All language subtitles for Cand se lasa seara peste Bucuresti sau metabolism

When evening falls on Bucharest

or

Metabolism

Tomorrow we'll shoot
a nude scene.

- What nude scene?
- Yours.

- You're joking.
- No.

- Why don't you film Dinu nude.
- Why should I film Dinu nude?

- Isn't he the main character?
- A nude should be beautiful.

- Dinu's got a beautiful body.
- No man has a beautiful body.

Not to you, maybe.

No. Strictly from
an aesthetic point of view.

- You know why?
- No.

Because of the penis.

Regardless of how well
proportioned a man might be,

the harmony is ruined
by the penis.

It's a mistake from an aesthetic
point of view.

If the scene isn't justified,
I won't do it.

It'll be justified,
don't worry.

- You'll thank me in 50 years.
- Why would I thank you?

Because you'll be old,
who knows how you'll look.

Loose flesh, sagging breasts,
eye bags, wrinkles.

So?

So you'll watch the movie
and thank me.

- You think I'll care?
- Course.

I don't think so.
I'll get used to my body.

You say that now, because
you're sure of your beauty.

Who will watch
your movie in 50 years?

- You will.
- Me?

- And you.
- Maybe.

And Dinu, of course.

After I've fucked him about so much?
And it's not over yet!

He'll just want to forget it.

I can't stand him any more.

I don't know how
this filming will end.

Anyway, nobody will watch
movies in 50 years.

What do you mean,
nobody will watch movies?

I mean, they'll still watch,
but movies will be something else.

- Something else? Like what?
- I don't know.

But they won't be
movies any more.

They'll be something else,
or there won't be movies at all?

Course there'll be something.

People will keep watching, they'll
probably still be called movies,

but they won't have much in common
with what we call movies today.

- Are you serious?
- Yes.

You've seen
how we're shooting on film?

Yes.

Film has its limits.

You can't shoot more
than 11 minutes at once.

- That's why you change rolls?
- Exactly.

- I didn't know they were 11 minutes.
- One roll is 305 metres.

And 1 meter of film
is 2 seconds.

So if you add it up
it comes to about 11 minutes.

- So?
- That's it.

You can't film more than 11 minutes,
no matter what.

I don't get it, a movie has
90 minutes, maybe more.

A movie yes. But no part of it
can last more than 11.

OK... And?

And this limit determined
a way of creating cinema.

A way of seeing the world,
or rather, thinking of the world.

And?

And with digital, the limit
is much greater. One hour.

And it'll keep increasing,
infinitely.

So you can depict reality
more faithfully, if you want to.

- I'm no good with technical details.
- It's not technical.

If I shot this movie digitally,
not on film, it'd be different.

Why?

Because every scene could be
bigger, fuller, more detailed,

more real,
and also longer.

For example, your argument with Dinu.
It's about 7 minutes, right?

Thinking about it, I'd like to make
it 20 or 30 minutes, like in reality.

With digital, I could do that.

But making that longer
means making the rest longer.

The movie would be huge,
in comparison.

- So why didn't you use digital?
- I can't.

- Why not?
- Because there is no limit.

I've been formed by this limit.
That's how I think.

That's how I see the world.

Hello Magda.

Really bad. My stomach is killing me,
like there's a knife in it.

Yes. And I threw up.
I've got a fever.

I don't know,
I think my ulcer came back.

A while ago.

My brother's coming,
I'll go with him now.

I have my own doctor.

Call you when I finish, OK?

I don't think so.

They'll give me painkiller
and antacid and I'll be fine.

That's why I called...

Don't worry,
I'll be OK to film tomorrow.

I've had these problems before.

Magda, my brother just arrived,
I have to go. Speak later, OK?

OK...
I'll call you.

Bye.
Thanks.

Don't I have any lines at all?

You're in the other room.

You're getting dressed
and overhear their discussion.

You wrote this
just so I appear naked?

No.
I think it works better this way.

Getting dressed as they speak
becomes a kind of protection.

It's more expressive
than dialogue.

- I listen and I get dressed?
- Yes.

I'm doing two things
at the same time?

Yes. Why?

It'll seem like I'm not interested
in what they're saying.

No. You listen,
then you get dressed.

You see? You get dressed
as a consequence of what you hear.

That's why your clothes are no longer
just clothes, they become... armour.

Hold on,
let's take this slowly.

- Why am I naked?
- You're not.

There's a towel round you,
you just got out of the shower.

- Aha. It starts in the room.
- It's written there.

I was thinking
of the old version.

So I'm in the room
with the towel round me.

Right.

- Where are they?
- In the living room.

How can I hear them
from my room?

You go to the hall
to get something.

- What?
- Tights. It's written there.

I'd get the tights
wearing my underwear.

Right. So?

If I'm in my underwear,
getting dressed loses its symbolism.

No, you don't get it.
It's written there.

You dress, need the tights, enter
the hall and hear their discussion.

Then you return to the room
and carry on dressing.

When you 'carry on dressing'
it has to be different.

How? That's up to you.
But I need to understand

you're protecting yourself.
The clothes have become... armour.

- But after I hear them.
- Exactly.

And I don't hear them
until I get the tights.

Of course.

It seems odd to have the tights
in the hall.

It should be something
that the whole family uses.

You know what it could be?

That thing you get fluff off
your clothes with, you know?

I'm not sure what it's called,
but it's like a brush, with...

- I know.
- That could be it.

No. You'd already have to be dressed.
It should be something intermediary,

something in the middle
of the process of dressing.

I want a clear delineation
between the two moments of dressing.

But there could be.

Let's say I...

I'm dressing...
in my tights...

and underwear,
I'm in the room,

the dress is hung
on the wardrobe, while...

What? I don't get it.

In my room, the bed's here
and the wardrobe is there...

- On the set?
- Yes.

The bed is here
and the wardrobe is there.

I'm dressing.

The dress is hung on the wardrobe
so it doesn't crease, right?

I'm dressing,
I take my underwear,

and while I'm dressing,

I see that the dress has fluff on it,
so I go to the hall to get the brush.

- And you go out like that?
- Like what?

- In your underwear?
- Why not?

Because you hear Vlad
in the next room.

Couldn't I also hear him
when I left the bathroom?

True.

And anyway, they're...

And I could check first, right?

- Right.
- Or take the towel.

- We'll see. So, you go out...
- I go out into the hall.

I take the brush
and go back in the room.

- Correct.
- Then I'm dressing, like you said.

But...

- Can you hear them from the hall?
- Yes.

OK.

It seems OK, let's see.

Something's not right?

No, I'm not sure yet.
I have to see it on set.

- I'll do it now.
- We'll do it tomorrow on set.

I'll do it now, I'd rather.
To see if it works.

- The shower is here, right?
- You start in the bedroom.

I'll shower too, to see
how I should come in, OK?

So I'm in the shower.
I'm showering.

I'm getting out.

I'm drying myself.

I'm out, and...
They're in the living room.

- What are they saying?
- Vlad has just arrived.

So nothing special.

Right,
I've my towel round me.

The underwear is on the bed.

I'm drying myself with the towel.
I'm drying myself.

I'm taking the panties.

Taking the bra.

The tights are on the bed.
I'm sitting down.

I'm taking the tights,
the dress is hung on the wardrobe.

I'm dressing.

While I'm dressing,

I see the dress,
I go over, I look at it.

I go into the hall
to get the brush.

The brush could be in
the shoe-drawer. Here it is.

I'm taking the brush.
And now I hear them.

And I return.

And I come over to the dress...

And I'd probably be...
really annoyed.

- Correct.
- Really intrigued by what I heard.

I'd be brushing... like this.
Really hard.

I think that's a cliché.

- Shouldn't I do it?
- Yes.

- I think it's an important moment.
- It certainly is.

- More naturally.
- OK. Like this...

I've brushed the dress,
and now I take it and...

I'm dressing like you said.

Yes...

Are there Chinese restaurants
in Târgu Mureş?

4 or 5...

- You go there often?
- No.

You're good with chopsticks,
where did you learn?

I learned in France.

You learned
to use chopsticks in France?

Why so surprised?

It sounds absurd.

When I lived in France
I often ate in a Chinese restaurant.

- That's how I learned.
- I see.

Did you stay long in France?

2 and a half years.

Where?

In Montpellier.

In what year?

In... 2005 and 2006.

And what did you do there?

I had a scholarship.

What scholarship?

I was in the foreign languages
university, and I got a scholarship.

- So why did you come back?
- I gave up the scholarship.

And you came back?

No. I stayed another year in France
and then I came back.

Didn't you like it?

I liked France,
I didn't like the university.

So why come back to Romania?

I wanted to study acting
and it was impossible over there.

And you had money
to eat out regularly?

I went with my boyfriend
from back then.

- French?
- Yeah.

I'll get another beer.
Want something?

You can have mine.

- Sure?
- Sure.

- Cheers.
- Cheers.

To what extent do you think
Chinese cuisine has been influenced

by the fact that they
eat with chopsticks?

What do you mean?

Let me put it another way.

Why do the Chinese not cook
T-bone steaks or roast chicken?

I don't know.

Because you can't eat it
with chopsticks.

So chopsticks have directly
influenced their way of cooking.

Don't you think?

Maybe.
I'm not sure.

Europeans, meanwhile,

concentrated on the means,
they invented knives and forks.

The Chinese concentrated on content.
So European cuisine became simpler,

while Chinese became
more sophisticated.

You can't say that French cooking
isn't sophisticated.

On the contrary, they say it's
the most sophisticated in the world.

That's what we think, Europeans
raised with knives and forks.

- Arabs eat with their hands.
- So what?

That means their cooking
should be the most sophisticated.

Not at all. Using your hands
is too simple. Brutal, even.

Yes, but the emphasis
is on the content.

Not really.

Eating with your hands is...
I mean, without implements, it's...

Or rather, if there's
no intermediary in the relationship

between you and your food,

you can't maintain distance
from the plate. It's visceral.

When you eat with your hands,
it's simply to satisfy hunger.

You think Arabic cuisine
is the most sophisticated?

- No.
- That's what you said.

No. I said that,
following your logic,

Arabic cuisine should be
the most sophisticated.

That's what you understood?

Didn't you say Europeans emphasize
the means rather than the content?

I did.

Well, Arabs put
the least emphasis on the means,

so they could concentrate on the
content even more than the Chinese.

That's where you're wrong.

Arabs don't use implements.
Hands are part of your body, right?

So your relationship with the dish
isn't mediated.

I think that food is more about taste
than about chopsticks or forks.

If that's your approach it's more
to do with hunger than taste.

You mentioned
sophisticated cuisine.

Well for me,
sophistication means taste.

Sophistication means everything:
how it looks, how it smells,

how you eat it,
as well as how it tastes.

- Most of all, how it tastes.
- Sure. Most of all, how it tastes.

But taste is also influenced
by the means, right?

How?

In Chinese cooking,
you cut everything up small,

you cut the meat,
then you add the diced vegetables,

then you add the sauce,

then you add another ingredient,
then another, and another,

and so on. You see?
It's sophisticated, right?

In European cooking,
you have a piece of meat,

and next to that some garnish,
and maybe a salad.

I prefer European cuisine,
don't get me wrong.

But when I look at Chinese cuisine
sometimes I don't get it.

You don't have to understand it,
just to taste it.

- Taste has to be educated.
- Yes, right.

OK, whatever you say.

I dream of acting in France...

- And what accent do you have?
- Right now, none.

But when I stayed in France
I picked up the southern one.

How is it?

More melodic...

Lighter, more open...

I mean, the vowels in the middle
of words are longer.

- Compared to that in Paris.
- Of course.

You could perform
roles from the south, right?

To perform in France
I'd need to move there.

That'd mean giving up
everything, leaving.

Then one day I might be able
to start acting.

It's just not that simple.

Another problem would be your body.
You don't look like a French girl.

- You mean my body or my features?
- Your body and your features.

I think my features are more Greek,
except I have green eyes.

Greek girls
don't have green eyes?

Greek girls have black eyes
and dark hair.

There's something
Jewish about you.

My nose and eyebrows.
My father is half Jewish.

Anyway, I think I've
a Mediterranean look.

So it's plausible
I could be from the south of France.

And your body?

My body... I don't think there's
anything so specific about it.

I think that if you live somewhere
and like it,

then you're going to feel
comfortable about yourself.

Anyway, you don't have
the body of a German.

Course not, but what I'm trying to
say is that if I moved to France

and lived there,
spoke and thought in French,

plus the energy of the people and
the place, then my body would fit in.

But you'd never be you.

I'd still be me, because
I'd have chosen to live there.

That's too mystical for me.

I think it's true.

If you're in a place and you like it,
you become a part of it.

I don't think so.

You know, it's like
swimming in a river.

You let yourself float,
you don't swim against the current.

If you swim against it,
you get tired, it's pointless.

I don't know much about swimming,
but I don't agree with that theory.

You were born here.
You think in a certain way.

You can be carried
by any current you like.

Your mentality
was formed over here.

If you find a space,
please pull in.

We're filming.

I told you...

- Magda.
- What about Magda?

She's over there on the couch.

Paul.

- Hi.
- Hi.

- How are you?
- I came to rehearse a bit.

I made some changes to tomorrow's
scene and came to speak to Alina.

Weren't you meant to be sick?

I made the changes last night.
Didn't Liviu mail them?

- Have you been to the doctor?
- Sure.

And?

I'm better. He put me
on a drip and it went away.

I'll take antacid
for a few days.

You said you'd call
after seeing the doctor.

I forgot. I was OK,
so I started working.

- Hi.
- Hi, Magda.

- I'll just pop upstairs, OK?
- Thanks, Alina.

- Bye.
- Bye.

Alina? I've booked the room
for another night.

- Great, thanks. Bye.
- Bye.

- So you're well.
- I'm better.

- What was it?
- Gastritis.

Coffee and cigarettes
on an empty stomach.

I've been drinking
too much recently.

- You said you had an ulcer.
- A few years ago.

Come on, Paul...
You had an endoscopy?

- Yes.
- And?

I have gastritis.

You didn't mention an ulcer
on your insurance form.

- I didn't?
- No.

- Should I have?
- Course, it's a chronic condition.

- I didn't know, sorry.
- Yeah...

I spoke to the insurance company
they'll provide a new policy.

- I'll pay an invoice, then we'll go.
- Where?

To the hospital,
for an endoscopy.

I'm not doing
another endoscopy today.

Come on Paul,
what the hell...

First Marinescu, then you.
It's too much for one day.

What's up with Marinescu?

- He got drunk and trashed his room.
- What do you mean?

He broke the TV,
wardrobe, fridge, everything.

- You moved him out?
- Of course.

The manager wanted
to kick the whole team out.

I talked to him, paid for the damage
and gave an advance, so it's OK.

- And where's Marinescu now?
- Who?

- Marinescu.
- At Diana's.

I was scared to take him elsewhere,
he's a fucking embarrassment.

- What's up with him?
- He's drinking like an idiot.

He was fine on set. Maybe
something's wrong, family problems...

Nothing happened.
He's an idiot, that's all.

Shame. He's a good actor.

So what do we do?

I'll call the insurance
and say we'll leave it.

Whatever you say.

My doctor said
I can carry on filming.

- So you went to a doctor.
- Yes.

- Let's do another endoscopy.
- I can't do another endoscopy.

- Why not?
- I just ate.

So what if you ate?

An endoscopy needs
an empty stomach.

Really?

Hi Irina.

Do you need an empty stomach
for an endoscopy?

I spoke to the director,

and he's had an endoscopy, so
there's no point in doing another.

- Do you have the endoscopy with you?
- No. It's at home.

- You definitely did one?
- Yes.

Sorry, Irina, I've a favour to ask.
I must wait for an invoice,

and have loads to do at the office,
so I might not make it today.

Can you send a doctor
to the set, tomorrow morning?

It's 16 Henri Coanda Street.

Yes, but I told you,
I need the insurance for Monday.

Friday we're filming in Parliament.
The contract says

we have to tell them
4 days in advance.

Please, help me out.
I'll owe you.

I'll owe you one.
I need to know by tomorrow.

Yes. Ask them
and let me know, OK?

Great, thanks a lot.

Thanks.

Bring the endoscopy
to the shoot tomorrow.

OK.

I hope the doctor
won't be wasting his time.

I'm going, I'm tired
and I've got a hard day tomorrow.

- Bye.
- I've had a hard day too, Paul.

So hard that it cost me
15,000 euros.

Another 2 days like this
and we won't finish the film.

- Speak later.
- Bye.

I'm outside the car-park,
waiting.

Pass the barrier, turn left,
I'm parked on the right.

It doesn't matter,
we'll get it later.

We'll come back later. Anyway,
it's booked until tomorrow.

I'll wait for you.

No, I left the car park. Pass the
barrier, turn left, I'm on the right.

I'm showering.

I'm getting out...

I'm drying myself with a towel...

I'm looking in the mirror.

- I'm going out.
- Don't you dry your hair?

You're right.
I dry my hair.

That's it.

How long do you
dry your hair for, Alina?

About 10 minutes.

When we shoot, I want you
to dry your hair for 10 minutes.

Do you have time to film me?

We'll start filming later, but
you'll dry your hair for 10 minutes.

And I'll have
a shower each time?

Yes.

Once more.

I'm showering.

I've finished.
I get out.

I'm taking the towel.
I'm drying myself.

I'm drying my hair.

I'm looking in the mirror.

I'm going out,
entering the hall.

I overhear them.
I stop here.

I'm listening.

I'm entering the room.

- How loud were they speaking?
- Pardon?

During rehearsals,
how loud were they speaking?

- They weren't speaking loudly.
- But you could hear them?

Yes.

They weren't speaking loudly,
but you could hear them.

- Yes.
- OK.

Because you knew the script,
or because they spoke clearly?

I heard them clearly.

You heard when you left the bathroom,
or did you have to come to the door?

No. I heard them...

Because you knew the script or
because they were speaking loudly?

I heard them...
I'm not sure anymore.

- OK.
- But I heard them.

You always left the bathroom
when they said one particular line.

Yes.

- Didn't you dry your hair?
- No.

- But I heard the hairdryer.
- I didn't really dry it.

- How did you know when to leave?
- Liviu gave me a sign.

You just came out?
Without any feeling?

Well...

I was in the background,
you could hardly see me.

It's not that.
There was no feeling there.

- You could hardly see me.
- Even one second matters.

One more time.

If you didn't like it,
you should have said.

I was watching the others.
One more time, please.

I'm showering.

I've finished.

I'm getting out.

I'm taking the towel.

I'm drying myself.

I'm drying my hair.

I've finished.

I'm looking in the mirror.

I'm leaving,
entering the hall.

I hear them,
I stop here.

I'm listening.

- I'm going to the room.
- Stop.

- Why do you go to the room?
- Shouldn't I end up there?

No.
Why should you end up there?

To get dressed.

You don't go to the room
just to get dressed.

You came out.

You hear them clearly,
like you said.

If you're upset,
you return to the bathroom.

Or maybe you go to the door,
you're curious.

Or you remain frozen in the hall.
Which one?

I heard them clearly during rehearsal.
It felt right going to the room.

It seemed so because
you knew the script. Think about it.

You showered, you dried your hair
for 10 minutes, you're dazed.

You go out, but you
don't go straight to their door.

You want to go to your room
but you hear them in the hall.

Do you hear clearly?

If so, do you return to the bathroom
because you're upset?

Or go to the door to hear better?
Or go to your room?

Which one?

Whatever you choose is possible.

But whatever it is, has to be assumed
by every inch of your being.

- OK?
- OK.

OK.
We'll do it tomorrow.

Hi.

We just finished filming.

I'm in make-up.

Filming overran.

One shot wasn't working
and we had to stay longer.

If I said I'm in make-up,
I'm in make-up.

I'll call you when
I get to my room, OK?

I'm hanging up. Stop it.

I'm hanging up.

- How's it going?
- How's it going?

- Hi.
- Sit down.

- How's things?
- Good.

- Laurentiu, pleased to meet you.
- Alina.

- You're an actress?
- Yes.

I hear filming's going well.

- Where did you hear that?
- I met Radu, he was really pleased.

It's OK.

- How much longer?
- Another 2 weeks.

- How long's the shoot?
- 4.

You're OK,
you're pleased?

- Yeah.
- Yeah?

- Anyway, it's a great script.
- Thanks.

You're not from Bucharest.

- No. From Târgu Mureş.
- Târgu Mureş.

- Do you know Roxana?
- Roxana Lemnaru?

- Yeah.
- Of course.

She's a great actress.

I worked with her on a film
and liked her a lot.

- Say hello to her from me.
- Sure.

From Laurentiu?

- When do you start?
- In March.

We've made up the budget,
changed the script...

- And?
- I'll send it you, once you're free.

Sure.

- I'd like to know what you think.
- Me too.

- Have you done a casting for Strada?
- No.

Strada is a production company
Laur works with.

No, I haven't.

I'll get your phone number
from Paul.

- Sure.
- OK.

I'll call you for a casting.

- If you want, of course.
- Yes, sure.

Yes?

When I saw you come in,
she reminded me of Monica Vitti.

Don't you think?

I'd not thought about it.

She has the same detachment.

- I really noticed.
- Where are you sitting?

Over there.

Look, there's Doina.
Hi, Doina.

You still see clearly.

- Why do you say that?
- I can hardly see Doina.

My hearing's terrible,
but I've got great vision!

- OK. I'm off, then.
- Speak soon.

- In 2-3 weeks.
- Bye. Call me.

- Good luck with the shoot.
- Thanks.

- Pleasure to meet you.
- Me too.

I'll start casting in a month.
Someone will call you. OK?

- Perfect.
- OK. Bye.

- Bye.
- Goodbye.

- You might get another role.
- I really like his films.

You know them?

Course.

Don't you like them?

Of course.
He's a very good director.

He's a great writer.

He said
the same thing about you.

- He did? When?
- Just now.

I didn't hear.

When he asked you
if you're pleased.

Aha...

He asked if you're pleased,
you said 'yes' halfheartedly,

and he said
it's a great script.

So?

So you think about him
what he thinks about you:

that you both write
good scripts.

And what do you think?

I think you're both
good directors.

That's convenient.

Obviously I think you're better.

Obviously.

- Why'd you pretend not to know him?
- Because I don't know him.

When he asked you
to say hello to your friend,

you repeated his name as if it
were the first time you'd heard it.

And?

And you knew very well,
because you'd seen his films.

And?

And you pretended
you didn't know him.

I've seen him on TV,
I don't know him.

You were flirting a bit,
but you didn't realise.

How was I flirting?

You pretended you didn't know him.
I mean, you teased him a bit.

You excited him.

You call that flirting?

You don't want me
to act in his film?

How do you mean?

Are you jealous that
I might act in his film?

No.

No. It'd be good for you.
He's a good director, really good.

But you can't deny
that you flirted with him a bit.

I really wasn't flirting.
What's up with you?

Maybe it's just me,
sorry.

Who's Monica Vitti?

- You don't know who Monica Vitti is?
- No.

She's an Italian actress. Famous.

I don't know her.

Have you seen
"L'Avventura" by Antonioni?

No.

- "Eclipse"?
- No.

- Do you know who Antonioni is?
- No.

- You've not seen "Blow Up"?
- No.

You must.

- Are they well known?
- Yes.

They're important
for the history of cinema.

It's like talking about theatre
but not knowing who Chekhov is.

- I'll definitely watch them, then.
- You can borrow them from me.

You're really not coming
to my place?

No.
I want to prepare for tomorrow.

We can rehearse at mine.

I want to be alone.

You saw I'm no good
at improvising.

Can I have a cigarette?

Is this the first time
you've slept with an actress?

No.

So what happened after?

- After what?
- After filming.

You mean an actress
in one of my films?

- Yes.
- Not an actress in general.

No. I mean an actress
in one of your films.

I never slept
with any of them.

You're not the first director
I've slept with.

When you say director,
you mean a theatre director?

Yes.

It's an unnatural relationship.

It's because of the script.

And nature of the job.
And our insecurities.

Mine about the role,
yours about the film.

There's no way it can last.

- But the script was written by me.
- What do you mean?

In theatre it's different, right?

The script is always
by someone else.

So what's the difference?

The script is me.
A theatre director can't say that.

The script is not theirs. They're
worried they don't understand it.

But not me.

You're very different
than your script.

And anyway,
it's not about that.

Roll camera...

- Good evening.
- Good evening.

- Can I help you?
- Where is the bar?

- It's written there.
- Thanks.

I saw the footage from yesterday,
and it's not right.

- Tomorrow we'll reshoot it.
- I know. Liviu called and told me.

I felt I wasn't doing it right.

It's not about the acting.

It's about the camera position,
it's always on you.

You've become the main character.

I see.

Liviu said that tomorrow we'll also
shoot the scene we rehearsed today

but filming Dinu and Vlad.

It's the same problem,
you'd become the main character.

- So we'll go back to the old script.
- Yes.

It's a political film.

I must show what bastards they are,
how low they've stooped.

Things must change.

And if I film you,
I lose Dinu.

But I need him. You leaving
is the beginning of his downfall.

I see.

- You're upset?
- No. Why should I be?

Why didn't you invite me
to your room?

Because you can't smoke
in the room.

- There's smoke detectors.
- They put them there, too?

You want to go and see?

I'm sorry about the scene
we rehearsed today.

It could have come out OK.

- I'm not so sure...
- No, really.

It could have been
a true moment.

If you say so.

You really look like Monica Vitti.

Laur will definitely
cast you in his film.

She's his favourite actress.

Shall we go?

It's strangely filmed.
Where did you do it?

At Doctor Posoiu's office.

What's strange about it?

- There's no date and no name.
- How do you mean?

The name and date
should appear up here.

That's how they gave it me.

Probably from their equipment.

Yes... There's no need for insurance.
It's just gastritis.

It's not finished yet.

Yes, but it's coming out now.
We've seen what we need to.

- You're sure?
- Yes.

You said something was missing from
the frame. Shall we watch it again?

There's no need. But if you like,
we can take another look.

See...

Now we're in the esophagus.

It's going further...

It's not yet in the stomach.

Look, this opening is
the entry to the stomach.

Now it's going into the stomach.

A smoker.

He smoked before the endoscopy.
That liquid is a secretion.

You see that crust of blood and
the walls that look like snake-skin?

- Yes.
- It's gastritis.

Nothing dramatic.

Now it's in the duodenum.

There's no ulcer.

- And if there was an ulcer?
- But there isn't one.

If there was,
where would we see it?

In the duodenum.

- Can you show me?
- Of course.

- Look, here.
- Isn't it covered with saliva?

The wall would be deformed.
Retracted. That's a clean wall.

But if he had had an ulcer,
wouldn't we see it?

There'd be a scar on the wall.
It depends when it was.

If it was a long time ago
it could have disappeared.

- You're sure nothing is missing?
- What could be missing?

You said something
was missing from the frame.

If there was anything interesting,
I'm sure it would be in the centre.

When filming, you put what interests
you in the center, not on the margin.

- You don't think he had an ulcer.
- Not recently.

What if he had gastritis first
and then got an ulcer?

It's impossible. The endoscopy
was made yesterday, no?

Yes.

Yes.

- You need me for anything else?
- No. Thank you.

- With pleasure. Have a good day.
- Thanks.

- Thanks.
- Good luck filming.

Thanks.

- We called him out for nothing.
- That's his job. I'm off to do mine.

You think I don't know?
You faked that endoscopy.

You can think what you like.

Come on.

It's cold out.

Want a tea or coffee?

- A coffee.
- A coffee?

I'll ask Mihai.

Mihai?

Mihai speaking.

Can you bring a coffee
for Alina, please?

I'm on it.

- You know we're re-shooting?
- Yeah, I know.

Do you know why?
Nobody told me anything.

No.

I don't know.

Let's turn this on.

- Did you go to the beauty salon?
- No, I didn't.

Yes.

I'm in make up.

We're re-shooting a scene.
It could last longer than I said.

I don't know,
it depends when I finish.

It could take longer.

OK.

Let's talk about this later, OK?

OK. Bye.

You know what?

When you have time, I'll make you
an appointment at the salon.

I don't think I'll be able to.
I'm leaving this evening.

- Course, today is your last day.
- Yeah.