All language subtitles for Io Sono Un Autarchico 1976 eng

Hi, Alfonso.
I'm working on a new show.

Alfonso!
Hey, don't you recognize me?

Of course I recognize you,
you good-for-nothing!

Aren't you ashamed to show up again
after what you got up to last year?

We looked like fools.
Good-for-nothing!

- I AM SELF-SUFFICIENT -

Hello? Oh, hi, how are you?
What happened to you?

I wanted to offer you
an experimental theater piece.

- Oh, you're in theater, since when?
- For six years.

Well, anyway, Silvia,
I'm still...

Still... Yes, let's say it,
still very young, you too...

- You're young. How old are you?
I never remember. - 22.

22.

So I have to get a degree,
I have to work for a living.

How can I support the child?

What can I do? Start washing
dishes, making beds, meals...

- Well, what about me? - No,
you're right, it's the least I can do.

And how can I do it?

How? I can't read anymore,
do anything, have my own life.

This was in American films
40 years ago. Times have changed.

So why did we get married?

I really don't remember.
Why... Why... Yeah, I know.

No, I don't know. Huh?

We haven't been happy
together for half an hour.

Do you think it's better
for me to go away for a while?

When you talk like that
I really don't understand you.

What sense is there
in exaggerating all the time...

What are you doing, smoking?
You've even started smoking now.

You aren't thinking
of the little one.

Well, if we're getting
to that level.

I'll get Andrea,
so he can say goodbye.

Why are you making such a scene?

You know very well
you can't stand me much.

You're the first to admit
that we're no good together.

Yeah, yeah, you're right,
you're right.

Andrea! Andrea!
Your mother is leaving.

Andrea, now,
when we go in,

when I cough, you go: "Mm...".
Got it? Try it.

Try it again.

Andrea, your mother's leaving.

Your mom's leaving for a long trip.

- Bye, Andrea.
- Bye, mom.

In the cinema,
the actors are the middle class;

the image is the proletariat;

the soundtrack
is the petty bourgeoisie,

forever fluctuating
between one and the other.

The image, as proletariat,
has to seize the power in the film

after a long struggle.

(Oh, why do I have
such a strong urge to throttle you?)

Hello?

Hello?!

Hi, how are you?

I wanted to do a theater piece
that's a bit experimental

and I thought of you...

This is Alberto Moravia.
Did you get the tickets?

A great show.

Frankfurt against Benfica.

The flag?
No, I don't carry the flag anymore.

They've already beat me up 3 times.

Have Arbasino carry it,
he's even got a banner.

Siciliano? Siciliano's coming too?
No, I'm not going any longer.

No, you never know what
that guy will get up to, no.

No, no, no, no.

- No, no, I don't want to.
- Giorgio...

No, I'll go to one
of those art-house cinemas.

I have penciled in an appointment
with Gianni Scalia,

we're going to see
"Bread, Love and Dreams".

Well, how long will it take? Huh?

Okay, I'll call you. Bye.

Hi. Yeah... hi.

Because I wanted to hear from you.
Yeah, I wanted to... I had... yeah.

No...

Don't call me Ciccio.

Hello? Hello?

- Hello, is Alberto there?
- No, there's no Alberto here.

What do you mean?
He's lived here for 20 years.

No, Alberto isn't here
and he never will be.

Alberto, I know you're in there!

Alberto, this year's really different!
It's not like the last time.

There's a new organizational
structure, a new circuit.

It sounds good to me, yeah, yeah.

Not at all, not at all.

Who are the other actors?

Yeah.

Yeah.

Yeah.

Ah. Him too. Okay.

I wanted to ask you a...

Is there any chance of getting
some mon... No!

No, just to...

Oh, please,
I'd never dare. No, just...

Training...

Thanks for letting us
use your house.

I'm contacting
a well-known theater critic.

I hope he comes to the show.

Hi.

Yeah. Hi.

Well, so okay, huh?

- Okay?
- Yeah, okay.

What do you mean, "okay"?

Why "what do I mean"?
"All right".

- Oh, because it's all right?
- Just okay, all's well.

All's well?

- I said "okay".
- Yeah, okay...

It seems we agree. Okay.

I'd really like to leave home,
I can't take it anymore.

I can't stand it.

Being there, my father, my mother,
all day,

how's it going, what's up,
all this fuss...

You're sad, they look at you,
saying: "What happened to you?"

Well...

We don't all know each other,
so let's introduce ourselves.

First of all, Michele.
We're guests at his house.

Then Giuseppe,

Valentina,

Pio and Benedetta,
with Italo between them;

Giorgio;

and last, Paolo.

The theater of Beckett is
at the origin of this show.

Starting from there,

my intention,
our intention,

is to work on material
"in progress", so to speak.

That is, I want to recover
some elements

such as the gesture, the form,

and others like the soundtrack,
the lighting,

the editing of scenes.

Giorgio!

No, no, I hear you.
It's a technical thing.

Well, it's my fault.

- Forget it.
- It's not your fault.

But it is, it's my fault, I tell you,
I'm aggressive, it's my fault.

It's not your fault,
it's my fault, too, I realize that.

I tell you it's my fault.
All right, I made a mistake.

I know myself, I know. I'm also
aggressive, I shouldn't have done it.

No, I repeat, it's my fault.
Look, let it go.

- I made a mistake, that's that.
- I made a mistake as well.

I'm interested in recovering
a whole series of elements:

Artaud, Bataille, madness.

In this show I want to abandon
banal, gourmet foods.

I want genuine, stark theater.

I'm interested in...
I want to reach madness.

No, look, fine.
You have a really powerful beginning.

If you don't want to be here,
get out then.

Andrea!

You're not sleeping?

But why not? Andrea!

You're not asleep yet?
Careful, I'll call the old lady.

Do I call the old lady? Or the
gorilla that's in my room?

Do I call the black guy? Do I?
How ugly is the black guy! He's ugly!

Do I call the black guy?

Sure, it won't be an easy job.

You'll say, "job".
Yes, job.

Complex work
which is satisfying, however.

But we also need to work as a team.

To attain that,
we need a period of preparation.

Of preparation... So we need
a bonding phase,

when we can get to know each other, to
work together, even criticise each other.

So perhaps a trip, a few days
rehearsing out in the open.

- Tell me what you think.
- Well, no... I have nothing to say.

So, what do you think?

- That... maybe we could still...
- We could what, sorry? - Nothing.

No, no, tell me.

- Sorry, but... - Tell me
what you think, please. - I told you.

This is the doctor.

- In case something were to happen.
- What can happen?

- Let's go, come on!
- Olmo! - Starting.

Carry these. Berlinghieri and Dal C�,
you too, come on.

- That way.
- We have to go this way.

- No, that way.
- Listen, it's this way.

In these hills
of the Langhe district,

how can we not think back
to Eliot's work? - Enough!

What do you want? So...
April is the cruelest of months.

In fact they are continually
closing my garage

and I can't go to Fregene, my
favorite place for rest and leisure.

There's Fabio, pathetic as always.

The music, striking; the others, good.
The woman cashier is wonderful.

What is all this activity?
Are you going to take a picture?

A close-up of me,
of Alberto Moravia.

By the way... Doctor,
listen, really... Sit down.

Well, is Sanguineti
truly a monster?

I read an article, I didn't understand
a thing, even the photos were awful,

like the film "Godzilla".

I go every day to an art-house
or an independent cinema.

Every evening we meet there,
at the Farnese, always the regulars.

There is Enzo Siciliano,
who has a bad habit:

He moves continually
from seat to seat,

a thing I accept,
but don't join in.

Nothing should be known
of my private life.

That's enough guitar, Paolo.
Let's exercise now.

Everyone over there.
Let's do push-ups, on the ground.

No, we said
no to push-ups.

Yes, Giorgio, push-ups.

One, two, one, two. One, two.

One, two.

Come on, more confident.

One, two, one, two, one...

Italo, really, you do it on purpose!

Without pectorals, without abs
you can't be at avant-guard.

Come on, let's start again.

Up, down. Up... Get up.

Down, up, down, up...

- Doctor!
- One, two.

One, two.

One... Come on, a bit more.

Not so stiff, come on.

Less bouncy.

More flexible than bouncy, come on.

One, two.

One, two, one, two, one, two.

Enough, you can't do anything
this way!

I won't do the show anymore,
that's enough!

What did I bring you
outdoors for?

We have to cooperate,
to be united.

My work is always
a monument to contradictions.

This is a show...

So, let's go? We're going, come on.

- What the hell do I care?
- Was it the voice of the storm?

Where are you going?

You still haven't understood
that it's a movement

organized by Giorgio Bassani
and by Italia Nostra? Isn't it clear?

- What the hell do I care?
- Where are you going?

He's coming back!
United against the monster!

Fabio! Look at that.
Fabio! Come here.

Hmm, no.

Let's go!

Hurray, we're almost there!

My goodness! Giorgio, come here.

The doctor...

Here's what the mother gets: 9 months
of pain and 20 years of suffering.

- What is it? - The sea.
- Did you see? Let's go.

Now let's do a little exercise
to build up the muscles.

Not for free,
we'll need it for the show.

Hey, it's Sunday?

There's the derby, it's Roma-Lazio!

There's the derby!
Hold the watch for me, I'll kill him!

Hold the watch for me, I'll kill him!

Giorgio! Giorgio! Giorgio!

Giorgio, you have to go.

Giorgio!

Leave me alone!

Giorgio!

- Giorgio, you have to go.
- Giorgio!

It's your show,
it doesn't matter to me at all.

Poor guy.

Nothing, absolutely nothing?

Giorgio, you have a substitution,
you have to go to Fiano Romano.

- Go, Giorgio, go!
- Go on.

Go!

- Come on, Giorgio! Come on!
- Go!

Go, go, go on, go on!

Man!

Come on, Giorgio!

#Go Roma! #

Go!

- Go on!
- Try hard now!

Giorgio, think of our show!

Stop, Fabio. The films recommended
in the paper today.

"Eye of the Cat".

"The Divine Nymph".
Well, that's water under the bridge.

"That Most lmportant Thing: Love",
"The Red Carnation",

"My Friends",
"Seven Beauties".

"Seven Beauties", Fabio.

Well, why do the critics
recommend these films?

"The Innocent". Maybe because
they really like them.

Come on, that's not possible, Fabio.
"Seven Beauties"!

Wow! You know
those American actors, wow!

They're always gesturing.

Well...

Dear Fabio, Liu Shaoqi.

Liu Shaoqi...
I wonder what happened to him?

But you don't even know who he is.
Absolutely no politics for you...

Ireland. You remember
when we all talked about Ireland?

Ireland.
Who remembers Ireland anymore?

20,000 more card-carrying members
this year, for our party.

As if they were season tickets
for Roma at the Olympic Stadium.

- Giorgio behaves like a student
when he does Moravia. Right? - Yeah...

Well. The other day I met a guy.

He says: "I agree with you,
a little smoke once in a while".

Only it happens to him regularly,
three times a day, every day.

- Let's go back to socially-committed
Italian cinema. - You're jealous, yeah!

Me jealous? Me?

Italian cinema...

There are those films where
you see a desk full of books,

and the headline of a paper where
you can only see one thing, "I'Unit�".

So the spectator says, "That's
a comrade. He reads 'I'Unit�"'.

Or the guy who's walking
along the street,

in his jacket pocket there is
a folded magazine, "L'espresso".

Well, I'm going, okay.

I remember, see...
There was even a film...

A guy woke up and turned on
the light on his nightstand.

And on the nightstand there was even...
the "Quaderni piacentini". Really.

Okay.

Oh, wait, Fabio.

I still have lots of things
to tell you.

Well, that's enough,
I've finished. Thanks.

Next time, however,
I'll talk about the underground.

(The necessary physical properties
of the particular commodity... )

(The particular commodity,
in which the money form)

(of all other commodities
is to be crystallized... )

(lnsofar as they directly follow
from the nature of exchange-value... )

(They are: Unlimited divisibility,
homogeneity of its parts... )

(Homogeneity of its parts and uniform
quality of all units of the commodity)

(as the materialization... )

As the materialization...
I do not understand anything here.

Maybe I chose the wrong ideology.

- Shall I go?
- No, wait, it's not time.

Go!

- One. Quiet!
- No, wait.

"One" is written
with an exclamation point.

"One!" not "One".

One!

Quiet!

Where was I?

We've lost the train of thought,
we're fed up.

Soon everything will fall to pieces.

There'll be no more voice.

A drop of water on your head,
from the age of the fontanelle.

- Hey, enough! We're working.
- And leave my son alone.

Yesterday I was thinking of how many
relationships I have in this period.

I counted 15
and they're all important.

No, they're not
in order of importance.

I am first.

(Well, I have to phone the critic.
Let's hope I don't find him.)

(Let's hope I don't find him.)

(How many magazines does he
write for, anyway? 20... )

(No... 14, 15, 3 dailies.)

(2, 3... in reviews.)

(I have to think about the reviews,
get charged up. Go, go, go, go on!)

Yes? Oh, yes.

No, with pleasure.

No, the novel is dead.
The theater isn't.

Because theater is the place
where they still draw

some eloquent hieroglyphics.

I say, it's the place where...

The theater infers meaning
from the demolition of meaning.

I've discovered your trademark:
You never have a sweet expression.

Oh, "I don't have
a sweet expression"?

- What are you thinking?
- Nothing...

- What? - Huh?
- Did you say some...? - No.

("Seven Beauties"...
Well... )

Yeah, I'll give you back Andrea!

Andrea stays with me,
he's fine with me! Give him to you!

You don't pay for children.
You don't pay for children.

I'll give him to you!

I'll see him when he's 12-13
and he's already done everything:

He's tried this and that.

He's gone to Turkey, speaks of Freud
as if he was his cousin.

What's he got left to do? Nothing.

So at 14 he kills himself,

perhaps without ever having read
a book. I'll give him to you!

- So what's happened to Giorgio?
- He got a substitution.

Well...

Marra.

Michele! Michele! Michele!

Giuseppe is leaving home,
he got a scholarship.

He's finally going.
Are you happy?

- Huh? He's leaving!
- Yeah, bye.

Wow, but you're clever, huh?

How did it occur to you
to wake me up like that?

You've ruined my day.

Giuseppe got a scholarship.
Giorgio got a substitution.

You're doing the show.

And I don't have a sweet expression.

Listen, I have something else
important to tell you.

You know that in America,
at the University of Berkeley,

Lina Wertm�ller was offered
the professorship of cinema?

- Who, from "The Seduction of Mimi"?
- Yeah, her.

- From "Swept Away by an Unusual Destiny
in the Blue Sea of August"? - Yeah.

- From "Seven Beauties"?
- Yeah.

- "Seven Beauties"?
- Her, yes.

It was time, wasn't it?

You'll see that Italian cinema has
finally found its standard bearer.

Our films are well-liked,
they make money.

This is an important event,

which creates a precedent.

- Fabio, but isn't dad coming? Fabio!
- No, your dad's coming now. Wait.

Why?! Tell me why!

Can I do it in English?
I'm sure I can manage...

Why?! Tell me!

No, wait.

Why? Tell me the...
because of my sufferance.

- No? - No.
- More...? Less...? More...?

Why? Tell...
because of my sufferance.

No! I seem like Gian Maria Volont�,
all tense, wound up.

- Thanks.
- Thanks, dear.

More abstract. Less naturalistic.

I don't like it. Stop.

Try it out.

Shall we do it in movement...?
All that together in movement?

What do you mean "in movement"?

Here, Valentina.

Come on, let's go.

One!

It will be voice!

Fabio, look at Giuseppe.
He's no good, give him something.

All right, the wheel. Here it is.

- A drop of water on the head...
- Turn with the wheel.

Turn together, you and the wheel.

- Continue like that.
- Always the same beat...

- No, no, that's not good.
- Well, what do you want?

You should be more serious.
Less accentuation, more serious.

See how you are!

Did you hear what Fabio said?
"Just more gestures". Got it?

You keep on holding the sheet.
Hold up the sheet.

You have to hold
just the sheet. Understood?

- What? - What do you want?
- You're angry with me.

What are you saying? Did you hear what
Fabio said? Did you hear, yes or no?

- You're not good!
- No, you play with the sheet.

Stanislavskij, play with the sheet!

- You're not a good actor!
- Enough! - No!

Okay, but it's him, though, you see?
It's him...

- Andrea, are you happy
to sleep here tonight? - Yeah, yeah.

Wait, cool them down properly,

so later, it'll go better in bed
with the hot water bottle.

Go!

...and blessed is the fruit
of your womb, Jesus.

Holy Mary, mother of God,
pray for us sinners

now and at the hour
of our death. Amen.

In the name of the Father, the Son
and of the Holy Ghost. Amen, so be it.

Baby Jesus, bless
dad, mom and uncle Rinaldo.

Uncle Rinaldo? Who's that?

Do you remember
that it's my birthday?

Have you decided
to wish me a Happy Birthday?

Shall I lower myself first?

37. I don't have it.

I have to go to rehearsal.

Fabio, I brought you
that soccer player.

I told you, I'd like to use you
at a moment in the show

where you appear here in this set
together with the actors,

who will be placed symmetrically
on some tree stumps.

You slalom.

No, wait.

Coach!

Bounce the ball here.

Nothing. No.

No, sorry, I just don't need you.

Shall we start again?

No? Hmm?

Well, okay.

I want the money!
Fabio, damn!

Fabio,

do you agree that I don't have
a sweet expression? - Show me.

- No.
- No.

No.

So, here are the snacks.

- Crazy. - Another 5 minutes.
- Really crazy.

I'm taking part in this show

only because I was assured
of the presence, at the opening,

of Maria Schneider,

with whom
I shall couple, carnally

with a pat of Cademartori butter.

Fabio, will we still be here
at the feast of the Assumption?

Yes, we'll still be here.
The "L'espresso" intelligent vacation.

Fabio, get a government job,
or state-controlled...

We entrust the choice to you.

Yeah, yeah, look at your face!

Fabio, do you like
these new trousers?

- Fabio, oh! Do you like them?
- They're like a banker's. - Why a banker?

Yeah, look, a banker.
The color, the stripe... A banker.

Like a banker.

Like a banker.

What does that have to do
with anything?

There are serious bankers,
comrades.

All people who...

And what are these?

Those are the magazines,
then I have the books.

The Olympia Press series,

but only two are really any good,
the rest is rubbish.

Why are you looking at me like that?

Now, for example,
I'm going to see "She-Wolf".

Excuse me, now you and I
have to talk, Fabio.

In my opinion, there are two kinds
of films in this genre:

On one side there's the erotic cinema,
which has its purpose,

and may interest certain strata,

and on the other side is pornographic
cinema, pornography pure and simple.

And it's the only one I like.

It must be two years

since I went to see an important film,
one they're talking about.

If they have any auteur
or artistic ambitions, they say:

"Yes, there are nudes in this film,
but this is art, not pornography".

I absolutely do not go.

What is this nonsense
about artistic nudes?

You buy pornographic magazines

and discover that half of the Italian
intellectuals write for them,

discover that all that is liberating.

They've now discovered
Laura Antonelli.

I've been following her ever since

"Bali", Ugo Liberatore, 1970.

Do you remember the first bare breasts
on "King", on "Kent" 9 years ago?

When you read or watch these things
do you accept it with self-irony?

Are you stupid?
With self-irony!

Lights!

Sound.

No, no, you play.

I'll go in and call the critic
to inform him about the opening.

You're ready for the opening, right?

I'm leaving home.
I've even got the scholarship now.

So don't worry, I have no problems.
Sure, maybe for my parents... anyway.

You know
that American gesture

that means: "Yeah, okay..."?
Really American.

There are so many people
who do it, look...

Well, play, come on!

He does deep breathing, like Maiorca,
when he dives down to 80 meters.

When I talk to Lorenzo,
I feel like a nobody.

He always says: "You don't
liberate your homosexuality,"

"you're always at home,
you've never lived in a commune."

"What are you living for?".

I should feel worse
for this?

Play, it's your turn, come on.

I can't do it.

Come on, call, go on!

It's my ball, go.

I don't know why people feel more
leftist because they wear an earring,

because they only eat two
potatoes for lunch, because...

So who tells you that means
being farther to the left?

I, however, feel more to the right.

Yes, a good-for-nothing.
I read that article of yours.

Yes, that. In one of the 12 magazines
you write for. Real bullshit!

You're an opportunist, sold out!
Sold out to the Americans!

Sold out to the Americans! Yeah!

It's just a rehearsal,
in case he treated me badly.

But now I'll really call him.

So when's the opening?
No, almost certainly.

Yes, you can count on it, I do.

Oh, no, I like
this basic theater, frugal.

A horrible season,
an orgy of useless objects,

bric-�-brac � la Porta Portese.
No, frugality is everything.

Look!

Oh, we'll give him this MS, huh...

What is it? What is that stuff?

It's Afghan, good stuff!

I don't feel anything.

The reductive figure of speech,
adopted by displacing the real...

You have the echo of displacement,
not the displacement of the echo

and therefore, going back
to the same symbolic chain,

to the same bond of meaning
naturally, in a more general sense...

Regarding general:

Can you list all the General
Custers in the history of cinema?

There are 11. From '26,
I'll give you an end date, to '70.

Dustin Farnum, Frank McGlynn,
Ronald Reagan, 1940,

Addison Richards,
Errol Flynn, '41, James Millican,

Sheb Wooley,
Britt Lomand, Phil Carey,

Robert Shaw
and Richard Mulligan. 11.

I'm starting...

I don't know how to put it...
How to get across...

I don't know how to explain, as if...

As if a whole series of things
were opening...

I'm leaving home. It's done.
I'm finally going.

Sure, my parents don't want
me to, but all in all...

This is a shovel.

This tool is so ancient
and yet nearer to us,

to our culture...
- What do I do with this shovel?

Nothing, you... get to know it,
try to have rapport.

What are you doing?

Move, animate it.

No, no hurry, like that...

You're doing fine, doing fine.

- You know even
Emilio's getting married? - Who?

- Emilio.
- Who's Emilio?

It's something
I have yet to understand,

a strange story of psychoanalysis,
eroticism, semiotics.

Emilio and his wife
read books together.

They read French magazines.

Happy...

- Shall I start?
- Go, go.

This whole scene is clearly
a tribute to Marat-Sade.

Listen, I was thinking of something
like this, by way of self-censorship.

Take those things off,
don't fool around.

- Creative input...
- Forget it. - A suggestion...

- Shall I go?
- Yes.

A billion grains.

Quiet.

I know, I know.

I don't have a sweet expression.

You're Catholic, that's what you are!
A Catholic!

She's even got
a Volkswagen convertible!

#We want to have a revolution,
and you call this "provocation". #

- #Be-Be-Be, Berlinguer. #
- Enough!

#Houses are taken,
the rent is not paid. #

#This is our house reform. #

- This is masturbation!
- But it's against masturbation!

You see, you are a totally illiterate

and yet, you managed
to get something out of it.

In the midst of a heap of banality,
of student stuff, of political apathy,

you managed to get something,

despite your coarseness,
your evident lack of culture,

because you are illiterate,
talking among ourselves.

I appreciate the effort.
I appreciate the effort.

Do you appreciate this, too?

What are you doing? You're always
here checking up on me, almost...

You're always... my alter ego.
I found a key to interpretation.

You could be...
my alter ego.

Think it over,
it's an interesting idea.

Hi, dad, listen... yeah, I'm fine.

So, will you leave me the usual
monthly check of 200,000 Lire?

Yes, as usual, sure.
Like every month.

Yes, okay, bye.
Say hello to everyone, bye.

Just in case
someone asked themselves:

"How does this guy live?",
"Who supports him?",

"He has a house but not a job".
So we've cleared that up. Seems clear.

- "With all they pay
for the phone". - For electricity.

Well, think it over
that thing about the alter ego,

it seems like an interesting idea
as a performance.

Eat dad's pudding.

Mmmh!

It's so good!

Dad's pudding is so good!

How good this is!

Eat for dad! Andrea,
eat your pudding, it's so good!

One. Quiet!

Where was I?

We've lost the train of thought,
we're fed up.

Soon everything will fall to pieces.

There'll be no more voice.

A drop of water on the head
always beating on the same point.

Thank you, thank you.

- I liked it, dear Rizzi.
- Ghezzi.

I liked it
because I managed to read it

as a metaphor
of the historic compromise.

- You see, dear Pozzi...
- Fabio Ghezzi.

Even the central part,
which is easier reading,

would lend itself to being read
as performance difficulty,

amateurish, an improvisation,

it turned out to be, instead, I'd say,
well, how can I say...

"If the body is not relaxed,
Oedipus is not unfolded".

A Deleuze-Guattari
re-written by Fornari.

This uneasiness, that expresses itself
in an atrocious detachment of bodies,

in an infantile atrophy of gestures,

it's a dialectical given: The body
is unwell because it is healthy.

It's that kind of dialectical reading
that's missing, if I may,

even in our
Marxist tradition.

Re-reading "Das Kapital",
it seemed a bit kitsch.

But in my opinion, the problem
is another one.

Why do you want to do theater?
To get rich? To become famous?

Because this medium of expression
interests you.

Anyway, you'll do theater.

Because what you want to do
at 20, you do in your life.

Well, really, 20 years old...

30, 35...

What the heck! Do we always have to
meet at Castel Sant'Angelo?

Well, at least
I see a bit of Rome.

I'd never see that woman again.

15 years later I found out that
a friend had seen her near Modena.

There.

- Hi.
- Hi.

- Where are we?
- In the theater.

- Yeah, where are we?
At what point? - The chess game.

Take this, put it on.

Go on!

Look, let's continue like this:
Back and forth,

no one notices anyway.

Fabio! I'm leaving, pulling out.

Bye.

No, it's all ready.

Hello, is Silvia there?

Ah, she's out, I see.

Listen! Out in what sense?

Ah, outside Rome. "Outside Rome" how?
Huh? Yeah, sorry, bye.

Outside Rome. Why would she go
out there? Maybe she's in love?

But how could she fall in love
with someone other than me?

That's a question...
I don't know...

They threw me out of the house.

Look, I'm sorry about that,
Giuseppe, really sorry.

Because, you see,
once I understood

that he wasn't just
a household object,

I grew fond of Andrea.

But this story with Silvia
took him away from me.

Silvia...

I understand her, Silvia.
Huh, how I understand her!

Because, you see, in my opinion
the separatism of women...

Go on, go on.

The separatism of women,
besides being just, is inevitable.

Damn, now...

The one time I was
so clear, concise... Wait.

Evidently it's not my style.

It was Fabio. He says he wants to talk
to us before the last performance.

Fabio didn't tell us
that he lived in a commune.

No.

Right, that's why he called
from pay phones.

Yeah...

- Well, no, communes have phones.
- Yeah, they must have them.

Well yeah, they'd have them.

- Hi.
- Good afternoon.

I saw you were painting,
there are some interesting things,

some quite nice paintings.

- Did you like them?
- Yeah, even Giuseppe here...

But for us they are a means
of reaching other things.

We're Buddhists.

- Buddhists... Italians?
- Sure, Italian Buddhists.

Well done!

Today's our last show
and as a verification of our work

we thought...

- No, we want to have a debate.
- Not a debate!

Yes, a debate in which
the actors will also intervene.

Right now they're taking
their make-up off.

Ours is perhaps not
a very easy show.

It presents some symbolism.

Huh? Nothing, I thought
there was someone who...

I was saying, our show
presents some symbolism.

In our opinion,
it wasn't an easy job.

That is to say, not a job
that can easily be

studied in detail.

One of our intentions has been
to try to break down the barrier

that always separates
the audience from the show,

the actors from the spectators,
and I think we've succeeded.

We've succeeded
in breaking it down.

Someone will have noted, perhaps,

in the show's closing scene,
some intentional provocation

and which I think
has left its mark.

From some audience reactions
that we have been able to easily

perceive...

Links to reality? Certainly.

Indeed, our show,
even though it's not a real show,

is, however, a realistic show.

Sure, it's late, I know.

In any case,

the audience opinion
is essential, I believe,

for those who have chosen
a business of this kind.

A tough business,

that requires some...

A business that requires
some participation from the audience

in order to...

- Will we make it in time?
- Yes.

"Enrichetta the Little Altar Girl".

Paolo, that's enough!

There's nothing on.

- "Naughty Nun..."
- No, it's revolting.

Bye.

- "Simona" is by Bataille, isn't it?
- No, he cut everything, no.

- "The Blonde and the Black Pussycat."
- No. Bye.

No, coming soon,
but no films.

"Ring of Fire".

- It's a Western.
- A Western? - A Western.

"The Queen of the Pirates".

Exceptional! I saw it a couple
of years ago, really good.

Go see it.

- Let's go together. - No,
I've already seen it. I'm going home.

- Fabio, we're going.
- All right.

- Shall we help you clear up?
- No, I'll do it.

- Do you have the keys?
- Yes. - Bye. - Bye.

Subtitles
STUDIO ASCI - Crema

- I AM SELF-SUFFICIENT -