1
00:01:04,200 --> 00:01:08,728
Saint-Paul de Mausole Asylum,
in Saint-Rémy, France.

2
00:01:12,680 --> 00:01:17,811
The room where, in 1889,
Vincent Van Gogh is recovering.

3
00:01:22,560 --> 00:01:24,562
This is the landscape from his window.

4
00:01:29,280 --> 00:01:31,328
And this is how he saw it.

5
00:02:06,920 --> 00:02:13,087
He saw a lot in this small space. We
can see a lot in a small thing.

6
00:02:13,240 --> 00:02:17,962
All his life, Van Gogh scrutinized
something even smaller.

7
00:02:18,120 --> 00:02:23,251
A space of barely 30 by 20 centimeters.
His face.

8
00:02:26,600 --> 00:02:28,011
Suspicious.

9
00:02:29,920 --> 00:02:31,490
Like Rembrandt.

10
00:02:34,280 --> 00:02:36,203
A monster with green eyes.

11
00:02:39,040 --> 00:02:40,644
Flayed.

12
00:02:44,080 --> 00:02:45,923
Aging.

13
00:02:51,560 --> 00:02:56,088
Art never stops showing us
that by looking closely at a little thing...

14
00:02:59,120 --> 00:03:01,248
you can see a lot there.

15
00:03:03,760 --> 00:03:05,842
Here's a little thing.

16
00:03:06,000 --> 00:03:09,971
My niece and nephew, Laura and Ben,
visit me.

17
00:03:10,120 --> 00:03:15,286
We had lunch, sausages and beans,
and they built this ball slide.

18
00:03:15,440 --> 00:03:17,807
They are still in their pajamas and so am I.

19
00:03:17,960 --> 00:03:22,568
♪ Turned on my camera,
I put it in front of them...

20
00:03:23,960 --> 00:03:25,883
and I filmed this.

21
00:03:26,760 --> 00:03:31,368
I don't move the camera,
and Laura and Ben sometimes go out of frame.

22
00:03:31,520 --> 00:03:33,443
At first they are shy...

23
00:03:35,160 --> 00:03:38,926
then they argue,
and there's more going on.

24
00:03:39,080 --> 00:03:41,560
It's an ordinary scene...

25
00:03:41,720 --> 00:03:45,964
but which refers to landscapes
and self-portraits of Van Gogh.

26
00:03:46,120 --> 00:03:48,327
Children are great to film...

27
00:03:51,840 --> 00:03:57,131
because they show a lot in one
plan, even without preparation or lighting.

28
00:03:57,720 --> 00:04:03,124
♪ Have seen this sequence shot several times,
and I see many aspects...

29
00:04:03,280 --> 00:04:05,248
of childhood and cinema.

30
00:04:07,040 --> 00:04:12,524
I will use it to remind myself
children and films from all over the world...

31
00:04:12,680 --> 00:04:17,242
as Van Gogh used his field and
his face to see light and freedom...

32
00:04:17,400 --> 00:04:19,402
in the prison of his being.

33
00:04:21,960 --> 00:04:25,407
I choose films centered
on children...

34
00:04:25,560 --> 00:04:31,249
and not what adults think
of them. And I choose to film from life.

35
00:04:32,040 --> 00:04:35,283
We think we know the films
about children...

36
00:04:35,440 --> 00:04:42,608
but the best are often forgotten
or rarely seen. I want to remember them.

37
00:04:42,760 --> 00:04:45,650
Laura and Ben will help me.

38
00:04:45,800 --> 00:04:50,840
Not in chronological order,
but in the order of what we see...

39
00:04:51,000 --> 00:04:54,083
<i>while</i> watching Laura and Ben play.

40
00:04:55,320 --> 00:04:58,290
Look at Laura. She is shy.

41
00:04:58,440 --> 00:05:02,570
I'm 2 meters from her,
with an amateur Palmcorder camera.

42
00:05:02,720 --> 00:05:05,963
She is suspicious and she is not wrong.

43
00:05:06,120 --> 00:05:09,920
Who spends a little time with children,
recognizes this look...

44
00:05:10,080 --> 00:05:12,287
that we find in all the films.

45
00:05:14,240 --> 00:05:16,322
Here is this tune in close-up.

46
00:05:16,480 --> 00:05:20,121
This shy little Chinese girl
is used to being ignored.

47
00:05:20,280 --> 00:05:24,330
She looks up.
The sky is in the background.

48
00:05:24,480 --> 00:05:27,927
When her father looks at her,
it closes.

49
00:05:31,960 --> 00:05:36,010
We see the same distrust in <i>E.</i> T.

50
00:05:38,040 --> 00:05:42,443
Two beings, quite new to this world,
stare at each other.

51
00:05:43,280 --> 00:05:46,762
They observe each other carefully.

52
00:05:52,600 --> 00:05:56,844
They are filmed in chiaroscuro.
They are beginning to understand the situation.

53
00:06:03,280 --> 00:06:07,285
The reverse shot editing accentuates
the fixity of their gaze.

54
00:06:09,120 --> 00:06:11,805
They are fascinated by each other.

55
00:06:24,680 --> 00:06:30,210
From an American suburb of the 80s,
we jump to the year 1937 in Japan:

56
00:06:32,320 --> 00:06:37,326
Hiroshi Shimizu shows distrust,
the timidity of someone who is repulsive...

57
00:06:37,480 --> 00:06:39,960
to jump into the water.

58
00:06:40,120 --> 00:06:43,203
E.'l'. Reluctant to jump into the water.

59
00:06:43,400 --> 00:06:45,607
Children jump into a lake.

60
00:06:51,000 --> 00:06:54,641
This boy wants to follow them, but then...

61
00:07:04,320 --> 00:07:06,926
Kinta, hurry up, come!

62
00:07:08,800 --> 00:07:10,689
♪ Didn't take my swimsuit.

63
00:07:13,720 --> 00:07:16,849
You don't need it. Come!

64
00:07:17,640 --> 00:07:21,486
Black and white photography
50mm lens...

65
00:07:21,640 --> 00:07:24,484
blurred edge around the image.

66
00:07:30,600 --> 00:07:32,329
I'm watching your clothes.

67
00:07:37,800 --> 00:07:39,211
We're going to get him.

68
00:07:40,840 --> 00:07:45,129
Shyness pushes him to run away.
And he runs away.

69
00:07:50,240 --> 00:07:54,450
Japanese films often
giving pride of place to childish shyness.

70
00:08:02,200 --> 00:08:06,125
This little girl, Janet Frame,
doesn't seem to want to run away.

71
00:08:06,280 --> 00:08:08,681
She walks towards the camera.

72
00:08:08,840 --> 00:08:12,242
The path indicates where it comes from...

73
00:08:12,400 --> 00:08:15,244
and the camera pans down to his face.

74
00:08:23,320 --> 00:08:25,891
That suspicious look that we know well.

75
00:08:26,040 --> 00:08:28,407
<i>This is the story of my childhood.</i>

76
00:08:30,080 --> 00:08:33,926
And then, this close-up,
a Jane Campion-style close-up.

77
00:08:34,080 --> 00:08:37,368
Crushing, looks from left to right.

78
00:08:37,520 --> 00:08:40,808
She wonders if she is in her place.

79
00:08:40,960 --> 00:08:44,123
She decides no and runs back.

80
00:08:47,400 --> 00:08:52,167
Here we are in India in 1977,
where this beautiful film was filmed...

81
00:08:52,360 --> 00:08:54,886
on children's distrust.

82
00:08:55,040 --> 00:08:58,249
A shy boy comes out of his shell.

83
00:09:02,160 --> 00:09:06,802
It's his first day of school.
The camera slides towards him.

84
00:09:08,160 --> 00:09:11,004
His chin is down, like Laura.

85
00:09:11,160 --> 00:09:13,527
The expressiveness of shyness.

86
00:09:19,520 --> 00:09:21,488
The reflection of her earring.

87
00:09:21,640 --> 00:09:25,167
A Brahmanical loop that reveals his caste.

88
00:09:32,560 --> 00:09:36,167
Films about children omit
often...

89
00:09:36,320 --> 00:09:39,529
to mention their social class as
if it came to them growing up.

90
00:09:39,680 --> 00:09:44,322
But it is present in the suburbs of<i>E.
</i> T. And here too.

91
00:09:46,960 --> 00:09:49,042
Listen to Laura and Ben.

92
00:09:49,200 --> 00:09:51,806
Can I help you?
No, not really.

93
00:09:51,960 --> 00:09:55,407
The working-class accent of the North of England.

94
00:09:57,400 --> 00:10:01,121
For children of films from the former USSR...

95
00:10:01,280 --> 00:10:05,171
social class belongs to the present.

96
00:10:05,320 --> 00:10:09,041
<i>The Steamroller and the Violin
by Tarkovsky.</i>

97
00:10:09,600 --> 00:10:15,209
A preppy kid, who plays the violin,
met in the street...

98
00:10:15,360 --> 00:10:18,409
a steamroller driver.

99
00:10:18,560 --> 00:10:20,608
A friendship is formed.

100
00:10:25,760 --> 00:10:31,324
Tarkovsky has a sense of color.
Hair color is violin.

101
00:10:31,480 --> 00:10:35,804
The gray-blue of the sweater matches
with the walls.

102
00:10:39,960 --> 00:10:45,205
As it rained, Tarkovsky spotted
the light reflecting off the walls.

103
00:10:46,000 --> 00:10:50,562
The boy spoke to the sounding man
and the camera shows the walls...

104
00:10:50,720 --> 00:10:54,964
on which the music bounces,
like light does.

105
00:11:08,720 --> 00:11:11,405
Cinema often shows
such friendship...

106
00:11:11,560 --> 00:11:15,724
but here, the age difference
is almost ignored.

107
00:11:15,880 --> 00:11:20,602
What matters is their connection
which transcends class differences.

108
00:11:39,800 --> 00:11:44,010
Towards the end of PURSS, the films
were less optimistic...

109
00:11:44,160 --> 00:11:47,528
as for children who are friends with people
other classes.

110
00:11:47,720 --> 00:11:53,011
In <i>La</i> freedom, <i>The</i> paradise,
the boy, Sacha, runs away from a home...

111
00:11:53,160 --> 00:11:57,324
to look for his father.
The kid stabbed someone.

112
00:11:57,480 --> 00:12:01,121
Bodrov's film is without sentimentality.

113
00:12:05,480 --> 00:12:09,849
Sacha is sitting in 1st class on
a boat and this is what happens.

114
00:12:10,000 --> 00:12:13,243
What class is your ticket for, kid?

115
00:12:13,400 --> 00:12:14,845
The one below.

116
00:12:15,000 --> 00:12:16,764
So go ahead.

117
00:12:21,880 --> 00:12:26,602
The elegant woman kicks him out
from the world of lace curtains.

118
00:12:27,200 --> 00:12:30,443
It's a film of dark shadows
and muted browns.

119
00:12:30,600 --> 00:12:34,810
After opera music,
the din of the engine room.

120
00:12:35,000 --> 00:12:38,004
Can I sit here?
Yes.

121
00:12:40,440 --> 00:12:45,128
When <i>Sacha</i> finds his father,
the roles are reversed.

122
00:12:48,600 --> 00:12:52,241
Hold.
THANKS.

123
00:12:57,240 --> 00:13:00,562
This film about childhood and classes
is hard...

124
00:13:00,720 --> 00:13:05,328
but 40 years ago in Mexico,
this film was even harder.

125
00:13:06,080 --> 00:13:12,440
<i>Sacha</i> wanted to find his father
but this young boy, Pedro, is bitter.

126
00:13:12,600 --> 00:13:18,050
He is an outcast and he sees no way out.
So he wants to take his revenge.

127
00:13:18,200 --> 00:13:20,601
Here is this famous fragment.

128
00:13:23,200 --> 00:13:26,647
This is the kind of easy effect of 3D movies.

129
00:13:26,800 --> 00:13:30,088
He provokes us.
He throws the egg at us.

130
00:13:30,280 --> 00:13:32,521
Don't do that. We sell eggs.

131
00:13:32,680 --> 00:13:34,045
I do what I want.

132
00:13:35,040 --> 00:13:37,566
We'll call the director.

133
00:13:37,720 --> 00:13:39,449
Call him.

134
00:13:39,880 --> 00:13:44,647
Buñuel chose a high contrast
and great depth of field.

135
00:13:44,800 --> 00:13:46,962
I would love to see that!

136
00:13:52,000 --> 00:13:56,210
<i>The English title of Los Oivfdados is
“Fhe Young and rhe Damned.</i>”

137
00:13:58,600 --> 00:14:03,083
British cinema seems
miles from Mexican hell...

138
00:14:03,240 --> 00:14:07,325
but the adaptation of Lean,
Dickens's Great Expectations shows...

139
00:14:07,480 --> 00:14:11,690
that Pip is, in his own way,
cursed him too.

140
00:14:13,240 --> 00:14:14,765
<i>Esîella.</i>

141
00:14:14,920 --> 00:14:20,051
He initially ignored social prejudices
and their peremptory character...

142
00:14:20,200 --> 00:14:25,491
but a girl comes on the scene
and his words hurt him.

143
00:14:26,280 --> 00:14:28,760
<i>And you will put it to good use.</i>

144
00:14:30,360 --> 00:14:34,410
<i>Let me watch you play cards
with this boy.</i>

145
00:14:35,160 --> 00:14:37,162
<i>With this boy?</i>

146
00:14:37,360 --> 00:14:41,365
<i>But? A worker's child!
Look at his boots.</i>

147
00:14:41,560 --> 00:14:45,485
He looks down.
He feels naked, like the little Japanese...

148
00:14:45,640 --> 00:14:48,371
in Children in
<i>the wind</i> by Shimizu.

149
00:14:51,480 --> 00:14:53,289
<i>What can you play, little one?</i>

150
00:14:54,520 --> 00:14:56,124
<i>To battle, Miss.</i>

151
00:14:58,120 --> 00:15:02,523
Estella is an “Edward Scissorhands”
of the scathing remark.

152
00:15:02,680 --> 00:15:07,004
<i>One for one jacques.
He calls the valets jaoques!</i>

153
00:15:07,160 --> 00:15:09,288
<i>What calloused hands he has!</i>

154
00:15:10,280 --> 00:15:13,966
<i>Poor stupid clumsy worker!</i>

155
00:15:14,120 --> 00:15:20,401
<i>She says a lot of mean things about you,
but you don't say anything about her.</i>

156
00:15:20,960 --> 00:15:22,086
<i>What do you think of her?</i>

157
00:15:22,280 --> 00:15:26,968
He will try all his life to impress her,
to heal his wounds.

158
00:15:27,120 --> 00:15:29,964
<i>Say it in my ear.</i>

159
00:15:33,880 --> 00:15:37,771
In Japan, ten years earlier,
a father and two sons.

160
00:15:37,920 --> 00:15:41,083
Unemployed, he is looking for work.

161
00:15:41,240 --> 00:15:43,720
They are poor, hungry.

162
00:15:48,440 --> 00:15:53,480
In the region where they are,
we reward the hunting of stray dogs.

163
00:15:53,640 --> 00:15:55,802
The kids spot one.

164
00:16:03,400 --> 00:16:04,890
The camera is at ground level.

165
00:16:05,040 --> 00:16:09,728
Industrial buildings look massive
and make the boys smaller.

166
00:16:22,360 --> 00:16:24,249
Head to toe framing.

167
00:16:29,320 --> 00:16:33,644
Symmetry. Classical compositions
from one of the best directors:

168
00:16:33,800 --> 00:16:35,211
Yasujiro Ozu.

169
00:16:37,120 --> 00:16:39,691
An unparalleled balance.

170
00:16:39,840 --> 00:16:41,046
Wait here.

171
00:16:52,200 --> 00:16:57,764
He often filmed marginalized people and
nature that reveals the passing of time.

172
00:17:04,840 --> 00:17:09,607
Finally, the older brother returns
with the reward for the dog found.

173
00:17:09,760 --> 00:17:11,603
Hooray! They are going to eat.

174
00:17:11,760 --> 00:17:16,721
The camera is low again.
We are on the same level as the children.

175
00:17:16,880 --> 00:17:17,961
But wait.

176
00:17:32,400 --> 00:17:34,448
<i>M finished that.</i>

177
00:17:38,120 --> 00:17:39,770
Dad will be furious.

178
00:17:44,800 --> 00:17:47,007
The dog meant a meal.

179
00:17:51,760 --> 00:17:54,570
You can put it on too.

180
00:17:58,160 --> 00:17:59,764
It suits you well.

181
00:18:02,680 --> 00:18:07,607
The kid with the violin, the kid on the run,
the teenagers of Los Olvidados...

182
00:18:07,760 --> 00:18:12,607
Pip<i>Great Expectations
and these kids have one thing in common:</i>

183
00:18:12,760 --> 00:18:15,730
their social environment will determine their lives.

184
00:18:17,880 --> 00:18:19,962
Do they really know?

185
00:18:21,200 --> 00:18:23,931
Stop arguing!

186
00:18:26,680 --> 00:18:28,682
Let it go.

187
00:18:32,760 --> 00:18:36,287
I won't repeat it. Play together.

188
00:18:36,440 --> 00:18:38,522
Drop it, Ben!

189
00:18:38,680 --> 00:18:41,251
I do it alone! Don't bite me!

190
00:18:41,400 --> 00:18:44,802
Laura and Ben argue over the marbles.

191
00:18:44,960 --> 00:18:49,409
We hear their grandmother's voice
who tries to calm them down.

192
00:18:49,560 --> 00:18:53,929
Every parent in the world knows
this friction and this impetuosity.

193
00:18:54,080 --> 00:18:56,401
All children know this.

194
00:18:56,560 --> 00:19:01,202
Good childhood films show this
and explain why this happens.

195
00:19:02,200 --> 00:19:07,161
Watch the film by Mohammad Ali Talebi
from Iran, The Red Boots.

196
00:19:11,280 --> 00:19:15,444
Mom, I want these boots!

197
00:19:19,560 --> 00:19:22,131
Wait a minute.

198
00:19:24,800 --> 00:19:27,246
I want these boots!

199
00:19:27,400 --> 00:19:29,721
How much do they cost?
Three times nothing.

200
00:19:29,880 --> 00:19:31,644
Take off your shoes.

201
00:19:32,360 --> 00:19:36,251
A little girl sees a red boot
and wants a pair.

202
00:19:36,400 --> 00:19:38,641
The film is in documentary style.

203
00:19:38,800 --> 00:19:43,840
She screams, pushes her mother,
which ends up giving in. Child's play.

204
00:19:49,040 --> 00:19:51,930
Very naturalistic lighting and emotions.

205
00:19:53,040 --> 00:19:57,841
The film clearly shows how quickly
a child passes from one state to another...

206
00:19:58,000 --> 00:20:01,004
like a film moves from one shot to another.

207
00:20:03,200 --> 00:20:06,966
Anger is a volcano,
sleep, a dormant volcano.

208
00:20:09,400 --> 00:20:13,610
Talebi films this moment
as if it were documentary theater.

209
00:20:13,760 --> 00:20:16,331
The little girl lost one of her boots.

210
00:20:18,120 --> 00:20:21,681
When she realizes this, she becomes enraged.

211
00:20:31,880 --> 00:20:35,646
If Japanese films depict well
childish shyness...

212
00:20:35,800 --> 00:20:39,691
British and Soviet films
excellent in class differences...

213
00:20:39,840 --> 00:20:43,322
and the Iranians in
childish anger.

214
00:20:43,480 --> 00:20:46,051
Maybe because they are very honest.

215
00:20:46,600 --> 00:20:50,525
The Iranian Center for Development
intellectual children...

216
00:20:50,680 --> 00:20:57,404
filmed childish emotions and
relationship between these emotions and thought.

217
00:20:58,400 --> 00:21:03,611
This gave rise to the film <i>The White Balloon</i>
which shows that anger is essential...

218
00:21:03,760 --> 00:21:05,569
to childhood.

219
00:21:05,720 --> 00:21:09,691
The beginning of spring in Iran is celebrated
with goldfish.

220
00:21:09,840 --> 00:21:13,890
The family of young Razieh,
already has several...

221
00:21:14,040 --> 00:21:18,602
but she has seen more beautiful ones
and she wants them.

222
00:21:18,760 --> 00:21:23,766
I saw them. They are not the same.
Ours are skinny.

223
00:21:23,920 --> 00:21:25,126
What?

224
00:21:25,280 --> 00:21:29,205
There is no more shampoo!
It's not you I'm talking to.

225
00:21:29,360 --> 00:21:33,001
Believe me, they are not the same.

226
00:21:33,160 --> 00:21:35,049
Ours are skinny!

227
00:21:35,240 --> 00:21:38,767
This movie is full of blues and reds here.

228
00:21:38,920 --> 00:21:41,810
Naturalistic lighting and live sound.

229
00:21:41,960 --> 00:21:44,440
They have fins that dance.

230
00:21:44,600 --> 00:21:47,524
Their fins are long. Four.

231
00:21:47,680 --> 00:21:51,924
The camera remains at a distance so that
the little one doesn't notice anything...

232
00:21:52,080 --> 00:21:55,846
which contributes to the naturalness of his game.

233
00:21:56,000 --> 00:22:00,289
They will all be gone.
If we don't buy them now...

234
00:22:00,440 --> 00:22:04,968
we won't have any for the party
and for when grandma will be here.

235
00:22:05,120 --> 00:22:06,849
Boots and goldfish.

236
00:22:07,000 --> 00:22:13,007
The child complains when he doesn't get what he wants
without understanding why he doesn't have it.

237
00:22:13,160 --> 00:22:17,927
Desire and helplessness are the ingredients
anger.

238
00:22:19,960 --> 00:22:24,284
After timidity and anger,
children often open up to the camera.

239
00:22:24,440 --> 00:22:25,965
Do you see me?

240
00:22:27,320 --> 00:22:28,606
Cuckoo!

241
00:22:29,720 --> 00:22:31,688
I can't see your face.

242
00:22:35,440 --> 00:22:37,283
Can't you see my face?

243
00:22:39,600 --> 00:22:42,251
Sorry, I don't have a head.

244
00:22:42,520 --> 00:22:44,522
They show off.

245
00:22:44,680 --> 00:22:47,001
As if Ben were on stage.

246
00:22:48,040 --> 00:22:50,361
Welcome to my ball slide.

247
00:22:55,480 --> 00:23:00,520
No one understands this theatricality better
than lngmar Bergman.

248
00:23:01,400 --> 00:23:03,880
Here is <i>the beginning</i> of <i>Fanny and Alexandra.</i>

249
00:23:04,720 --> 00:23:06,961
We are in Sweden in 1908.

250
00:23:07,120 --> 00:23:09,930
A miniature theater, lit by candlelight.

251
00:23:14,920 --> 00:23:19,881
And a boy, Alexandre,
who, like Ben, likes to show off.

252
00:23:21,080 --> 00:23:24,721
It looks like he's on stage.

253
00:23:28,360 --> 00:23:33,161
From a classier background than Ben,
his life has a proscenium...

254
00:23:33,360 --> 00:23:36,045
as the camera is a proscenium.

255
00:23:39,360 --> 00:23:44,969
For Alexandre, life is a theater, a
theatrical space, a disguise box.

256
00:23:56,440 --> 00:24:01,207
American cinema was interested
to this theatrical aspect of childhood...

257
00:24:01,360 --> 00:24:03,647
and perhaps life in general.

258
00:24:04,040 --> 00:24:09,843
Shirley Temple wrote the rules.
Here she is, at 7 years old, in the center...

259
00:24:10,000 --> 00:24:15,609
a very cute sugar doll,
who sings about his idea of adulthood.

260
00:24:15,760 --> 00:24:20,129
<i>What I will be when I grow up</i>

261
00:24:20,600 --> 00:24:23,604
<i>When I grow up</i>

262
00:24:23,880 --> 00:24:26,281
<i>In a year or two or three</i>

263
00:24:26,440 --> 00:24:29,171
<i>I will be as cheerful as a finch</i>

264
00:24:29,320 --> 00:24:31,846
<i>Like a bird in a tree</i>

265
00:24:32,000 --> 00:24:34,480
<i>When I grow up</i>

266
00:24:36,200 --> 00:24:40,046
She was great, but it's forced.

267
00:24:40,200 --> 00:24:42,487
<i>Like the woman in the shoe</i>

268
00:24:43,000 --> 00:24:44,240
Come on!

269
00:24:52,400 --> 00:24:57,930
9 years later, this scene is just as
artificial frontal and primed.

270
00:24:58,080 --> 00:25:05,009
<i>In the jungle lived a mistinguette
of royal blood although of brunette skin</i>

271
00:25:05,160 --> 00:25:10,246
<i>Who made a big impression on a holiday
to a Zulu...</i>

272
00:25:10,400 --> 00:25:12,004
<i>From Matabulu</i>

273
00:25:12,160 --> 00:25:17,405
Margaret O'Brien is less idyllic
as Shirley Temple.

274
00:25:19,560 --> 00:25:22,484
She sings incredibly out of tune.

275
00:25:22,640 --> 00:25:24,085
She's having fun...

276
00:25:24,320 --> 00:25:31,249
<i>To her He chanlerall
To her He chanlerall</i>

277
00:25:31,440 --> 00:25:35,490
bragging in front of adults.
She is wrong.

278
00:25:35,640 --> 00:25:38,689
<i>If you love me like I love you</i>

279
00:25:38,840 --> 00:25:42,561
<i>And we both love each other the same</i>

280
00:25:42,720 --> 00:25:47,806
The film does not captivate her,
it is she who captivates the film.

281
00:25:49,080 --> 00:25:54,166
Minnelli's films are the most
Hollywood theaters...

282
00:25:54,320 --> 00:25:59,929
but there is something raw
in O'Brien's performance.

283
00:26:00,080 --> 00:26:03,527
<i>Under the bamboos</i>

284
00:26:04,640 --> 00:26:09,487
American cinema still loves a lot
children playing.

285
00:26:09,640 --> 00:26:13,531
Sam and Suzy are 12 years old
in Moonrise <i>Mngdom</i> by Wes Anderson.

286
00:26:13,680 --> 00:26:16,286
They are a little older
than the previous ones...

287
00:26:17,640 --> 00:26:21,281
but their life is a box
in disguise.

288
00:26:31,000 --> 00:26:32,161
<i>Which bird are you?</i>

289
00:26:33,280 --> 00:26:34,964
<i>A sparrow, she a dove</i>

290
00:26:35,120 --> 00:26:39,648
<i>No. I said, that! What kind of bird are you?</i>

291
00:26:43,200 --> 00:26:44,884
<i>I am a raven.</i>

292
00:26:45,720 --> 00:26:47,449
<i>Boys should not come in here.</i>

293
00:26:47,600 --> 00:26:49,887
This is where they meet. Costumes.

294
00:26:50,040 --> 00:26:51,451
Head on.

295
00:26:51,920 --> 00:26:57,484
Speaking directly to the camera, to
accentuate theatricality and artifice.

296
00:26:57,640 --> 00:26:59,608
Childhood as proscenium.

297
00:27:00,960 --> 00:27:02,485
<i>♪ Was pissed.</i>

298
00:27:02,640 --> 00:27:07,885
Throughout the world, cinema
shows the children acting out.

299
00:27:08,480 --> 00:27:13,122
This is Albania in the 70s,
miles from America.

300
00:27:14,080 --> 00:27:16,128
It's World War II.

301
00:27:16,280 --> 00:27:23,402
Nazis have taken over a football field.
But the children don't give up.

302
00:27:24,480 --> 00:27:30,442
How to defy the Nazis? By singing and
dancing, like Shirley Temple did.

303
00:27:30,600 --> 00:27:34,491
The little one in front plays
on an invisible violin.

304
00:27:34,640 --> 00:27:37,644
He is immersed in his theatrical world.

305
00:27:42,320 --> 00:27:46,530
Director Xhanfize Keko observed
these details.

306
00:27:46,680 --> 00:27:51,607
Using long lenses,
she scrutinizes the children...

307
00:27:51,760 --> 00:27:53,842
as Van Gogh looked at his field.

308
00:27:56,920 --> 00:27:59,810
Iraqi Kurdistan, 2nd Gulf War.

309
00:27:59,960 --> 00:28:06,206
A kid who has never been filmed before
creates a theatrical space around it.

310
00:28:06,360 --> 00:28:08,647
Go away.

311
00:28:15,200 --> 00:28:18,682
He demands all the attention.

312
00:28:18,840 --> 00:28:22,686
The panoramic camera on the right,
and he understands that the frame is moving.

313
00:28:22,840 --> 00:28:25,320
He moves with it.

314
00:28:25,680 --> 00:28:27,091
Me!
Me!

315
00:28:27,880 --> 00:28:32,966
And here is the most extraordinary child
who has ever acted in a film.

316
00:28:33,120 --> 00:28:34,485
Her name is Sili.

317
00:28:34,640 --> 00:28:37,883
She lives on the outskirts of Dakar in Senegal.

318
00:28:38,040 --> 00:28:42,762
Only boys sell newspapers,
but she wants to be like them.

319
00:28:42,920 --> 00:28:47,369
It's difficult,
but better than begging like your grandmother.

320
00:28:47,520 --> 00:28:53,880
Mambety made a sort of documentary
on how she imagines her <i>life...</i>

321
00:28:54,040 --> 00:28:55,166
but this is what happens.

322
00:29:14,720 --> 00:29:20,250
She is confronted with herself,
in a dress in the colors of Van Gogh.

323
00:29:24,520 --> 00:29:30,721
His friend takes care of the music,
and Mambety from the camera.

324
00:29:49,680 --> 00:29:51,170
Hi!

325
00:29:57,320 --> 00:30:00,324
♪ Said “Hi!”

326
00:30:02,120 --> 00:30:05,329
Ben and Laura's game changes.

327
00:30:06,040 --> 00:30:07,565
I didn't touch it.

328
00:30:10,920 --> 00:30:14,561
Look. Do you see me?

329
00:30:18,720 --> 00:30:20,961
Look at this girl.

330
00:30:22,520 --> 00:30:26,525
Look. He sees her
like a storyteller.

331
00:30:26,680 --> 00:30:28,330
A Hans Christian Anderson.

332
00:30:28,480 --> 00:30:33,771
You wonder how this girl
can go through this hole? "I don't know."

333
00:30:33,920 --> 00:30:37,129
His sister is a character
fairy tale.

334
00:30:39,680 --> 00:30:41,808
Hulk!

335
00:30:44,840 --> 00:30:48,606
Just like the boy does
in <i>The Night of the Hunter</i>.

336
00:30:49,320 --> 00:30:54,360
He tells his sister about their life
like a fairy tale.

337
00:30:54,520 --> 00:31:01,768
<i>Once upon a time there was a rich king
who had a son and a daughter.</i>

338
00:31:04,080 --> 00:31:06,686
<i>They lived in a castle in Africa.</i>

339
00:31:10,480 --> 00:31:14,610
<i>One day, the king is kidnapped by bandits.</i>

340
00:31:14,760 --> 00:31:18,560
Shadows look like fingers
who try to touch children.

341
00:31:18,720 --> 00:31:21,929
Expressionism is almost diabolical.

342
00:31:23,480 --> 00:31:27,041
<i>And soon the bandits return and.</i> ..

343
00:31:37,920 --> 00:31:41,970
In this Swedish film,
shot on real exteriors...

344
00:31:42,120 --> 00:31:47,081
her friends accuse Joséphine of lying
about a friend, Hugo.

345
00:31:48,120 --> 00:31:50,327
I'm not lying.

346
00:31:50,480 --> 00:31:51,925
♪ Invent things.

347
00:31:52,080 --> 00:31:56,244
It's funnier than telling the truth.

348
00:32:00,200 --> 00:32:04,762
According to her, she does not deny the world,
but she builds it.

349
00:32:06,440 --> 00:32:12,800
In Crows, Joséphine's ideas
on stories go much further.

350
00:32:12,960 --> 00:32:17,249
A little girl nicknamed Corneille
and who looks like Joséphine...

351
00:32:17,560 --> 00:32:19,961
“abducts a little girl younger than her.

352
00:32:20,120 --> 00:32:21,884
I will be your only mother.

353
00:32:23,760 --> 00:32:26,411
I'm kidnapping you, do you understand?
No.

354
00:32:27,320 --> 00:32:30,767
I'm your mom.
I already have a mother.

355
00:32:31,640 --> 00:32:33,802
Now I'm your mom.

356
00:32:35,960 --> 00:32:38,566
We will play together and it will be great.

357
00:32:38,720 --> 00:32:41,326
You won't even have to drink milk.

358
00:32:41,560 --> 00:32:43,483
But I like milk.

359
00:32:43,960 --> 00:32:48,648
Corneille's mother being often absent,
the little one becomes a mother in her head.

360
00:32:49,720 --> 00:32:53,441
She gets grumpy
and almost leaves childhood.

361
00:32:53,600 --> 00:32:58,288
Kedzierzawka's film is in blonde tones
greens and beiges.

362
00:32:58,440 --> 00:33:00,602
He is extremely tough.

363
00:33:00,760 --> 00:33:03,206
Corneille is sometimes brutal
with the little one.

364
00:33:03,360 --> 00:33:08,651
But the interpretation is rarely
also credible in children's cinema.

365
00:33:08,800 --> 00:33:13,601
The film shows how a child storyteller
becomes a child-parent.

366
00:33:13,760 --> 00:33:18,209
The child-parent is a recurring theme
in films about children.

367
00:33:18,360 --> 00:33:23,890
From Corneille, the little mother, let's move on
to a kid-parent and his jackdaw: Kauwboy.

368
00:33:31,760 --> 00:33:35,685
Another film in a naturalistic landscape.
Here we are in Holland.

369
00:33:35,840 --> 00:33:41,131
The boy's mother is in the United States.
But he discovers that this is not true.

370
00:33:41,800 --> 00:33:46,567
The boy finds a baby bird.
At first, he uses it like a gun.

371
00:33:49,440 --> 00:33:51,169
I got you.

372
00:33:51,800 --> 00:33:55,600
The camera remains away from the child.

373
00:33:59,280 --> 00:34:02,727
He puts it in his pocket like a kangaroo.

374
00:34:21,600 --> 00:34:25,002
At the beginning, the discovery of the bird
is an adventure for him.

375
00:34:45,040 --> 00:34:46,530
You're tough, I say.

376
00:34:46,680 --> 00:34:50,651
Then he asks himself what his needs are,
what is its story.

377
00:34:50,800 --> 00:34:53,007
He becomes a sort of adult.

378
00:34:53,160 --> 00:34:55,481
What do you like?

379
00:34:55,640 --> 00:34:57,961
The mash?

380
00:34:58,440 --> 00:35:03,401
Kauwboya reminded many people
Ken Loach's great film Kes.

381
00:35:06,160 --> 00:35:13,123
Here too, the theme is caution,
and social classes.

382
00:35:13,280 --> 00:35:16,204
We see a young boy and his bird.

383
00:35:16,360 --> 00:35:19,842
The boy comes from a difficult family
where he is mistreated.

384
00:35:20,000 --> 00:35:24,289
Nobody listens to him.
They talk as if he wasn't there.

385
00:35:24,440 --> 00:35:30,482
But suddenly, in front of his whole class,
the children listening to it.

386
00:35:30,640 --> 00:35:33,325
His shyness disappears.

387
00:35:34,040 --> 00:35:37,931
He talks about the day
where he released the bird.

388
00:35:38,920 --> 00:35:43,403
<i>He was there and I entered the field.
He looked around him.</i>

389
00:35:43,560 --> 00:35:48,407
<i>I arrived about 70 meters from him,
in the middle of the field, I called him.'</i>

390
00:35:50,160 --> 00:35:53,687
<i>K es! K es! Aﬂez, K es! Aﬂezf</i>

391
00:35:53,840 --> 00:35:57,162
<i>Nothing. So I wanted to take it back.</i>

392
00:35:57,360 --> 00:36:00,011
<i>But when he came back, he flew away.</i>

393
00:36:00,160 --> 00:36:04,768
<i>He flew like a rocket!
One meter off the ground as fast as lightning!</i>

394
00:36:04,920 --> 00:36:08,049
<i>We couldn't hear anything,
it came without brown...</i>

395
00:36:08,200 --> 00:36:11,727
<i>in my glove and he took the meat.</i>

396
00:36:13,920 --> 00:36:18,960
When he stretches out his arm, he is elsewhere,
in his imagination. He flies...

397
00:36:19,120 --> 00:36:22,522
and he tells. A moment of fulfillment.

398
00:36:22,680 --> 00:36:27,641
It occupies a larger space
than what society gives him.

399
00:36:27,800 --> 00:36:31,361
Ken Loach shows this realistically.

400
00:36:31,520 --> 00:36:36,765
In medium shot, with the color palette
The Boy with the Violin by Tarkovsky.

401
00:36:36,920 --> 00:36:39,605
The interpretation seems semi-improvised.

402
00:36:39,760 --> 00:36:44,846
The accent is not that of a southern boy
who plays the role of a Northern boy.

403
00:36:45,000 --> 00:36:47,844
Kes is as good as Iranian films.

404
00:36:48,000 --> 00:36:51,800
There are hardly any better European films
on children.

405
00:36:51,960 --> 00:36:57,330
Let's go back to Russia. Sasha,
the kid from <i>La</i> Liberté is <i>the</i> paradise...

406
00:36:57,480 --> 00:37:00,882
finally found his father.

407
00:37:01,040 --> 00:37:05,568
The shadows are darker,
Sacha's face is expressionless.

408
00:37:05,720 --> 00:37:12,171
The camera approaches, the father says to <i>Sacha</i>
that he was abandoned when he was little.

409
00:37:12,320 --> 00:37:14,561
He feels alone.

410
00:37:14,720 --> 00:37:17,200
And then, the transition.

411
00:37:19,320 --> 00:37:22,403
When we go out, I'll take care of you.

412
00:37:23,440 --> 00:37:26,489
I will find a well-paid job.

413
00:37:27,440 --> 00:37:29,329
♪ Will buy a motorcycle.

414
00:37:30,240 --> 00:37:31,605
We'll have everything we need.

415
00:37:31,760 --> 00:37:34,240
We will have a house of our own.

416
00:37:35,560 --> 00:37:37,961
The roles are reversed.

417
00:37:38,160 --> 00:37:42,927
In the first films, the children-parents
imagined themselves to be parents.

418
00:37:43,080 --> 00:37:45,924
Sacha becomes one.

419
00:37:51,200 --> 00:37:55,649
Outside of Europe,
there are also children-parents.

420
00:37:55,800 --> 00:37:59,009
Here we are in Japan in the early 90s.

421
00:37:59,160 --> 00:38:03,085
Fienko's parents are divorced.

422
00:38:03,240 --> 00:38:06,961
She tried in vain to reconcile them.

423
00:38:07,120 --> 00:38:12,524
There she is alone in the crowd,
in the night, the tumult.

424
00:38:12,720 --> 00:38:16,691
The camera searches
of Renko in the crowd.

425
00:38:16,840 --> 00:38:21,402
The background noises compel the actors
to shout their dialogue.

426
00:38:21,560 --> 00:38:26,600
Maybe it's not your father's fault.
Maybe it's me who ruined everything.

427
00:38:28,440 --> 00:38:30,522
It doesn't matter!

428
00:38:31,240 --> 00:38:34,289
I don't care anymore!

429
00:38:36,560 --> 00:38:37,891
Hey, mom!

430
00:38:40,600 --> 00:38:43,649
I will grow up as quickly as possible.

431
00:38:46,440 --> 00:38:47,965
What do you say?

432
00:38:48,920 --> 00:38:51,491
I will grow up as quickly as possible!

433
00:38:58,280 --> 00:39:01,966
The bridge and the crowd accentuate the distance.

434
00:39:06,600 --> 00:39:11,561
But Fienko crouches.
As if she were saying: but not yet.

435
00:39:11,720 --> 00:39:16,886
I will grow up and I will not enter
your world only when I'm ready.

436
00:39:22,680 --> 00:39:28,528
We'll meet Renko later,
when the film reaches its strongest point.

437
00:39:32,680 --> 00:39:38,323
Still in Japan, 10 years later,
the boy looks up, like Fienko.

438
00:39:38,480 --> 00:39:41,529
He doesn't look at a parent,
but a plane.

439
00:39:50,360 --> 00:39:53,250
Then his little brother pulls him
by the sleeve...

440
00:39:53,400 --> 00:39:58,122
and brings him back to earth.
Someone needs him.

441
00:40:02,520 --> 00:40:06,047
They cross the street with their sisters...

442
00:40:09,560 --> 00:40:11,528
looking for money.

443
00:40:15,640 --> 00:40:17,324
Their mother is gone.

444
00:40:20,120 --> 00:40:22,851
They illegally occupy an apartment.

445
00:40:23,000 --> 00:40:28,723
They didn't want to become adults,
but they wanted a roof of their own.

446
00:40:28,880 --> 00:40:33,488
Filmed as for a documentary,
these children are “The Magnificent 4”.

447
00:40:35,000 --> 00:40:36,161
Four samuraiä.

448
00:40:37,640 --> 00:40:41,247
So close to Kurasawa.
And so far away too.

449
00:41:03,960 --> 00:41:09,490
This theme of children-parents in the cinema
is also found in Africa.

450
00:41:10,840 --> 00:41:12,604
Here we are in Burkina Faso.

451
00:41:12,760 --> 00:41:16,810
This kid, Bila, just stole a chicken
for an old woman...

452
00:41:17,000 --> 00:41:21,847
who everyone considers a witch
and at whom children throw stones.

453
00:41:26,320 --> 00:41:31,929
The camera follows him. He seems cautious.
Maybe she's a witch.

454
00:41:32,760 --> 00:41:36,082
No, she's just an old woman.

455
00:41:36,240 --> 00:41:41,565
He sees that she is being treated unfairly.
He takes on the role of the adult.

456
00:41:41,720 --> 00:41:47,409
He calls her Yaaba, grandmother.
No one ever called her that.

457
00:41:50,280 --> 00:41:51,406
Hold.

458
00:41:52,640 --> 00:41:54,005
Where did you find this?

459
00:41:55,120 --> 00:41:57,327
Did you steal it?
No.

460
00:41:57,480 --> 00:41:59,562
My uncle gave it to me.

461
00:42:00,560 --> 00:42:03,086
It's true?
Yes.

462
00:42:03,240 --> 00:42:04,890
O.K., then I'll take it.

463
00:42:11,560 --> 00:42:16,726
In this panoramic, Idrissa Ouedraogo
shows them walking and playing...

464
00:42:16,880 --> 00:42:19,531
from the point of view of others.

465
00:42:22,400 --> 00:42:25,722
Cursed child!

466
00:42:31,000 --> 00:42:32,411
Look at.

467
00:42:34,360 --> 00:42:36,567
And the roles are reversed.

468
00:42:39,680 --> 00:42:44,447
Bila, the adult, laughs
of their moral immaturity.

469
00:42:44,800 --> 00:42:49,408
Did you see what he did?

470
00:42:57,000 --> 00:42:59,571
Here we are again with Laura and Ben.

471
00:43:03,000 --> 00:43:07,608
From their grandmother,
we only see the legs and feet.

472
00:43:07,760 --> 00:43:13,688
It wasn't planned, but look.
A classic scene from Tom and Jerry.

473
00:43:13,840 --> 00:43:17,083
Another headless woman, in a bathrobe.

474
00:43:17,240 --> 00:43:21,006
In the world of Tom and <i>Jerry</i>
adults are unknown giants.

475
00:43:21,160 --> 00:43:23,162
We don't see the woman's face.

476
00:43:23,320 --> 00:43:27,006
The war between Tom and Jerry
takes place at ground level.

477
00:43:27,160 --> 00:43:33,088
Lynne Ramsay may have thought of Tom and <i>Jerry</i>
while shooting this scene.

478
00:43:37,160 --> 00:43:42,963
The father of a little girl smokes, drinks coffee.
The top of his head is out of frame.

479
00:43:48,760 --> 00:43:53,288
The mother's head is also missing.
Headless people.

480
00:43:53,480 --> 00:43:56,802
We learn that the man has another family.

481
00:43:56,960 --> 00:44:02,091
The little girl only half understands this.
The whole truth is beyond her.

482
00:44:07,400 --> 00:44:12,884
It's the same thing
in this magnificent Czech film from 1965.

483
00:44:13,040 --> 00:44:16,283
A ceiling shot like in Citizen <i>Kane.</i>

484
00:44:16,440 --> 00:44:21,970
A woman enters the field.
The point of view of a battered child.

485
00:44:22,120 --> 00:44:24,600
Then he enters the field.

486
00:44:24,760 --> 00:44:26,728
There is tenderness.

487
00:44:28,280 --> 00:44:33,571
He climbs into his own space,
the space he looked at.

488
00:44:48,120 --> 00:44:50,282
Watch this now.

489
00:44:50,440 --> 00:44:54,411
The extraordinary film lesson by Herz Frank
Ten Minutes Older.

490
00:44:55,320 --> 00:44:56,924
Only one plan.

491
00:44:57,080 --> 00:45:00,209
The kid is watching a play.

492
00:45:04,320 --> 00:45:06,561
Little lighting, close-up.

493
00:45:06,720 --> 00:45:10,691
Lively gaze, head tilted.

494
00:45:10,840 --> 00:45:13,320
And then something unspeakable...

495
00:45:25,400 --> 00:45:28,882
Something scary off-camera.

496
00:45:29,040 --> 00:45:34,524
The important thing often happens off-camera.
And this is also true for childhood.

497
00:45:42,840 --> 00:45:47,528
James Joyce wrote that he suffered from
not knowing what politics was...

498
00:45:47,720 --> 00:45:50,644
and where the universe ended.

499
00:46:04,400 --> 00:46:07,529
He could have written about this kid.

500
00:46:07,680 --> 00:46:10,843
This film shows a series of emotions...

501
00:46:11,000 --> 00:46:14,800
in a very small space: a face.

502
00:46:31,080 --> 00:46:35,483
One of the most revealing films on
what off-camera is for a child is:

503
00:46:35,640 --> 00:46:38,325
<i>The Hive Mind.</i>

504
00:46:38,480 --> 00:46:42,530
A monster is approaching a little girl.
His head is out of frame.

505
00:46:42,680 --> 00:46:45,160
Just after the Spanish Civil War.

506
00:46:45,360 --> 00:46:49,729
One thing the 6 year old feels,
without understanding it.

507
00:46:49,880 --> 00:46:54,920
The monster leans towards her.
The plan is almost symmetrical.

508
00:46:56,760 --> 00:46:59,809
Two trees frame two people.

509
00:47:06,200 --> 00:47:11,604
She has the same eyes as the little Latvian.
She looks and tries to understand

510
00:47:21,200 --> 00:47:25,364
She had already seen this film.
The first Frankenstein film.

511
00:47:25,520 --> 00:47:30,048
Same situation, same framing, but
clearer visually and emotionally.

512
00:47:30,280 --> 00:47:34,842
<i>I'm Maria.
Do you want to play with me?</i>

513
00:47:36,440 --> 00:47:41,765
Even if the little one is pragmatic,
and even kind towards the monster...

514
00:47:41,960 --> 00:47:45,123
like Bila the African towards
the grandmother...

515
00:47:45,280 --> 00:47:49,968
the reaction of the Spanish girl
is more ambiguous, unconscious.

516
00:47:50,120 --> 00:47:52,282
<i>Do you want one of my flowers?</i>

517
00:47:57,200 --> 00:48:02,286
Few films portray so well
the horizon of a little girl...

518
00:48:02,440 --> 00:48:05,364
that <i>Yellow Earth</i> by Chen Kaige

519
00:48:06,480 --> 00:48:08,528
Here we are in China in 1939.

520
00:48:08,680 --> 00:48:12,730
The little one who sings
comes from a poor feudal family.

521
00:48:12,880 --> 00:48:18,125
She sings of liberation, communism,
a way of moving towards the horizon.

522
00:48:19,960 --> 00:48:25,330
Communism arises like a hurricane,
as violent as puberty.

523
00:48:28,800 --> 00:48:30,450
She is shocked.

524
00:48:39,080 --> 00:48:40,844
This close-up...

525
00:48:43,240 --> 00:48:45,766
followed by a plan with a goal
longer...

526
00:48:56,840 --> 00:49:00,890
<i>and</i> then to show
that his horizon has suddenly broadened...

527
00:49:01,040 --> 00:49:03,122
she disappears into a valley...

528
00:49:05,320 --> 00:49:06,890
out of sight.

529
00:49:08,360 --> 00:49:11,204
Then she reappears in the future...

530
00:49:15,480 --> 00:49:19,405
almost coming out of the field,
emerging from the past.

531
00:49:21,680 --> 00:49:26,402
<i>The</i> road <i>is</i> long <i>between Tom and Jerry
and Yellow Earth.</i>

532
00:49:26,560 --> 00:49:31,202
You may be thinking
that this film with large landscapes says it all...

533
00:49:31,360 --> 00:49:33,522
on the framing and the horizons...

534
00:49:36,600 --> 00:49:40,400
but there is also the Iranian film:
Wfflow and <i>Wfnd.</i>

535
00:49:40,560 --> 00:49:45,964
This boy broke a window at his school
and the rain enters the classroom.

536
00:49:46,120 --> 00:49:49,283
The school cannot pay for the repair.

537
00:49:49,440 --> 00:49:53,650
The child's father is a glazier
and he asks her to change the window.

538
00:49:53,800 --> 00:49:58,681
Father is too busy
and the kid decides to do it himself.

539
00:50:08,160 --> 00:50:12,006
We see it here with the window
and his notebook under his chin...

540
00:50:12,160 --> 00:50:14,447
to avoid injury to your throat.

541
00:50:14,600 --> 00:50:16,284
But it's windy.

542
00:50:27,720 --> 00:50:32,328
Director Mohammad Ali Talebi knows
perfectly film the children.

543
00:50:32,480 --> 00:50:36,644
The danger is obvious,
but the film is also poetic.

544
00:50:45,400 --> 00:50:48,244
The child carries his own frame.

545
00:50:48,400 --> 00:50:52,883
The danger inherent in this action
is beyond the scope of his understanding.

546
00:50:57,480 --> 00:51:00,450
Talebi and the screenwriter
Kiarostami say...

547
00:51:00,600 --> 00:51:05,561
that when the heads of adults are
in the clouds or off-camera...

548
00:51:05,720 --> 00:51:09,645
kids face windmills
and head towards the horizon.

549
00:51:18,240 --> 00:51:20,447
In this case, they do not break.

550
00:51:20,600 --> 00:51:27,688
They bend, as willows bend under
the wind, the metaphor of the film's title.

551
00:51:46,400 --> 00:51:50,371
Here's an even more fascinating film
on children and framing.

552
00:51:51,560 --> 00:51:54,530
The Czech Republic in the 90s.

553
00:51:54,680 --> 00:51:58,844
These kids are blind.
They run, they don't see.

554
00:51:59,360 --> 00:52:01,601
Ready, set, go.

555
00:52:08,400 --> 00:52:12,689
Where is the stopwatch?

556
00:52:13,840 --> 00:52:16,684
You know very well where he is
No.

557
00:52:16,840 --> 00:52:21,687
She didn't show you where?
No.

558
00:52:21,840 --> 00:52:24,650
Shall I take your picture?
Yes.

559
00:52:26,360 --> 00:52:30,809
You will see
how I photograph you with the camera.

560
00:52:30,960 --> 00:52:34,965
I photograph you
holding the camera.

561
00:52:35,520 --> 00:52:38,000
I'm going to use the flash.

562
00:52:39,360 --> 00:52:44,764
The cameraman films them with his camera in hand.
They focus on his voice.

563
00:52:46,600 --> 00:52:50,889
Everything is out of frame,
and yet it fits.

564
00:52:51,080 --> 00:52:54,721
The film has jammed.
It's good.

565
00:52:55,440 --> 00:52:57,807
Is it a dog or a cat?

566
00:52:59,520 --> 00:53:02,251
What is this'?

567
00:53:02,400 --> 00:53:05,131
A cat or a dog?
In your opinion?

568
00:53:05,280 --> 00:53:06,611
A dog.

569
00:53:17,320 --> 00:53:22,884
Back with Laura and Ben. We're going to stop.
But Ben still wants to do one thing.

570
00:53:23,040 --> 00:53:26,169
Are you ready?
Yes!

571
00:53:26,320 --> 00:53:28,243
And you?

572
00:53:29,480 --> 00:53:31,164
Yes!

573
00:53:31,320 --> 00:53:33,846
Okay, I'll go.

574
00:53:40,520 --> 00:53:44,650
Is this need to break clean
to boys or children?

575
00:53:44,840 --> 00:53:48,640
Well break it because it's there,
because it's waiting to be broken.

576
00:53:48,800 --> 00:53:52,964
Because it will make noise,
and because we look at it.

577
00:53:53,120 --> 00:53:56,522
There are a lot of violent children
at the cinema.

578
00:54:04,960 --> 00:54:07,531
Laurel and Hardy are the greatest
children.

579
00:54:08,160 --> 00:54:11,767
In the midst of a crisis, they
demolish a house.

580
00:54:11,920 --> 00:54:17,927
The shot is wide, the camera films their
fury, their rage to destroy.

581
00:54:19,080 --> 00:54:21,447
The scene is filmed like a documentary.

582
00:54:22,200 --> 00:54:27,366
These young French people from Zero Driving,
have other reasons to demolish.

583
00:54:27,520 --> 00:54:32,128
Their school rules are stupid
and Jean Vigo was an anarchist.

584
00:54:32,280 --> 00:54:34,886
So, of course, they revolt.

585
00:54:38,360 --> 00:54:44,481
The beds are there to jump on,
the pillows are just waiting for battle.

586
00:54:44,640 --> 00:54:49,601
Vigo stays wide and sometimes he accelerates
the image to film everything.

587
00:54:57,880 --> 00:55:02,329
A kid is dancing in the background.
It's fun to break everything.

588
00:55:08,560 --> 00:55:11,211
Still in France, but 19 years later.

589
00:55:11,360 --> 00:55:15,888
The violence of this scene is less funny,
much crazier.

590
00:55:16,840 --> 00:55:20,686
This kid, Michel,
destroyed an animal cemetery...

591
00:55:20,840 --> 00:55:25,004
made of crosses taken from tombs
human. An owl looks at him.

592
00:55:27,960 --> 00:55:31,726
His father lied to him and he is furious.

593
00:55:31,880 --> 00:55:36,602
To take revenge, he breaks the crosses and
hits the statues.

594
00:55:36,760 --> 00:55:41,243
The visual style of Clément's film
looks like that of <i>The Night of the Hunter</i>.'

595
00:55:41,400 --> 00:55:46,566
expressive shadows, poetry
of a film studio, like a linocut.

596
00:55:49,400 --> 00:55:52,324
He throws the crosses into the river.

597
00:55:56,560 --> 00:56:00,565
The visual style of this film is
less expressionist...

598
00:56:00,720 --> 00:56:06,090
more naturalistic, but it expresses well
the destructive rage of children.

599
00:56:06,240 --> 00:56:09,483
<i>In Two solutions for one problem...</i>

600
00:56:09,680 --> 00:56:14,129
two kids, Dara and Nader,
are apparently friends.

601
00:56:14,600 --> 00:56:19,561
One blames the other for having torn
his book and takes revenge.

602
00:56:26,480 --> 00:56:28,608
Just like in Laurel and Hardy:

603
00:56:28,760 --> 00:56:35,120
close-ups, no dialogue,
intense stares, straight-forward framing.

604
00:56:39,760 --> 00:56:44,766
Then Kiarosîami repeats the installation
and framing, but with another ending:

605
00:56:44,920 --> 00:56:46,490
a dreamlike ending.

606
00:56:46,640 --> 00:56:49,371
Nader saw that the book was torn.

607
00:56:50,240 --> 00:56:52,766
Dara tore up her book.

608
00:56:53,400 --> 00:56:55,209
He shows Dara the book.

609
00:56:56,880 --> 00:56:59,963
Dara glues the torn book back together.

610
00:57:05,200 --> 00:57:07,202
School as a microcosm.

611
00:57:19,960 --> 00:57:24,761
Here is our microcosm, our field
of wheat, our rocky pond.

612
00:57:24,920 --> 00:57:27,082
Laura and Ben's scene is over.

613
00:57:27,400 --> 00:57:29,562
This is the end of my show.

614
00:57:34,440 --> 00:57:37,728
We are preparing for a day of caution,
stories...

615
00:57:37,880 --> 00:57:40,326
framing, anger.

616
00:57:40,480 --> 00:57:44,280
I go on vacation and keep thinking
to children at the cinema.

617
00:57:44,960 --> 00:57:48,931
♪ Took the camera
with whom I filmed Laura and Ben.

618
00:57:50,200 --> 00:57:55,366
I'm going to Skye, Eilean a'Cheè,
the island of fog.

619
00:58:02,520 --> 00:58:04,727
I see other kinds of fields...

620
00:58:06,480 --> 00:58:08,403
colors, expanses...

621
00:58:14,400 --> 00:58:15,731
of vitality.

622
00:58:29,480 --> 00:58:31,687
Is it a dog or a cat?

623
00:58:47,960 --> 00:58:50,361
Would Van Gogh have painted here?

624
00:58:51,920 --> 00:58:55,208
Would he have painted here? Could he have?

625
00:58:56,720 --> 00:58:58,609
Should he have?

626
00:59:00,480 --> 00:59:06,761
I think about aspects of childhood in cinema
that we didn't see with Laura and Ben.

627
00:59:06,920 --> 00:59:08,763
Adventure, for example.

628
00:59:09,320 --> 00:59:13,450
Here is the start of Boris Barnet's film,
A/yonka.

629
00:59:13,600 --> 00:59:17,446
Here is Alyonka, in turquoise and gold shades.

630
00:59:21,920 --> 00:59:26,323
The trucks leave the steppe,
but she is an adventurer.

631
00:59:26,480 --> 00:59:28,084
Ground level plan.

632
00:59:28,240 --> 00:59:32,325
She meets them, she knows where she is going.

633
00:59:37,760 --> 00:59:42,402
She leaves because she's smart
and wants to find a good school.

634
00:59:48,840 --> 00:59:52,765
Then this crane movement
launches us into the adventure with her.

635
00:59:52,920 --> 00:59:54,604
It's raining corn.

636
00:59:54,760 --> 00:59:59,004
She has promises to keep
and miles to go before sleeping.

637
01:00:03,720 --> 01:00:07,725
The first ingredient of an adventure
is of course courage.

638
01:00:07,880 --> 01:00:12,442
The kid in these images from Finland,
looks straight into the camera.

639
01:00:14,520 --> 01:00:17,364
Then he rushes towards the icebreaker.

640
01:00:19,840 --> 01:00:21,808
Then a transition.

641
01:00:21,960 --> 01:00:25,123
Look how close he is. Is he crazy?

642
01:00:25,320 --> 01:00:29,120
He jumps. The camera is just as close.

643
01:00:29,280 --> 01:00:31,362
And then this tracking shot.

644
01:00:35,080 --> 01:00:39,244
We're not very far
of our little Czech from the 60s...

645
01:00:39,400 --> 01:00:44,611
who raised his arms towards the ceiling
to touch his mother.

646
01:00:47,800 --> 01:00:50,644
Here, as always, he is being harassed.

647
01:00:57,000 --> 01:01:01,164
The close-up makes the harassment
spectacular, epic.

648
01:01:03,560 --> 01:01:06,643
He hangs on a branch,
in shorts, in winter.

649
01:01:10,720 --> 01:01:13,963
A floating ice like
at D.W. Griffith.

650
01:01:15,360 --> 01:01:20,651
And suddenly, director Karel Kachyna
makes it float, turn, twirl.

651
01:01:38,760 --> 01:01:44,210
The graphic composition of this plan
sticks to that of the wide shot of the river.

652
01:01:47,360 --> 01:01:49,761
There's a bit of adrenaline here.

653
01:01:55,200 --> 01:01:56,770
And here too.

654
01:01:59,120 --> 01:02:04,365
Antoine Doinel's parents are pathetic.
He therefore creates his own life.

655
01:02:04,520 --> 01:02:10,641
He is a film buff, self-taught,
thief, crook, survivor.

656
01:02:10,840 --> 01:02:12,888
Insolent, reckless.

657
01:02:15,840 --> 01:02:18,286
He escapes from a labor camp.

658
01:02:18,440 --> 01:02:21,683
The camera follows him like a racehorse.

659
01:02:26,400 --> 01:02:28,164
Light on the sand.

660
01:02:28,320 --> 01:02:31,529
The wide shot shows that there is no one there.

661
01:02:34,160 --> 01:02:37,209
Only the sea and the horizon.

662
01:02:37,360 --> 01:02:39,840
His whole life has been an adventure.

663
01:02:42,280 --> 01:02:45,329
François Truffaut puts it on a map.

664
01:02:59,000 --> 01:03:01,048
Then the image freezes.

665
01:03:01,200 --> 01:03:03,567
He is cautious, defiant.

666
01:03:03,720 --> 01:03:06,291
We blink before him.

667
01:03:12,240 --> 01:03:15,369
In this superb Korean film from 1949...

668
01:03:15,520 --> 01:03:19,445
this kid spent his whole life
in a monastery in the valley.

669
01:03:19,600 --> 01:03:21,489
He hears the bell.

670
01:03:28,640 --> 01:03:31,962
He decided to run away.
To tread other paths.

671
01:03:32,120 --> 01:03:37,490
Director Yoon Yong-kyu films it
like a character in a painted landscape.

672
01:03:40,360 --> 01:03:42,886
A panoramic view of a gap.

673
01:03:47,320 --> 01:03:51,405
He never left the valley,
he never w the great plains.

674
01:03:51,600 --> 01:03:53,682
His adventure begins.

675
01:03:53,840 --> 01:03:58,129
We see the road,
the horizon that awaits him.

676
01:04:36,880 --> 01:04:39,167
We have already seen Joséphine in Sweden.

677
01:04:39,320 --> 01:04:40,970
Here's the bike!

678
01:04:41,600 --> 01:04:46,083
His friends accuse him of lying
about Hugo, an imaginary friend.

679
01:04:46,280 --> 01:04:52,287
Here she opens the barn doors
and Hugo flies away. Well, not really.

680
01:04:52,440 --> 01:04:55,046
He drives a grand-bi.

681
01:05:08,480 --> 01:05:11,051
His feet barely touch the pedals.

682
01:05:14,120 --> 01:05:15,804
The adults look at him.

683
01:05:20,040 --> 01:05:23,123
They are still, he moves forward.

684
01:05:23,480 --> 01:05:27,405
The music gives a comic grandeur.

685
01:05:40,160 --> 01:05:43,607
A choir to celebrate
the birth of an adventurer.

686
01:05:49,160 --> 01:05:53,563
Joséphine joins him,
she runs up the wall, a little too fast.

687
01:05:53,720 --> 01:05:57,611
The colors are the same
than in A/yonka.

688
01:06:14,000 --> 01:06:15,923
Back to America in the 80s.

689
01:06:16,080 --> 01:06:20,722
Distrust has transformed
in a friendship against the world.

690
01:06:20,880 --> 01:06:23,611
And then this forest in the mist.

691
01:06:23,760 --> 01:06:26,525
Elliott touches the pedals of his feet.

692
01:06:26,680 --> 01:06:31,004
The adults don't look at them,
they chase them.

693
01:06:31,160 --> 01:06:33,766
<i>We'll have to walk...</i>

694
01:06:33,920 --> 01:06:35,285
<i>AND}</i>

695
01:06:36,840 --> 01:06:40,367
Then, unlike Hugo, they fly away.

696
01:06:46,360 --> 01:06:49,284
Suddenly, they no longer touch the ground.

697
01:06:49,440 --> 01:06:54,810
John Williams' famous musical theme,
soaring aerial shots...

698
01:06:58,600 --> 01:07:01,524
and a moonlight going
with the mist.

699
01:07:01,720 --> 01:07:05,327
An adventure that takes off from the ground.

700
01:07:21,600 --> 01:07:27,369
This young Dane from the 1940s, Palle,
Don’t ride your bike in front of the moon.

701
01:07:27,520 --> 01:07:30,808
The moon fascinates him and he rushes into it.

702
01:07:34,920 --> 01:07:36,490
The moon.

703
01:07:39,720 --> 01:07:43,247
Where is the moon man?
He's not here either?

704
01:07:44,000 --> 01:07:49,450
He wakes up one morning, alone in the world,
everyone has disappeared.

705
01:07:51,960 --> 01:07:56,727
And like any adventurous child would do,
he steals a plane.

706
01:07:59,080 --> 01:08:03,210
Astrid Henning-Jensen used
simple and naive takes...

707
01:08:10,000 --> 01:08:12,287
visual overlays, models.

708
01:08:12,440 --> 01:08:18,322
Nothing distracts us from simplicity
of Palle's dreamlike flight.

709
01:08:18,480 --> 01:08:24,169
It's like an imagined film,
a lunar journey on gauze wings.

710
01:08:24,320 --> 01:08:28,166
Henning-Jensen also knows
perfectly direct the children.

711
01:08:38,520 --> 01:08:43,208
Let's return to The <i>Night</i> of the Hunter,
The fairy tale has come true.

712
01:08:43,400 --> 01:08:48,247
They run for their lives,
the adventure of their life.

713
01:08:49,600 --> 01:08:52,843
A man chases them,
like a monster in a linocut.

714
01:08:59,120 --> 01:09:04,331
Water is their only escape.
The Hollywood orchestra trembles, shudders.

715
01:09:05,480 --> 01:09:09,804
The moonlight comes from the right,
the monster gesticulates.

716
01:09:21,120 --> 01:09:25,011
The children in Laughton's film
run away from their father...

717
01:09:25,160 --> 01:09:28,846
but in two major Japanese films,
adventure comes from children...

718
01:09:29,000 --> 01:09:32,641
who try
to prevent their parents from running away.

719
01:09:32,800 --> 01:09:36,043
Here the father and mother are separated.

720
01:09:36,200 --> 01:09:38,521
Each brother lives with a parent.

721
01:09:38,680 --> 01:09:43,925
They hate this situation, and with
5 friends embark on an adventure...

722
01:09:44,080 --> 01:09:46,367
to remedy this.

723
01:09:46,520 --> 01:09:51,128
They decide,
when two TGVs cross paths...

724
01:09:51,280 --> 01:09:56,844
on the path they are heading, to make
a wish that will perhaps come true.

725
01:09:58,720 --> 01:10:02,361
Kore-Eda made Nobody Knows
which we have already talked about.

726
01:10:02,520 --> 01:10:07,162
A child looks at the sky
and gets pulled by the sleeve.

727
01:10:11,480 --> 01:10:16,441
He films the same way:
natural light, long lens...

728
01:10:16,600 --> 01:10:21,083
shots of views to the left and right,
and close-ups of the children.

729
01:10:21,240 --> 01:10:22,890
Everyone has their own moment.

730
01:10:23,960 --> 01:10:29,251
Then the brother who had the idea of ​​the adventure.
He doesn't watch the trains...

731
01:10:29,400 --> 01:10:34,440
but the drawing of a volcano
which erupts by animation.

732
01:10:39,280 --> 01:10:42,284
The adventure is internal, in his head.

733
01:10:45,560 --> 01:10:48,928
And Renko seems to be inside
of the volcano.

734
01:10:51,080 --> 01:10:56,211
She was seen screaming at her mother
that she would grow as quickly as possible.

735
01:11:01,400 --> 01:11:07,328
Here, she is at the heart of the fireworks.
She feels the heat, the danger.

736
01:11:09,320 --> 01:11:13,882
The music is plaintive,
the infernal light, the roaring noise.

737
01:11:17,280 --> 01:11:19,726
Somai goes from her to men...

738
01:11:19,880 --> 01:11:23,327
sprinkled with water to prevent them
to catch fire.

739
01:11:23,480 --> 01:11:28,884
She is attracted by the show,
the end of his parents' relationship...

740
01:11:29,040 --> 01:11:31,042
like a moth to a flame.

741
01:12:02,520 --> 01:12:06,002
And here is the child at the window
by Wil/ow and <i>Wind.</i>

742
01:12:06,160 --> 01:12:08,401
The end of his adventure is approaching.

743
01:12:10,760 --> 01:12:13,969
He's back at school. It is empty.

744
01:12:14,120 --> 01:12:18,170
He climbs on the tables,
the window fits into place.

745
01:12:19,560 --> 01:12:21,289
He places the nails.

746
01:12:35,320 --> 01:12:37,800
Then he realizes something.

747
01:12:40,920 --> 01:12:43,082
He left the hammer on the ground.

748
01:12:43,640 --> 01:12:48,521
Talebi does not use dialogue,
only objects, tension...

749
01:12:48,680 --> 01:12:51,604
the task, the child's gaze.

750
01:12:53,080 --> 01:12:56,607
The camera looks at what interests us.

751
01:12:58,200 --> 01:13:00,567
The methods of Alfred Hitchcock.

752
01:13:01,800 --> 01:13:07,682
He is still not aware of the risk,
but he knows it's difficult.

753
01:13:23,000 --> 01:13:28,564
Unlike Laura and Ben,
children in films are alone.

754
01:13:29,840 --> 01:13:33,731
This is Palle who went to the moon.
Your day begins.

755
01:13:33,880 --> 01:13:38,807
Morning light, the world is empty.
The trams stopped in the middle of the street.

756
01:13:44,080 --> 01:13:46,924
Copenhagen is washed by rain.

757
01:13:52,520 --> 01:13:57,287
Astrid Henning-Jensen framed here
a bicycle bell in the foreground.

758
01:14:02,240 --> 01:14:04,527
Why doesn't it work?

759
01:14:04,840 --> 01:14:06,444
It doesn't ring.

760
01:14:06,600 --> 01:14:12,164
And in this tracking shot that goes up,
we see another bell that does not ring.

761
01:14:19,320 --> 01:14:22,085
A strange and silent solitude.

762
01:14:23,240 --> 01:14:25,208
Films know how to portray loneliness.

763
01:14:25,360 --> 01:14:28,682
Sitting in the dark we can relate
to a character.

764
01:14:29,200 --> 01:14:34,889
This is why the western is so popular.
This film may be a kind of western.

765
01:14:35,040 --> 01:14:40,001
Palle loves being alone:
there are no more rules and he is free.

766
01:14:46,400 --> 01:14:49,210
Janet Frame's loneliness is different.

767
01:14:49,360 --> 01:14:53,968
Campion filmed it in wide open spaces,
in primary colors.

768
01:15:01,360 --> 01:15:07,402
But in this scene, the camera moves forward
and shows that his solitude is internal.

769
01:15:07,560 --> 01:15:12,407
Because she uses language
differently from other children.

770
01:15:15,640 --> 01:15:21,841
<i>Dear Mr. A came, I cried at school
when we read The Scholar Gipsy.</i>

771
01:15:23,720 --> 01:15:26,200
<i>He's my ideal man.</i>

772
01:15:26,360 --> 01:15:31,730
<i>Lai decided not to be a teacher.
I will be a poet.</i>

773
01:15:35,840 --> 01:15:41,449
She's like the kid on the ice.
There is a gap between her and the others.

774
01:15:41,600 --> 01:15:47,323
<i>An Angel at My Table</i> is a trilogy about
the loneliness that forces a child to write.

775
01:15:57,040 --> 01:16:01,807
This Scottish film is also a trilogy
and has the same theme.

776
01:16:07,080 --> 01:16:10,050
Jamie looks a lot like Janet Frame.

777
01:16:10,200 --> 01:16:13,249
He too is on a
other wavelength.

778
01:16:14,760 --> 01:16:17,604
It's like looking into your head.

779
01:16:21,760 --> 01:16:23,205
The train is arriving.

780
01:16:30,560 --> 01:16:35,407
Just like in Westerns, it brings
the future and new ideas.

781
01:16:36,600 --> 01:16:38,329
And a way out.

782
01:16:39,880 --> 01:16:44,647
Jamie's family leads a dreary life.
He is so eager for new things...

783
01:16:48,840 --> 01:16:51,320
that he jumps on a train.

784
01:17:01,400 --> 01:17:05,849
Bill Douglas made this film
like a Soviet film from the 20s.

785
01:17:09,680 --> 01:17:11,364
Explicit images...

786
01:17:13,400 --> 01:17:18,008
cuts between machines and landscape,
hard poetry.

787
01:17:21,800 --> 01:17:27,603
For Jamie, his loneliness is linked
to creativity, love and sex.

788
01:17:33,520 --> 01:17:40,290
Few children are as happy as Palle,
or as harshly isolated as Janet or Jamie.

789
01:17:40,440 --> 01:17:45,048
Many are in between,
like this young boy, Pascal.

790
01:17:45,200 --> 01:17:48,647
He is alone in a city, like Palle.

791
01:17:48,800 --> 01:17:53,727
It is filmed in blue and gray
like Tarkovsky's violin kid.

792
01:17:55,120 --> 01:18:00,729
He gets bullied, but he's an adventurer
like many of the children we saw.

793
01:18:03,160 --> 01:18:07,722
Then it goes up to the reddest thing
never seen before.

794
01:18:12,600 --> 01:18:15,444
Impossible than that
don't catch his eye.

795
01:18:18,000 --> 01:18:21,800
A partially disappeared Paris,
no dialogue.

796
01:18:21,960 --> 01:18:25,760
Pascal doesn't know
how abruptly it is visible.

797
01:18:29,160 --> 01:18:32,687
He's the director's son, Lamorisse.

798
01:18:38,640 --> 01:18:43,487
<i>This</i> British film <i>The</i> Yellow Balloon
was produced 3 years before <i>The</i> Ballon rouge.

799
01:18:44,040 --> 01:18:45,530
<i>I'm going to kill you!</i>

800
01:18:49,280 --> 01:18:52,363
The blond guy stole the
little brown balloon.

801
01:18:52,520 --> 01:18:55,683
<i>You're going to get cracked!
Catch me!</i>

802
01:18:56,760 --> 01:19:00,924
A pursuit in a ruin
bombed during the war of 40,

803
01:19:01,080 --> 01:19:04,289
an extraordinary playground.

804
01:19:06,360 --> 01:19:08,283
<i>Come on, kid!</i>

805
01:19:08,440 --> 01:19:10,966
<i>Wait until I catch up!</i>

806
01:19:14,040 --> 01:19:20,207
Low shots show them climbing
and arrive higher and higher.

807
01:19:20,360 --> 01:19:23,250
Like at the end of Hitchcock's film Vertigo.

808
01:19:25,280 --> 01:19:27,169
<i>Come on, hurry up!</i>

809
01:19:28,120 --> 01:19:32,648
Upbeat music makes it fun too
than the adventures of Palle.

810
01:19:32,800 --> 01:19:34,689
But suddenly...

811
01:19:40,560 --> 01:19:43,404
Suddenly even the ball is heavy.

812
01:19:47,360 --> 01:19:52,526
The boy's guilt
locks him in great solitude.

813
01:19:56,360 --> 01:19:59,569
When it comes to balloons and children...

814
01:19:59,720 --> 01:20:05,489
<i>there</i> is the splendid scene by Mouratova
in Melody for <i>organ</i> by <i>Barbarie.</i>

815
01:20:06,120 --> 01:20:10,808
For two hours, we follow young Nikita,
and his half-sister...

816
01:20:10,960 --> 01:20:15,522
looking for their parents.
Nikita hasn't eaten for three days.

817
01:20:15,680 --> 01:20:18,206
Passersby talk about food.

818
01:20:18,360 --> 01:20:26,360
♪ Loves cherries, pears, raspberries,
sour cherries, melons...

819
01:20:26,520 --> 01:20:30,047
I love pears too!
.I can't stand grapes.

820
01:20:30,200 --> 01:20:31,645
They don't see it.

821
01:20:31,800 --> 01:20:35,930
Be careful, it slips.
You'll fall and break your leg.

822
01:20:37,160 --> 01:20:39,162
And then this cut.

823
01:20:39,320 --> 01:20:42,961
The camera dives and
runs like a watch.

824
01:20:47,320 --> 01:20:50,164
We can barely see Nikita underneath.

825
01:21:10,880 --> 01:21:13,008
Then he trudges forward...

826
01:21:15,520 --> 01:21:20,560
and <i>the camera dives,</i>
as in <i>Let's sing in the rain.</i>

827
01:21:23,280 --> 01:21:24,884
No cutting.

828
01:21:28,680 --> 01:21:30,842
Then the camera rises again.

829
01:21:34,400 --> 01:21:40,851
Kelly sang of happiness in the rain,
the boy wades alone in the snow.

830
01:21:41,040 --> 01:21:45,921
So not only the best films
feature children...

831
01:21:46,080 --> 01:21:49,641
but they are often made
by women.

832
01:21:55,680 --> 01:22:00,402
Palle and the young Czech, Janet and Jamie,
Nikita and Pascal are alone...

833
01:22:00,560 --> 01:22:05,043
because others excluded them
or because they felt different.

834
01:22:07,200 --> 01:22:10,841
Nikita is alone because he lost
his father.

835
01:22:11,000 --> 01:22:15,449
And separation is a central theme
in films about children.

836
01:22:15,640 --> 01:22:21,966
The absence of a parent, as in Spielberg,
makes such a scene a double whammy.

837
01:22:23,240 --> 01:22:26,164
The visual style of a TV show.

838
01:22:29,480 --> 01:22:31,369
The cacophony of medical jargon.

839
01:22:32,200 --> 01:22:34,202
<i>You're killing it!</i>

840
01:22:35,640 --> 01:22:37,369
Blue and gray, no red.

841
01:22:41,920 --> 01:22:43,684
A bed of music.

842
01:22:51,640 --> 01:22:57,249
Spielberg who often deals with loss
reminds us of someone. But who?

843
01:23:00,920 --> 01:23:04,208
Him maybe? Charlie Chaplin.

844
01:23:04,360 --> 01:23:09,571
Spielberg may have thought of The Kid
by making <i>E</i> 7'.

845
01:23:09,720 --> 01:23:13,327
Adults who separate people,
the chaos that it represents.

846
01:23:13,480 --> 01:23:15,562
Reverse shot between two people...

847
01:23:15,720 --> 01:23:20,442
on a friendship based not on blood,
but about pleasure and play.

848
01:23:23,200 --> 01:23:28,525
A heartbreaking loss, and music
on which the boats leave.

849
01:23:44,000 --> 01:23:50,042
Now look at this beautiful highlight
from the Japanese film Movfng.

850
01:23:51,400 --> 01:23:58,887
The little girl who watched the fireworks
is reunited with her parents in the sea.

851
01:23:59,040 --> 01:24:02,249
Maybe there will be a happy ending here.

852
01:24:02,400 --> 01:24:07,167
A boat with fireworks and a dragon.
They splash and play.

853
01:24:13,120 --> 01:24:17,125
And then a cut:
the little girl looking at herself.

854
01:24:17,280 --> 01:24:20,727
She has ash on her face.

855
01:24:23,640 --> 01:24:25,961
The music starts to swell...

856
01:24:37,560 --> 01:24:40,211
and we see the sea scene again.

857
01:24:43,000 --> 01:24:46,163
There is no longer any synchronous sound.

858
01:24:48,040 --> 01:24:50,964
Happiness begins to reverse.

859
01:24:51,160 --> 01:24:53,447
The parents step back.

860
01:24:53,600 --> 01:24:57,810
The camera is at sea level,
the point of view of the little girl watching.

861
01:24:57,960 --> 01:25:01,851
The boat catches fire.
We hear the rumble.

862
01:25:02,000 --> 01:25:03,365
Where are you going?

863
01:25:07,600 --> 01:25:09,045
Dad!

864
01:25:10,720 --> 01:25:12,449
Mom!

865
01:25:15,920 --> 01:25:18,241
Where are you going?

866
01:25:20,640 --> 01:25:22,483
Where are you going?

867
01:25:25,320 --> 01:25:27,641
Where are you going?

868
01:25:42,760 --> 01:25:45,081
Don't leave me alone!

869
01:25:48,920 --> 01:25:51,844
Wide angle on the little girl.

870
01:25:52,000 --> 01:25:56,847
Goodbye to all that,
the dream of a happy home.

871
01:25:57,000 --> 01:26:02,211
A Sergio Leone-style sequence
showing the loss experienced by the little one.

872
01:26:02,360 --> 01:26:05,648
She will relive it again and again throughout her life.

873
01:26:05,800 --> 01:26:07,404
Don't leave me alone!

874
01:26:13,560 --> 01:26:16,928
The island of fog is not
not very foggy.

875
01:26:17,080 --> 01:26:19,765
It also has its wheat fields.

876
01:26:20,680 --> 01:26:26,449
Another aspect I didn't see
in the game of Ben and Laura, appears to me.

877
01:26:29,080 --> 01:26:31,924
This aspect is the dream,

878
01:26:32,080 --> 01:26:37,610
One of the things where cinema excels.
Palle dreamed and went to the moon.

879
01:26:40,160 --> 01:26:46,441
In The Night <i>of the</i> Hunter,
children also escape reality.

880
01:26:48,920 --> 01:26:51,082
The world is changing.

881
01:26:52,680 --> 01:26:55,809
Children are also small
than an insect...

882
01:27:02,880 --> 01:27:05,008
watched by a frog.

883
01:27:08,520 --> 01:27:12,844
Sacred, luminous, a dreamlike scene.

884
01:27:16,760 --> 01:27:21,163
Filmed from the stars,
like Nikita and her balloons.

885
01:27:24,560 --> 01:27:29,088
In this 1931 German film,
the camera is also free and unreal...

886
01:27:29,240 --> 01:27:31,004
than in silent films.

887
01:27:31,160 --> 01:27:34,881
Émile travels alone by train.

888
01:27:35,040 --> 01:27:37,042
He has money in his pocket.

889
01:27:38,040 --> 01:27:41,442
He believes that a man in his wagon
wants to steal it from him.

890
01:27:42,440 --> 01:27:45,922
The man gave him
a candy that Emile ate.

891
01:27:46,680 --> 01:27:51,447
But was the candy drugged?
Or did Émile fall asleep and dream?

892
01:27:54,960 --> 01:27:56,564
Is he in danger?

893
01:27:58,840 --> 01:28:03,164
And in this curious catch,
the wagon comes and goes like a paperclip.

894
01:28:04,640 --> 01:28:07,211
Then the image stretches like rubber.

895
01:28:13,400 --> 01:28:17,200
The wagon turns like a barrel.

896
01:28:26,920 --> 01:28:29,764
Then this astonishing attenuation.

897
01:28:35,240 --> 01:28:37,129
And a Chaplin moment.

898
01:28:42,920 --> 01:28:46,083
At Laughton, the dream was a fable...

899
01:28:46,240 --> 01:28:49,961
<i>and</i> Émile's dream is full of pistons.

900
01:28:50,400 --> 01:28:54,530
When this child falls asleep in Albania
communist of Xhanfize Keko...

901
01:28:54,680 --> 01:28:57,524
he has a dream of being an architect.

902
01:28:59,080 --> 01:29:04,405
Keko films the dream with camera in hand,
wide angle to accentuate the space.

903
01:29:14,560 --> 01:29:19,851
No synchronous sound, 4 recurring notes
and a slight dissonance.

904
01:29:24,000 --> 01:29:27,891
As in so many dreams, the dreamer climbs.

905
01:29:51,960 --> 01:29:55,362
Then he advances a
steamroller.

906
01:29:55,880 --> 01:29:59,043
In his dream, the machines obey him.

907
01:30:07,200 --> 01:30:10,522
Let's return to the young Czech.

908
01:30:12,000 --> 01:30:14,480
He stirs up dust like any child.

909
01:30:14,680 --> 01:30:19,971
And then this. In broad daylight,
the real world becomes a dream world...

910
01:30:24,040 --> 01:30:26,884
<i>a bit like in Tiger and Dragon.</i>

911
01:30:28,520 --> 01:30:33,367
The dream music stops
and gravity returned.

912
01:30:33,960 --> 01:30:36,088
Just like bad boys.

913
01:30:36,240 --> 01:30:37,241
Hi.

914
01:30:38,440 --> 01:30:43,685
Come home, dwarf!
You did well, huh?

915
01:30:45,520 --> 01:30:51,323
14 years after the kid with the violin,
and 14 years after his own youth...

916
01:30:51,480 --> 01:30:55,724
Tarkovsky does a tracking shot
on the dreams of this young man.

917
01:30:57,400 --> 01:31:03,681
For Tarkovsky and Hitchcock, moving forward,
it is leaving a kingdom to pass...

918
01:31:03,840 --> 01:31:05,683
behind the curtain.

919
01:31:07,920 --> 01:31:09,331
Here, the color is sepia.

920
01:31:09,480 --> 01:31:13,963
We saw a bright light.
The milk sloshes in slow motion.

921
01:31:14,120 --> 01:31:16,487
The jug is huge for the child.

922
01:31:16,640 --> 01:31:20,087
Then the dog and the train
dear to Tarkovsky.

923
01:31:28,120 --> 01:31:29,565
A flash.

924
01:31:30,480 --> 01:31:33,051
Then a totally different image.

925
01:31:33,200 --> 01:31:38,491
Color, real time, no slow motion.
Camera in hand, no pursuit.

926
01:31:38,640 --> 01:31:43,123
The real sound of water, pure,
almost idyllic.

927
01:31:43,280 --> 01:31:45,726
Then again these dogs in the distance.

928
01:31:45,880 --> 01:31:48,850
The kid does the dog swim, worried.

929
01:31:49,000 --> 01:31:51,162
We are moving forward again.

930
01:31:53,560 --> 01:31:57,849
And we go back behind the curtain
in a magnificent Russian dacha...

931
01:31:58,000 --> 01:32:00,571
in honey and cream colors.

932
01:32:00,720 --> 01:32:05,123
A fluid forward tracking shot,
floating, without walking.

933
01:32:27,160 --> 01:32:31,165
And the child comes out of the frame
as if he had been inside.

934
01:32:31,320 --> 01:32:34,164
When he moves forward, the camera stops.

935
01:32:36,160 --> 01:32:40,245
It has been said that this scene shows an adult
who dreams of his childhood.

936
01:32:40,400 --> 01:32:42,801
But he is also a child who dreams.

937
01:32:42,960 --> 01:32:47,682
Then the child stops
and it's the camera that moves.

938
01:32:47,840 --> 01:32:51,925
They become one, and we see his mother,
she is old.

939
01:32:52,080 --> 01:32:56,369
She turns her head,
and it's Kim Novak in Vertigo.

940
01:32:56,520 --> 01:33:00,320
Another dreamlike film
on progression in space.

941
01:33:09,320 --> 01:33:13,086
Looking at a wheat field, two children,
an island...

942
01:33:13,240 --> 01:33:16,403
we saw a lot
about children in films.

943
01:33:17,240 --> 01:33:20,767
The prudence of this young boy.

944
01:33:20,920 --> 01:33:24,641
Social class in Ozu's camera.

945
01:33:24,800 --> 01:33:28,168
Anger, theatrical and documentary.

946
01:33:28,320 --> 01:33:31,563
The game in Minnelli's setting.

947
01:33:32,400 --> 01:33:37,042
Parenting filmed by Kedzierzawka
in green and beige.

948
01:33:37,640 --> 01:33:38,880
The stories.

949
01:33:39,400 --> 01:33:43,530
The framing in this Iranian film
where the kid carries his vision of the world.

950
01:33:44,040 --> 01:33:47,567
Destructiveness in the wide angle
from Vigo.

951
01:33:48,080 --> 01:33:52,244
The adventure in Korean film
on the long winding road.

952
01:33:52,880 --> 01:33:56,965
Loneliness and loss
seen by Mouratova's rotating camera.

953
01:33:57,120 --> 01:34:00,488
And the young dreamer of Xhanfize Keko.

954
01:34:05,520 --> 01:34:09,491
One day on the island of fog,
This stray dog is following me.

955
01:34:10,680 --> 01:34:13,809
I observe him. His tenacity.

956
01:34:13,960 --> 01:34:16,770
As I thought of the children
in the cinema...

957
01:34:16,920 --> 01:34:20,891
I remember the child
the most tenacious.

958
01:34:21,040 --> 01:34:25,250
Razieh, the little grumpy girl
by Jafar Panahi in <i>The Balloon</i> white.

959
01:34:26,640 --> 01:34:29,166
She had the money to
his goldfish...

960
01:34:29,320 --> 01:34:34,884
but, oh no, she dropped it
in a gate in the street.

961
01:34:35,040 --> 01:34:39,011
The camera is low,
almost documentary style.

962
01:34:39,160 --> 01:34:41,925
She asks the shopkeeper for help.

963
01:34:42,120 --> 01:34:46,250
My money fell
in the gate next to the store.

964
01:34:46,400 --> 01:34:47,731
Do you mean at the neighbor's?

965
01:34:48,240 --> 01:34:50,163
But he has other worries.

966
01:34:50,320 --> 01:34:54,564
The day before the party, the adults don't care
of his lost money.

967
01:34:55,800 --> 01:35:00,840
But she insists.
She broods over her money like a hen.

968
01:35:01,000 --> 01:35:05,767
The adult world takes place off-camera,
as in Tom and <i>Jerry.</i>

969
01:35:06,960 --> 01:35:12,569
A young Afghan brand new in the film
then arises. He has a white ball.

970
01:35:12,720 --> 01:35:15,200
The white balloon of the film's title.

971
01:35:23,200 --> 01:35:25,123
It has its own close-up.

972
01:35:25,800 --> 01:35:28,804
♪ Bought some chewing gum.

973
01:35:28,960 --> 01:35:33,045
The story seems to be moving towards him,
who comes from a country...

974
01:35:33,200 --> 01:35:36,363
to bigger problems
than a goldfish.

975
01:35:36,520 --> 01:35:38,363
Let's play a game.

976
01:35:44,720 --> 01:35:47,246
They stick the gum on the stick.

977
01:35:53,720 --> 01:35:56,929
After 42 minutes of tenacity...

978
01:35:57,080 --> 01:36:00,687
more than half the film,
they succeed.

979
01:36:14,040 --> 01:36:16,361
But the story doesn't end there.

980
01:36:16,520 --> 01:36:21,686
We stay with the young one from Afghanistan
at war and the world around it.

981
01:36:21,840 --> 01:36:26,687
Another child filmed from a distance,
without special lighting.

982
01:36:55,160 --> 01:36:59,802
A traditional film would now
a crane movement up to the roofs.

983
01:36:59,960 --> 01:37:04,363
But director Jafar Panahi
he stops.

984
01:37:08,360 --> 01:37:15,528
This little one is like a dog with a bone.
And we find that in the cinema.

985
01:37:16,080 --> 01:37:19,766
His quest is a bit like the cinema.

986
01:37:22,400 --> 01:37:26,564
Just like she doesn't give up money,
cinema does not give up...

987
01:37:26,720 --> 01:37:33,171
its essential and marvelous capacity
to show life, real life, on screen.

988
01:37:33,360 --> 01:37:37,763
He clings to reality,
like a dog to its bone.

989
01:37:37,920 --> 01:37:43,131
He adores her, despite his frustration,
unable to break away.

990
01:37:50,360 --> 01:37:52,522
Ben and Laura came back to see me.

991
01:37:53,280 --> 01:37:55,726
I gave them a disguise box...

992
01:37:55,880 --> 01:37:59,407
and, spontaneously
they dressed in black.

993
01:38:03,480 --> 01:38:07,644
Ben throws grapes in his mouth.
A dog with a bone.

994
01:38:15,880 --> 01:38:19,089
Watching Ben and Laura's films...

995
01:38:19,240 --> 01:38:23,564
I realized that the
cinema was 120 years old.

996
01:38:23,720 --> 01:38:29,682
Which is very young for an art.
He's still stammering. He's a child.

997
01:38:29,840 --> 01:38:31,171
Oh, my head!

998
01:38:32,080 --> 01:38:33,969
She's taller than you.

999
01:38:38,600 --> 01:38:44,243
Only cinema has studied children like this.
Neither literature nor music.

1000
01:38:44,440 --> 01:38:50,243
Video cameras and smartphones
allow children to be filmed.

1001
01:38:50,400 --> 01:38:54,121
Children change quickly,
we want to capture the moment.

1002
01:38:54,280 --> 01:39:00,481
And movies are perfect for that.
They magnify everything.

1003
01:39:00,680 --> 01:39:05,242
Seeing Razieh in <i>The White Balloon</i>
and thinking of the other children...

1004
01:39:05,400 --> 01:39:09,724
we realize that in what they show,
in their road movie...

1005
01:39:09,880 --> 01:39:15,011
their brief emotions, their desire to
demolish, their tenacity...

1006
01:39:15,160 --> 01:39:17,208
they are...
How do we say it again?

1007
01:39:17,640 --> 01:39:19,404
Maybe...

1008
01:39:20,200 --> 01:39:22,521
filmic?

1009
01:39:22,680 --> 01:39:26,366
Movies are like children,
children are like movies.

1010
01:39:56,360 --> 01:39:59,967
<i>YLFwenaYwxgen</i>