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1
00:00:05,706 --> 00:00:07,697
When you think of L'Avventura,
2
00:00:07,808 --> 00:00:10,869
it seems obvious or simple,
3
00:00:11,745 --> 00:00:14,009
but at the same time, it's a moment
4
00:00:14,114 --> 00:00:16,446
that, from every point of view,
5
00:00:16,550 --> 00:00:22,922
is almost historically
a turning point in the evolution of film.
6
00:00:24,858 --> 00:00:29,694
It's an aesthetic act, I suppose,
7
00:00:29,796 --> 00:00:32,822
even political, in a certain manner.
8
00:00:32,933 --> 00:00:35,766
I think if has consequences
9
00:00:35,869 --> 00:00:39,965
whose effects continue,
especially on the cinema fo follow.
10
00:01:01,194 --> 00:01:03,754
When Antonioni made L ‘Awventura,
11
00:01:03,864 --> 00:01:06,128
he'd already made films
that were extremely —
12
00:01:06,233 --> 00:01:09,225
where that modernity is at work,
13
00:01:09,336 --> 00:01:12,772
but never in such a radical way
as in L'Awentura.
14
00:01:12,873 --> 00:01:18,073
I think that what was shocking in L Aventura,
what was striking,
15
00:01:18,178 --> 00:01:20,670
was this powerful blow,
16
00:01:20,781 --> 00:01:24,240
the powerful blow
of the literal disappearance of meaning.
17
00:01:24,351 --> 00:01:27,343
You can see L'Awentura...
18
00:01:30,424 --> 00:01:32,324
as a documentary
on the loss of meaning.
19
00:01:35,796 --> 00:01:40,734
To speak of the scene
of Anna's disappearance —
20
00:01:40,834 --> 00:01:44,065
Because we're used
fo conventional film plofs,
21
00:01:44,171 --> 00:01:47,141
we concenltrated
on the character of Anna...
22
00:01:48,842 --> 00:01:51,504
because she had been designated
in the beginning
23
00:01:51,612 --> 00:01:55,310
as the bearer of the story's,
of the drama's, meaning.
24
00:01:55,415 --> 00:01:58,976
We've followed Anna from the start.
25
00:01:59,086 --> 00:02:03,114
She's a young woman
from the ltalian upper class.
26
00:02:03,223 --> 00:02:05,715
We're in the south of Italy,
27
00:02:05,826 --> 00:02:12,562
yet all this is slightly undermined
by a sort of vague tension.
28
00:02:13,400 --> 00:02:18,839
Anna has already done
something quite mysterious,
29
00:02:18,939 --> 00:02:21,533
but which seems completely harmless.
30
00:02:21,642 --> 00:02:24,907
She tried to —
31
00:02:25,979 --> 00:02:29,005
Well, she succeeded, actually,
in diving into the sea.
32
00:02:29,116 --> 00:02:30,140
Anna.
33
00:02:33,687 --> 00:02:35,018
Careful!
34
00:02:37,924 --> 00:02:39,016
Why did she do it?
35
00:02:39,126 --> 00:02:41,925
It's nof very clear,
especially since the boat was moving,
36
00:02:42,029 --> 00:02:45,488
and everyone had agreed
it wasn't a nice place fo swim,
37
00:02:45,599 --> 00:02:47,727
but she did it anyway.
38
00:02:47,834 --> 00:02:54,467
And you could say if causes them
fo stop on that island,
39
00:02:55,175 --> 00:02:57,872
where, after all,
strange things will happen.
40
00:02:57,978 --> 00:03:01,209
The strangest thing
is what we just witnessed,
41
00:03:01,314 --> 00:03:05,182
or, in fact, what's interesting
is that we did nof witness it,
42
00:03:07,688 --> 00:03:09,247
Sandro!
43
00:03:09,656 --> 00:03:11,715
Where's Anna?
44
00:03:16,096 --> 00:03:17,393
She was here.
45
00:03:17,497 --> 00:03:20,467
- Isn't she onboard?
- I don't know, miss.
46
00:03:20,567 --> 00:03:23,901
Then suddenly,
this plot literally dissolves,
47
00:03:24,004 --> 00:03:26,996
and that, after something like,
48
00:03:27,107 --> 00:03:29,838
say, thirty minutes of film,
49
00:03:29,943 --> 00:03:33,811
we're literally
at the starting point of the film.
50
00:03:36,016 --> 00:03:39,179
By that I mean that
we're walching these characters,
51
00:03:39,286 --> 00:03:41,050
who are individuals
52
00:03:41,154 --> 00:03:43,623
whose identifies we don't know.
53
00:03:43,724 --> 00:03:48,389
We're not clear on the story,
nor the past, nor the present.
54
00:03:50,163 --> 00:03:55,693
You could say that there's a clear “break”
with a conventional plof,
55
00:03:55,802 --> 00:04:02,401
in the sense that nothing allows us
to latch onto something.
56
00:04:02,509 --> 00:04:05,706
On the contrary,
there's a brutal act of saying,
57
00:04:05,812 --> 00:04:08,281
“No. There's nothing fo latch onto.”
58
00:04:08,915 --> 00:04:13,318
By that I mean that
Anna has literally disappeared,
59
00:04:13,420 --> 00:04:14,945
and now what?
60
00:04:15,055 --> 00:04:17,547
Because Anna carried the story.
61
00:04:17,657 --> 00:04:19,921
Where is the story?
62
00:04:23,196 --> 00:04:26,359
What will take shape
as a possible story?
63
00:04:26,466 --> 00:04:30,425
And is a story even possible?
64
00:04:30,537 --> 00:04:35,407
The manner of saying that Anna
does not reappear is a manner of saying,
65
00:04:35,509 --> 00:04:38,479
“No, conventional dramaturgy
no longer interests me.
66
00:04:38,578 --> 00:04:40,876
What interests me
is exactly the opposite,
67
00:04:40,981 --> 00:04:44,815
the disappearance
of conventional dramaturgy.”
68
00:04:49,890 --> 00:04:53,849
Suddenly, we're obliged,
as the film's viewers,
69
00:04:53,960 --> 00:04:56,486
fo ask again the question...
70
00:04:57,764 --> 00:05:00,790
of exactly where we are,
what is our perspective.
71
00:05:00,901 --> 00:05:03,233
Will, suddenly, lacking a story,
72
00:05:03,336 --> 00:05:06,966
these characters
strangely become more interesting?
73
00:05:07,073 --> 00:05:11,874
Are we forced fo build it by ourselves,
using these images
74
00:05:11,978 --> 00:05:16,142
where everyone
seems fo be looking for something
75
00:05:16,249 --> 00:05:19,048
and so, with them,
76
00:05:19,152 --> 00:05:23,919
we start progressively
fo realize that it's irremediably lost?
77
00:05:24,024 --> 00:05:26,857
That not only will if not refurn
78
00:05:26,960 --> 00:05:32,057
but that we literally see
being born inside them
79
00:05:32,165 --> 00:05:40,232
the issue of what will replace
the presence of meaning.
80
00:05:44,578 --> 00:05:49,744
But during the long scene
of the disappearance,
81
00:05:50,584 --> 00:05:55,613
we have the feeling
that Antonioni has only one idea...
82
00:05:57,224 --> 00:06:02,958
as if he were aware
of the importance of doing that scene,
83
00:06:03,063 --> 00:06:07,796
as if, in a certain way,
cinema itself needed that scene to exist,
84
00:06:07,901 --> 00:06:09,960
this thing to be affirmed,
85
00:06:10,070 --> 00:06:13,040
for it to be emphasized
and the point driven home
86
00:06:13,139 --> 00:06:17,940
in such a way
that it couldn't be glossed over,
87
00:06:18,044 --> 00:06:20,911
that we couldn't pretend
it never happened.
88
00:06:21,014 --> 00:06:25,679
Truly, it's necessary to go all out
to portray that story,
89
00:06:25,785 --> 00:06:27,651
and it's necessary, most of all,
90
00:06:27,754 --> 00:06:31,019
and that is what will be deployed
in the continuation of the story,
91
00:06:31,124 --> 00:06:34,219
that never again
will the character of Anna reappear.
92
00:06:35,962 --> 00:06:40,399
It's the issue of the ‘empty center,”
which is that of modernity.
93
00:06:43,703 --> 00:06:45,762
Did you find her?
94
00:06:47,707 --> 00:06:50,802
It's like a folally blank page
95
00:06:50,911 --> 00:06:56,179
with this sort of,
once again, barren desert,
96
00:06:56,283 --> 00:06:58,809
with a natural environment
97
00:06:58,919 --> 00:07:05,916
which becomes progressively,
not cruelly hostile, but a bit more hostile.
98
00:07:06,026 --> 00:07:11,726
After her disappearance,
the weather doesn't improve.
99
00:07:11,831 --> 00:07:12,992
But, at the same fime,
100
00:07:13,099 --> 00:07:19,061
the absolutely abstract
and emply aspect of this place
101
00:07:19,172 --> 00:07:23,439
allows it fo be reduced
fo the bare essence of what's happening,
102
00:07:23,543 --> 00:07:25,511
meaning that
there's no more story, no nothing.
103
00:07:25,612 --> 00:07:27,808
There are no more film sels,
104
00:07:27,914 --> 00:07:31,680
no more horizon,
no direction in which fo head,
105
00:07:31,785 --> 00:07:33,480
Just this sort of nothingness.
106
00:07:33,586 --> 00:07:35,554
So this is why,
107
00:07:35,655 --> 00:07:38,147
we're in a situation
which rather strongly evokes things
108
00:07:38,258 --> 00:07:41,694
which doubtlessly influenced Anfonioni,
or, in any case, marked him,
109
00:07:41,795 --> 00:07:43,763
because jt was really
the aesthetic of the time
110
00:07:43,863 --> 00:07:47,731
what we call
the Theater of the Absurd.
111
00:07:48,535 --> 00:07:52,995
We could speak of Beckett, or speak of Adamov,
or others, more minor,
112
00:07:53,106 --> 00:07:56,940
but it's something that is truly linked
fo the theafer of the time,
113
00:07:57,043 --> 00:08:02,243
without mentioning someone
who was essential in lfaly in that context,
114
00:08:02,349 --> 00:08:03,908
Pirandello.
115
00:08:07,454 --> 00:08:10,685
We could very well say
that what we see on this island at that moment
116
00:08:10,790 --> 00:08:15,227
are characters in search of meaning.
117
00:08:18,131 --> 00:08:21,829
They are characters without a goal,
118
00:08:21,935 --> 00:08:25,064
seeking something that escapes them.
119
00:08:26,940 --> 00:08:31,901
It's very metaphysical in the sense
of the existentialism of those years.
120
00:08:36,850 --> 00:08:40,411
We could say that this question
has been addressed by the other arts,
121
00:08:40,520 --> 00:08:42,147
long before cinema,
122
00:08:42,255 --> 00:08:44,349
whether it be literature or the visual arts.
123
00:08:44,457 --> 00:08:47,825
This whole question of literality,
124
00:08:47,927 --> 00:08:50,897
of representation,
125
00:08:50,997 --> 00:08:55,559
is something that was considerably
shaken up by the other arts,
126
00:08:55,668 --> 00:08:59,070
but the fact is, in cinema,
this is when it occurs.
127
00:08:59,172 --> 00:09:00,537
This is when if occurs.
128
00:09:00,640 --> 00:09:07,273
And why is it particularly striking
and historical in Anfonioni's film?
129
00:09:07,380 --> 00:09:10,782
Because Anfonioni's film
is a film that is made
130
00:09:10,884 --> 00:09:15,822
not on the outskirts,
not as part of a radical underground,
131
00:09:15,922 --> 00:09:19,153
but that is made
at the heart of the cinema industry.
132
00:09:19,259 --> 00:09:24,993
Once again, destined just like any other film
for as wide an audience as possible,
133
00:09:25,098 --> 00:09:27,465
coming from a director
who, up until then,
134
00:09:27,567 --> 00:09:31,629
had, after all, ‘played the game,”
135
00:09:31,738 --> 00:09:33,832
‘played by the rules,”
136
00:09:33,940 --> 00:09:37,205
here, you can say
that it's the founding act
137
00:09:37,310 --> 00:09:41,304
of what Anfonioni's cinema
will become.
138
00:09:43,450 --> 00:09:45,646
Did you see?
139
00:10:01,101 --> 00:10:03,331
A viewer of L'Avventura af the fime,
140
00:10:03,436 --> 00:10:05,996
when seeing L'Avventura
for the first time,
141
00:10:06,106 --> 00:10:08,165
was as confused and uncomfortable
142
00:10:08,274 --> 00:10:14,111
as, admittedly,
the same viewer faced with if foday.
143
00:10:16,282 --> 00:10:20,685
What's fascinating in L'Avventura,
and strictly unacceptable at the time,
144
00:10:20,787 --> 00:10:23,722
is related fo the fact
that progressively if becomes.
145
00:10:23,823 --> 00:10:26,849
We'll only ‘prefend”
fo investigate her disappearance
146
00:10:26,960 --> 00:10:30,555
when, in fact, we realize we don't give a damn,
if doesn't inferest us,
147
00:10:30,663 --> 00:10:34,998
and that it hasn't the slightest imporiance
if she reappears or not.
148
00:10:35,101 --> 00:10:37,729
We're a bit like the characters,
who finally say,
149
00:10:37,837 --> 00:10:40,704
“Actually, it'd be inconvenient
if she did reappear.”
150
00:10:47,680 --> 00:10:50,274
Annal
151
00:10:53,353 --> 00:10:56,983
In short, we're interested in something
completely different than Anna,
152
00:10:57,090 --> 00:11:00,492
but the way in which this
‘completely different” appears within us
153
00:11:00,593 --> 00:11:05,224
is thal we have also advanced in order
fo go fowards this story, this narrative,
154
00:11:05,331 --> 00:11:08,699
and we almost “build” this story
with the characters,
155
00:11:08,801 --> 00:11:14,365
since, like them, we have fofal freedom
within the space of the film.
156
00:11:14,474 --> 00:11:18,934
Because of this, our altachment fo these characters
and what happens between them
157
00:11:19,045 --> 00:11:23,243
is much greater than our interest
in the story of Anna,
158
00:11:23,349 --> 00:11:25,977
a character
who isn't all that fascinating.
159
00:11:42,235 --> 00:11:43,725
In this scene...
160
00:11:45,538 --> 00:11:49,975
Sandro and Claudia just met up.
161
00:11:50,343 --> 00:11:55,782
You could literally say
that it's the key event of the film,
162
00:11:55,882 --> 00:12:00,911
that, in a certain way, we've finally reached the heart
of what if was moving fowards.
163
00:12:04,424 --> 00:12:07,291
Tell Lady Patrizia
we're continuing our search,
164
00:12:07,393 --> 00:12:09,987
and that Miss Claudia
will get in touch in one way or another.
165
00:12:10,096 --> 00:12:12,087
- Certainly.
- Thank you.
166
00:12:15,702 --> 00:12:19,400
That is fo say, that Claudia
has literally replaced Anna.
167
00:12:19,505 --> 00:12:24,306
We saw this via the exchange of the shirt
on the boat in a symbolic manner,
168
00:12:24,410 --> 00:12:27,141
but, in any case, progressively,
there was a sort of hand-off
169
00:12:27,247 --> 00:12:31,582
where actually Claudia became Anna.
170
00:12:39,525 --> 00:12:45,760
Here, we're truly, in terms of dramaturgy,
seeing something really interesting.
171
00:12:45,865 --> 00:12:50,530
It's a sort of strategy
which takes shape around the fact
172
00:12:50,637 --> 00:12:56,906
that they continue to pretend
to be interested in the search for Anna,
173
00:12:57,010 --> 00:13:00,310
to pretend, all of them,
to take interest in the search for Anna,
174
00:13:00,413 --> 00:13:03,110
when, in fact, it's obvious to everyone
that what's being played out
175
00:13:03,216 --> 00:13:09,485
is to know if something will happen
between Sandro and Claudia.
176
00:13:09,756 --> 00:13:13,249
So, after 90 minutes, they meet up
177
00:13:13,359 --> 00:13:20,561
in order to follow up on a lead
that's even more unbelievable.
178
00:13:20,667 --> 00:13:24,535
By that I mean the two characters
are in the middle of the desert,
179
00:13:24,637 --> 00:13:26,799
seeking meaning.
180
00:13:26,906 --> 00:13:29,841
And it is Jost.
181
00:13:30,276 --> 00:13:33,871
- Could this be Noto?
- Let's ask someone.
182
00:13:36,582 --> 00:13:38,311
They take their car
and arrive in the village.
183
00:13:38,418 --> 00:13:40,147
We're shown this village,
184
00:13:40,253 --> 00:13:45,020
where, you could say,
we're literally at the heart of nothingness.
185
00:13:47,460 --> 00:13:52,296
We're shown, truly,
what was pure abstraction,
186
00:13:52,398 --> 00:13:56,460
and not poetic abstraction,
but the geometric abstraction of the 50s.
187
00:13:56,569 --> 00:13:59,595
We could also speak of de Chirico.
188
00:14:00,206 --> 00:14:03,107
It's not entirely a coincidence,
for Antonioni is from Ferrara,
189
00:14:03,209 --> 00:14:07,976
a city which js abstract,
geometric and flat.
190
00:14:13,653 --> 00:14:16,918
There isn't another living soul in this place.
191
00:14:19,192 --> 00:14:22,651
They don't have much
fo say fo each other.
192
00:14:23,429 --> 00:14:28,595
The world we're shown is composed
of geometric lines, rocks, silence,
193
00:14:28,701 --> 00:14:32,831
a sort of heat
which seems fo be quite oppressive.
194
00:14:32,939 --> 00:14:35,567
If it's not the heal which is oppressive,
195
00:14:35,675 --> 00:14:39,236
it's the emptiness which is oppressive.
196
00:14:45,618 --> 00:14:47,950
And here,
197
00:14:48,054 --> 00:14:55,757
we'll soon arrive
at this quite amazing shof,
198
00:14:55,862 --> 00:15:00,424
where, al the heart of this nothingness,
something wafches them.
199
00:15:03,870 --> 00:15:07,306
The film is very sleek,
it's very clean,
200
00:15:07,407 --> 00:15:10,274
and fairly conventional, actually,
in its craftsmanship.
201
00:15:10,376 --> 00:15:12,174
But here,
we have this forward camera movement.
202
00:15:12,278 --> 00:15:15,248
It's a wide shot
which starts from nothing,
203
00:15:15,348 --> 00:15:17,077
it starts from empfiness,
204
00:15:17,183 --> 00:15:21,347
and moves fowards a car
which drives away or even disappears.
205
00:15:21,454 --> 00:15:24,754
It's as if, suddenly,
they'd been seen by an eye,
206
00:15:24,857 --> 00:15:30,796
and that here they'd been at the heart
of the contemporary loss of meaning.
207
00:15:34,500 --> 00:15:38,801
In a film which is not particularly
heavy-handed or exaggerated,
208
00:15:38,905 --> 00:15:43,399
there's an image
that carries a certain weight.
209
00:15:43,509 --> 00:15:45,603
The scene ends by framing a church,
210
00:15:45,711 --> 00:15:49,079
and this desert and this silence
are that of this church.
211
00:15:49,182 --> 00:15:52,447
It's impossible not fo think
of Bergman's Winter Light.
212
00:15:52,552 --> 00:15:55,852
It's literally the empty church.
213
00:15:55,955 --> 00:15:58,049
It's the empty church of Winter Light,
214
00:15:58,157 --> 00:16:01,457
except that, in Winfer Light,
215
00:16:01,561 --> 00:16:04,724
Bergman's relationship to faith,
216
00:16:04,831 --> 00:16:10,895
obviously, in the end,
causes him to think
217
00:16:11,003 --> 00:16:14,098
that something can continue
as long as we pretend to believe,
218
00:16:14,207 --> 00:16:17,837
as long as in the empty church,
we continue to keep saying Mass.
219
00:16:17,944 --> 00:16:20,641
Whereas in this church,
220
00:16:20,746 --> 00:16:24,205
nothing at all has been said
for a very long time
221
00:16:24,317 --> 00:16:26,217
and nothing else will ever be said.
222
00:16:26,986 --> 00:16:30,354
I believe thal, in Anfonioni's system,
223
00:16:30,456 --> 00:16:35,121
there's this idea that the silence
and loss of meaning at that time
224
00:16:35,228 --> 00:16:37,560
was very clearly linked,
225
00:16:37,663 --> 00:16:41,827
in a country where the Catholic religion
is so essential as in Italy,
226
00:16:41,934 --> 00:16:43,333
to the loss of faith.
227
00:16:43,436 --> 00:16:47,998
It's not even the loss of faith.
Faith had already been lost a long time ago.
228
00:16:48,107 --> 00:16:51,304
It's the loss of simply “pretending”
that faith exists,
229
00:16:51,410 --> 00:16:54,141
or that religion,
in one way or another,
230
00:16:54,247 --> 00:16:59,083
or that an idea vaguely having fo do with religion,
could structure the world in some vague way.
231
00:16:59,185 --> 00:17:04,089
Meaning that here we are
at the starting point of this whole issue
232
00:17:04,190 --> 00:17:06,591
when we arrive in that village.
233
00:17:26,312 --> 00:17:28,974
Here we arrive in the last acl,
234
00:17:29,081 --> 00:17:32,449
and, in the end,
it's what everything leads fowards.
235
00:17:32,552 --> 00:17:35,044
These are certainly the most beautiful
moments of the film
236
00:17:35,154 --> 00:17:39,887
because there's this idea
that finally the couple has formed.
237
00:17:40,927 --> 00:17:43,692
Sandro and Claudia Jove each other.
238
00:17:43,796 --> 00:17:46,697
He tells her that in this scene.
239
00:17:47,199 --> 00:17:48,928
Good night, love.
240
00:17:52,338 --> 00:17:54,102
Tell me you love me.
241
00:17:57,310 --> 00:18:00,007
- I love you.
- Tell me again.
242
00:18:02,214 --> 00:18:03,773
I don't love you.
243
00:18:06,586 --> 00:18:08,384
I deserve that.
244
00:18:29,976 --> 00:18:31,910
It's not true.
I love you.
245
00:18:34,614 --> 00:18:40,986
The issue of searching for Anna
has been absolutely dropped.
246
00:18:41,087 --> 00:18:43,112
Simply,
247
00:18:43,756 --> 00:18:48,922
we can't be in a mind-set
where it's just about getting a couple fo form,
248
00:18:49,028 --> 00:18:54,660
like in a more simplified
or elementary version of the story.
249
00:18:55,768 --> 00:18:58,635
Of the story,
there remain these two individuals.
250
00:18:58,738 --> 00:19:03,869
In fact, I think that the power, the beauty,
of the whole last section of the film
251
00:19:03,976 --> 00:19:10,939
consists of portraying the solitude
of two individuals in a brand-new couple.
252
00:19:14,220 --> 00:19:19,317
It's something that is al work
inside both of them during the film,
253
00:19:19,425 --> 00:19:23,055
meaning we could just as well
speak in terms of...
254
00:19:24,196 --> 00:19:26,665
the invisible script of the film,
255
00:19:26,766 --> 00:19:31,795
meaning the path followed by both
of them inside themselves
256
00:19:32,571 --> 00:19:35,063
to eliminate the past,
257
00:19:35,174 --> 00:19:41,671
to eliminate the hesitations,
258
00:19:41,781 --> 00:19:44,978
to erase the impossibility, a priori.
259
00:19:46,152 --> 00:19:48,587
In terms of the film,
260
00:19:48,688 --> 00:19:53,626
I believe that only half of that,
or only a fraction of that is actually shown.
261
00:19:53,726 --> 00:19:55,956
And even, in a certain manner,
what is shown
262
00:19:56,062 --> 00:20:00,624
is, in general, almost parallel
or derivative in those terms,
263
00:20:00,733 --> 00:20:02,861
but, nonetheless,
that's what is at work here.
264
00:20:03,636 --> 00:20:07,971
And here we are in the moment
where both of them,
265
00:20:08,074 --> 00:20:11,635
faced with their own solifude,
266
00:20:11,744 --> 00:20:15,510
wonder what happened.
267
00:20:15,614 --> 00:20:20,609
And we are fotally with them
in this question.
268
00:20:23,089 --> 00:20:25,183
From Sandro's point of view,
269
00:20:25,291 --> 00:20:31,697
as shown by the flirting
with the young woman we saw earlfer,
270
00:20:31,797 --> 00:20:34,960
causing a riot in the streef,
271
00:20:35,067 --> 00:20:37,661
it's almost
this sort of affirmation of his freedom,
272
00:20:37,770 --> 00:20:39,204
and therefore, from that point of view,
273
00:20:39,305 --> 00:20:42,104
the elimination,
now accomplished, of Anna
274
00:20:42,208 --> 00:20:44,336
and the marriage plans with Anna.
275
00:20:44,443 --> 00:20:47,435
And from the point of view of Claudia,
276
00:20:47,546 --> 00:20:52,108
well, there's something extremely
beautiful that happens,
277
00:20:52,218 --> 00:20:54,653
which is that now the disappearance
can be played out again.
278
00:20:54,754 --> 00:20:56,153
Meaning that the disappearance,
279
00:20:56,255 --> 00:21:01,523
which was a disappearance of meaning
aft the start of the film
280
00:21:01,627 --> 00:21:04,790
is re-staged here, literally,
281
00:21:04,897 --> 00:21:07,832
meaning that, the two characters,
282
00:21:07,933 --> 00:21:11,961
even though they're in love,
even though they're engaged,
283
00:21:12,071 --> 00:21:13,869
drift apart.
284
00:21:14,573 --> 00:21:19,101
We follow them,
we let them live in that solitude.
285
00:21:19,678 --> 00:21:21,510
And the question is,
286
00:21:21,914 --> 00:21:24,906
since a disappearance
has already occurred in the film,
287
00:21:25,017 --> 00:21:29,352
we can very well imagine at this point
that now Sandro, in turn, has also disappeared.
288
00:21:29,455 --> 00:21:32,083
Now we're seeing
Claudia's point of view,
289
00:21:32,191 --> 00:21:37,857
and Claudia could lose Sandro
like Sandro lost Anna.
290
00:21:37,963 --> 00:21:43,197
In the film
there was a sort of swifch in perspective
291
00:21:43,302 --> 00:21:46,328
where instead of being the point of view
of the man who loses the woman,
292
00:21:46,438 --> 00:21:48,964
it's the point of view
of the woman who loses the man.
293
00:21:49,074 --> 00:21:52,510
There's the Jong duration,
which I find absolutely admirable,
294
00:21:52,611 --> 00:21:56,809
of the solitude of Claudia's character
in her hotel room
295
00:21:56,916 --> 00:22:00,910
until the moment when, progressively,
she realizes thal the night has gone by.
296
00:22:01,020 --> 00:22:04,820
Where she thought she was safe,
she's not safe,
297
00:22:04,924 --> 00:22:08,292
and perhaps Sandro
has completely disappeared.
298
00:22:10,362 --> 00:22:17,268
Except thal, here, we are no longer
in the abstract barrenness of the island.
299
00:22:17,369 --> 00:22:20,066
Here we are, where, in any case,
300
00:22:20,172 --> 00:22:22,869
it's much simpler fo disappear
if one wants fo disappear.
301
00:22:22,975 --> 00:22:29,312
You leave. Sandro can leave,
like anyone can leave who's in a couple.
302
00:22:29,715 --> 00:22:33,982
And I think that the beauty
of what will be played out
303
00:22:34,086 --> 00:22:36,350
is that, in the end,
304
00:22:36,455 --> 00:22:39,447
the mystery
of the disappearance of Anna
305
00:22:39,558 --> 00:22:46,965
is finally revealed to be purely metaphysical,
as time goes on.
306
00:22:51,003 --> 00:22:52,971
And from that point of view
307
00:22:53,072 --> 00:22:56,235
it remains like a sort of dark cloud,
in a certain manner,
308
00:22:56,342 --> 00:22:58,640
because if marks both of them,
309
00:22:58,744 --> 00:23:01,645
the characters associated
with this disappearance.
310
00:23:02,548 --> 00:23:07,349
Here, in the end,
it'll be resolved fairly poorly.
311
00:23:07,453 --> 00:23:12,357
I mean in the sense that
there'll be a dramaturgic answer given,
312
00:23:12,458 --> 00:23:14,483
which will be very conventional.
313
00:23:15,394 --> 00:23:17,795
Sandro has disappeared
because he's in the arms of another woman.
314
00:23:17,897 --> 00:23:19,865
He went out fo a party.
315
00:23:19,965 --> 00:23:23,094
At the party, he mel a girl
and flirted with the girl who isn't even —
316
00:23:23,202 --> 00:23:27,264
She's even a sort of call girl
fo whom he gives a couple bills.
317
00:23:30,576 --> 00:23:34,911
In fact,
that sort of dramalturgic shock —
318
00:23:36,181 --> 00:23:40,448
She was betrayed by the man
that she loved.
319
00:23:41,754 --> 00:23:44,223
Actually, it's immediately resolved,
320
00:23:44,323 --> 00:23:48,556
meaning there's a moment of fright,
there's a moment of flight,
321
00:23:48,661 --> 00:23:52,757
and then there's the idea
that it doesn't matter,
322
00:23:52,865 --> 00:23:55,857
and that, in reality,
there's a sort of acceplance
323
00:23:55,968 --> 00:24:00,530
by Claudia of Sandro
or by Sandro of Claudia
324
00:24:01,106 --> 00:24:05,009
which goes much further
than this “poor” dramatic turning point
325
00:24:05,110 --> 00:24:06,407
of him cheating on her.
326
00:24:06,512 --> 00:24:11,074
So, we are, obviously
in a structure, in a plot
327
00:24:11,183 --> 00:24:15,086
where, because things didn't happen
the way they should have,
328
00:24:15,187 --> 00:24:19,021
where events don't automatically have
the consequences we might expect,
329
00:24:19,124 --> 00:24:22,890
this gives if a quality of truth,
or a quality of humanity,
330
00:24:22,995 --> 00:24:26,488
or our faith in the reality of this couple,
331
00:24:26,598 --> 00:24:30,728
which is obviously far beyond
that which Ifradifional dramaturgy could offer,
332
00:24:30,836 --> 00:24:33,771
which was what the film started with,
333
00:24:33,872 --> 00:24:38,332
the so-called ‘pre-marital spat”
of Anna and Sandro.
334
00:24:38,444 --> 00:24:41,709
There's something there,
which is that a frue couple has formed.
335
00:24:41,814 --> 00:24:43,680
It's truly very beautiful
from the point of view —
336
00:24:43,782 --> 00:24:48,117
In a way, it's what makes the film “whole,”
what makes the film “work,”
337
00:24:48,220 --> 00:24:51,679
that the film can conclude
on a successful disappearance,
338
00:24:51,790 --> 00:24:54,350
a disappearance
that has been resolved and overcome,
339
00:24:54,460 --> 00:24:59,022
no longer on the metaphysical level,
but from a human point of view.
340
00:24:59,131 --> 00:25:02,123
And that's why, finally,
I'm attached to the film,
341
00:25:02,234 --> 00:25:08,571
because you could say that Antonioni,
because he's a —
342
00:25:09,274 --> 00:25:11,834
He's someone
who's influenced by modern art,
343
00:25:11,944 --> 00:25:14,811
influenced by abstraction.
344
00:25:14,913 --> 00:25:21,182
And there's this idea, always this image
of a cold, theoretical filmmaker,
345
00:25:21,286 --> 00:25:24,278
when, in reality,
this film is, in fact, firmly planted
346
00:25:24,390 --> 00:25:28,850
in the movement
from abstraction fowards humanity.
347
00:25:36,468 --> 00:25:38,493
By the accumulation of nofes,
of tiny fouches,
348
00:25:38,604 --> 00:25:42,404
which means we're no longer
seeing artificial film characters,
349
00:25:42,508 --> 00:25:46,945
but characters being buill,
layer by layer,
350
00:25:47,046 --> 00:25:50,107
through moments, instants, intuitions
351
00:25:50,215 --> 00:25:52,946
that are conlradictfory, unspoken,
352
00:25:53,052 --> 00:25:57,819
and, in fact,
the work of “assembling” is done.
353
00:25:58,957 --> 00:26:04,555
It is the start of what may have been
the freedom of cinema,
354
00:26:04,663 --> 00:26:06,859
or the dramaturgic freedom of cinema.
355
00:26:07,599 --> 00:26:09,693
It ends up being the act of creation,
356
00:26:09,802 --> 00:26:14,501
or, in any case, the film
leaves the door open fo this possibility.
31002
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