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Downloaded from
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Official YIFY movies site:
YTS.MX
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INA presents
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Image-Changing
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Nine minutes, thirty seconds.
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It would be good
if you went farther.
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Farther than what?
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We just expect a bit more,
finally.
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After... this.
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How to convey
an image of change.
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Well, to be honest,
we're in something that's...
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To give an idea of change
through an image.
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We don't even know if...
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Is there an image that can
show the idea of change?
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Can an image even
qualify as something
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that conveys
the notion of change?
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Can an image...
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Can an image change?
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Why did I even do all of
those discussions on television
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on the topic of reform,
which get on my nerves...
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At the same time there was
something that I had to--
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which is why I was so late,
it was...
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Basically, I need to feel,
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to show how I'd been
humiliated.
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Why?
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To show myself humiliated?
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Because there is something
in the image that is...
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I don't know what the sin is,
it's very connected to the text.
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All of these discussions
taking place right now
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are discussions
about text.
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No one is
making images.
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So to go farther,
well, I might have said to you,
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"Fall even farther."
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- Fall even farther.
- Fall even farther.
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We speak about an image as
divine but perhaps it's more
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but might rather come
from the devil and for me...
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After all a deal had been made.
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And as a civil servant
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there was nothing better
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for the Kingdom
of National Television,
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who had called him,
day and night
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for about three
or four months.
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What determined
taskmasters they were.
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Would the bosses be able to
show him off for the anniversary
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of the takeover of this Kingdom
of National Television?
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And for our idiot,
who would mistake easily
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the work of research
with the research of work,
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this imbecile was trapped
in his own game.
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A nasty business.
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Like usual, when non-fiction
gets mixed up with fiction.
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You either have to give back
the money, or in five minutes
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you need to create the images,
the sounds, the power,
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the dreams,
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well, all of humanity's
most profound desires,
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whether good or bad.
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After looking in deep reflection
into an old mirror
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that the director
of Beauty and the Beast
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had given him,
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maybe the best would
be to buck up,
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our idiot was telling himself.
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After all, it was about
establishing a delicate formula
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that could be seen
rather than spoken,
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or spoken without ever
having been seen.
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So, at the same time,
both invented and copied.
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It was true that
this idiot's entire life
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had been no more
than a sorry back-and-forth
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between an image of life,
and the life of images.
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Very soon,
he had shown
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that there was no image,
but only chains of images,
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and that the way in which
we connect the chains,
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from DNA to the R5 assembly
line at the Renault Factory,
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was itself a kind of image.
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Was in a certain way,
an image of the idea we had
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of how to insinuate ourselves
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at the center or the edge
of the Universe.
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And this task,
all of a sudden,
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this figure-8 imposed
on this imbecilic skater,
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who only loved
free-form skating,
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brought back to him
the memory of a real adventure
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that had happened
three or four years ago,
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in what we call a "new" country,
in South America or Africa,
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where he had been invited
for his so-called affection
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for this type of country,
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and also as an expert
on how images change,
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having been invested recently
with the power
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to create a new kind
of television.
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But here is what happened,
and what could have happened,
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which is what,
in fact, happened.
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Or, as our idiot had said
often enough,
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mixing the real
with the imaginary,
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like many people in other times
might mix love with work.
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Two weeks after
his arrival in the country,
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and after he had
started to work,
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there were obviously
the usual ups and downs,
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this new country having forever
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had its preconceived ideas
on the role of television.
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Then, as our idiot began
his work with great enthusiasm,
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those who had lost power
regained it,
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and banished everyone,
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including experts and advisors
from Europe and elsewhere
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except for one.
Our idiot.
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The new government was
half-military, half-civilian--
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civilian at heart and military
for the uniform, or vice versa.
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The new bosses,
in general,
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and especially the Head of
Information and Communication,
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as he loved to tell
journalists,
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this one would have thought
that our idiot was the only one
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who knew how to make television
that can serve the public
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without offending
the powers that be.
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Hence, that would please
the government
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without harming the people.
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Basically, the new chief
decided that this idiot
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was able to deliver the right
formula to make television,
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or the formula
of a good television.
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He had done the same
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for those who had brought him
into the country
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and in any case, had already
spent the money on his ticket.
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As soon as possible,
they assigned to our idiot
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a former local reporter
who spoke some French
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and had been promoted
through the ranks,
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and was now part of the
army's public relations arm.
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Those had joined forces with
the Public Health Department.
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These new leaders wanted to work
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for the good
of the people at all cost.
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And this is how
two or three times a day,
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with the strategic use
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of animal psychology
and human pressure,
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our idiot was asked what
the exact formula was
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for changing images
and the image of change.
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That in this movie, the prisoner
and the victim, which is you,
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had written a letter
to his beloved...
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Yes, I had started with that,
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but there were
so many ideas in it that...
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The image of change,
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change which is so vast,
it's everywhere.
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And in ten minutes
they gave me twelve minutes
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then took back two-and-a-half.
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Admittedly,
I took my time as well.
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So then there is quite
a lot of material.
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As a matter of fact,
there was the idea of two texts.
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Two texts, one text
to his beloved somewhere.
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Whether it's the revolution,
or whether
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from a woman to a man,
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all the texts
would be considered
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like a letter to the beloved.
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Whether it's St. Theresa of
Avila or Marx and Engels,
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it would be a letter
to a beloved one.
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And I had simply thought
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because we show on television,
we always show victims,
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like in photographs, we never
see the soldiers shooting,
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we only see their backs.
Like that.
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So, I had this idea
to be humiliated
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because,
if you want in my opinion,
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both television and film
are occupied by the enemy.
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The government being
the principal enemy
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and servant as well.
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Really, a television technician,
for me, is a collaborator
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like the French collaborators
who cooperated with the enemy.
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And apart from that, the desire
to show that to create an image
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is to maybe give slaps
but to be slapped as well,
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that we had to receive slaps
just as we got to give them.
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And that there was a real desire
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to feel oneself
in occupied territory
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and well, I had, I had wanted
to mix different things.
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I would have liked to create
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the role of an
executioner writing
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his beloved from
wherever he was,
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somewhere with his garrison,
something like that.
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And then the other prisoner
would be writing
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about the same kind of letter.
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And, we would have combined
the two texts
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and maybe that would have
created the image.
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There is so much to show.
Show the resistance,
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show the resistance
of the image to change.
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Myself, I believe that I am
only the image,
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and that I am not ready
to change, just like that.
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On the other hand,
I think that
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in between the
images we can change,
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that's what we need
to show, this in-between.
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It reminds me
of when I was little,
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of my grandfather
driving around,
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and only using the first gear.
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We were little,
in the back seat
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and every one of these
Sunday drives was awful.
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From the back,
we'd cry out,
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"Change Grandpa, change!
Change, Grandpa, change!"