

To forget the factory.
to forget the factory.

A vague and complicated system.

A vague and complicated system.

The whole world. The whole world.

No matter how. No matter how.

My daily image will be part of
a vague and complicated system...

where the whole world enters
and leaves at each moment.

the whole world,
that's too much for one image.

"No, not too much" says the
international capitalism...

which builds all its wealth on this truth.

There are no more simple images,

only simple people, who will be
forced to stay quiet, like an image.

Each of us thus becomes
too many inside oneself...

not enough outside.

Little by little, we are replaced...

by uninterrupted chains of images,
enslaving one another.

Little by little...

we are replaced by uninterrupted chains
of images enslaving one another...

each image at its place,
as each of us, at our place...

in the chain of events
on which we have lost all power.

HERE AND ELSEWHERE

We did as several people.

We took images and
put the sound too loud.

Vietnam...always the same sound,
always too loud.

Prague, May 68 - France, Italy.

Chinese cultural Revolution.

Strikes in Poland.

Tortures in Spain.

Ireland, Portugal, Chile, Palestine.

The Sound so loud...

that it almost drowned the voice
it wanted to draw out of the image.

Amongst the ruins of the city of Karame,

a little girl from
the Fatah recites a poem.

"I shall resist..."

Listen, you could talk first
about the setting...

and about the actor in this set,
that is, about theater.

This theater, where does it come from?

It comes from 1789,
from the French Revolution...

and from the pleasure
that the Delegates of '89...

took in making large gestures and
reciting their claims publicly.

This little girl is acting for the
Palestinian Revolution, of course.

She is innocent, but maybe
not this form of theater.

Near the Jordan, a small group of
Feddayin tries through discussion

to bind revolutionary
theory and practice.

Listen, be a little simpler
in your speech!

What are they saying, those Feddayin?

They are speaking about
their links to the earth,

taking as an example
the digging of trenches.

And they say exactly:

"In digging our soil we bind
ourselves to it, we love it more."

"And when the earth protects you,
you become its lover."

"So don't talk about practice and theory."

They have said "make love" to their
earth, then say: love and say: make.

In a school, the Democratic Front
organizes alphabetized classes.

A woman repeats a text from the union.

You see, at first she seems
happy to do this little work.

I find her beautiful.

Since she doesn't know how to read,

she is quite pleased
to participate in the struggle,

even by just repeating a text.

But while this repetition proceeds...

she seems more and
more morose, bored.

She seems to wish she could go back to
duties which don't ask her to speak,

even if those duties have
to do with repetition.

Daily life, everyday tasks
inside a revolution - or outside.

Automatisms settle while repeating
words in a certain order,

words that she would never
have said like that.

But what would she have said?
And how?

In any case, the unions
don't ask this question.

Texts talk, talk but never
talk about silence.

In the camp of Bakka, not far from
Amman, a leader from the Fatah speaks;

delivers a speech to celebrate the
anniversary of the victory of Karame.

You see, we were talking about silence.

All that goes wrong can very well
be seen in this image.

The one that represents the people is
speaking alone, far from the people.

As always, theater.

In Beyrouth...

"Can you say it one more time?"

...a pregnant woman is proud
to give her son to the revolution.

In this take, this is not
the most interesting; but that:

"Can you say it one more time?"

"Would you straighten your head
a little?" "Yes, like that."

First thing to say:

It's always the one who
is directed that is seen,

never the one who is directing.

The one that commands and
gives orders is never seen.

There is another thing that doesn't fit.

You have chosen for that take
a young intellectual,

sympathizing with the Palestinian cause,

who is not pregnant but
accepts to play the part.

Furthermore she is young and beautiful.

About that, you remain silent.

But from secrets of this type to fascism,
there is only one quick step.

"And then, in this town
inhabited mainly by Oriental Jews,

anger and hate exploded."

"At a paroxysm of anger,
in a quasi-collective delirium,

a hysterical crowd rushes
inside the building..."

When these images are seen...

"The bodies of the four Feddayin,
thrown out by the windows,

are then burnt by the crowd shouting
'Death to the terrorists'".

When these images are seen,

there is only one thing to say,
one sound to make:

"Auschwitz...Treblinka..."

Munich - September 72: Olympic Games.

A Palestinian commando seizes
a dozen hostages from the Isreali team

and threatens to execute them if a
hundred of his Palestinian fellows,

prisoners in Isreal, aren't released.

I don't know.

I am sure that there
was something else to be done.

Think! The conditions
under which that happened:

In Munich, that very day, the strength
of imperialism was in television

and billions of spectators
demanding a program.

It could have been possible

to take advantage of a world-wide
audience listening and say:

"Show this image from time to time!"

If that was refused,

to take advantage of a world-wide
audience watching TV and say:

"You refuse to show this image." -
at each final, for instance.

Okay, we'll kill the hostages
and we'll be killed afterwards.

And for them as for us,

one finds it silly to die for an image
and one is a little scared.

"...crimes of humanity: This time,
the Gates of Hell will be passed..."

Okay, not too many pompous sentences.

I noticed something, you know, while
reading books on concentration camps

when the prisoners couldn't
stand on their feet

and weren't really worth anything.

at the last stage of physical decay,

well, a prisoner was called a Muslim:

"Twelve million men, women and children
were deported, nine million were dead."

"For six million of them,
their only crime was to be Jewish."

Here is a Jew in such a condition
that the SS called him: Muslim.

The silence. The family.
The television.

My silence. Your silence.

The factory and the sexes.

The working conditions.

Pleasure and money.

The working conditions.

Oil and revolution.

The working conditions.

So what are they saying?

They say: concerning
the crossing of the river,

did you find any difficulties,
or make any mistakes?

There is one serious mistake:

since we cross the river
always at the same place,

we are going to have ourselves
located by the enemy's machine-guns

and thus we may cause the
tragic end of the whole group.

I do remember when we shot this.

That was three months before
the September slaughters.

That was in June '70
and in three months,

the whole little group will be dead.

What is really tragic is
that they are here talking...

talking of their own death.

But nobody said that.

No, because it was up to you to say it
and what is tragic is that you didn't.

As they are simple revolutionaries,
they talk about simple things.

Incredibly simple.

What are they saying?

"The enemy could easily
recognize our entry post...

encircle us and hit us and destroy us.

Instead of beating and annihilating him,
he will beat and annihilate us.

This is why this type of mistake
should be avoided.

This is why we shouldn't
gather at one point.

These passages shouldn't be individual,

but made so that two or three of our
group could cross the river at once.

It is true that even to silence,
we never listened in silence.

We wanted to crow victory right away,
and furthermore at their place.

If we wanted to make
the Revolution for them,

it's perhaps because at that time

we didn't really want
to make it where we are,

instead of where we aren't.

"Do you think that we have sufficient
knowledge on Isreali positions

to carry through missions
against the enemy?"

"No, we don't know enough."

"Are you able to manage
a suicide operation

on an important position
held by the enemy?"

"Yes, we agree. Of course."

THINKING OF THAT AGAIN,
HERE AND ELSEWHERE

In 1970 this film was called:
Victory.

In 1975 it is called:
Here and Elsewhere.

Here, a French family watches television.

Elsewhere, images of the
Palestinian revolution.

Here, today, the sound
and images of today's noise.

Elsewhere, first yesterday, abroad,
then tomorrow.

Here, very simple images.

The children watch television, before
doing their homework and after supper.

Elsewhere, very simple images.

The Fedayin discuss the way to liberate
the river from the Israeli machineguns.

Where did the inability to see or hear
these very simple images come from?

We have, like everyone,
said something else about them.

Something else than what they are saying.

It seems most likely that
we do not know how to see or listen.

Or, that the sound is
too loud and covers reality.

Learn to see here,
in order to understand elsewhere.

Learn to understand speech
in order to see what others do.

The others, the "elsewhere" of our "here".