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At the end of the 1800s a new art form
flickered into live.
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00:00:06,492 --> 00:00:08,867
It looked like our dreams.
3
00:00:16,679 --> 00:00:20,959
Movies are multi-billion dollar
global entertainment industry now.
4
00:00:20,984 --> 00:00:25,482
But what drives them
isn't box-office or showbiz.
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00:00:25,507 --> 00:00:28,271
It's passion, innovation!
6
00:00:29,648 --> 00:00:34,007
So let's travel the world
to find this innovation for ourselves.
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00:00:35,939 --> 00:00:38,926
To discover it in this man,
Stanley Donen,
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00:00:38,958 --> 00:00:41,196
who made Singing in the Rain.
9
00:00:41,221 --> 00:00:44,485
And in Jane Campion in Australia.
10
00:00:44,510 --> 00:00:46,361
And in the films of Kyôko Kagawa
11
00:00:46,386 --> 00:00:49,087
who was in perhaps
the greatest movie ever made.
12
00:00:50,503 --> 00:00:55,056
And Amitabh Bachchan,
the most famous actor in the world.
13
00:00:55,081 --> 00:00:58,229
And in the movies
of Martin Scorcese and Spike Lee,
14
00:00:58,254 --> 00:01:00,664
Lars Von Trier and Akira Kurosawa.
15
00:01:01,979 --> 00:01:05,470
Welcome to the story of film,
an odyssey.
16
00:01:05,495 --> 00:01:09,229
An epic tale of innovation
across twelve decades,
17
00:01:09,254 --> 00:01:12,787
six continents
and a thousand films.
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00:01:27,060 --> 00:01:31,686
In this chapter Fahrenheit 911
takes the temperature of the real world
19
00:01:31,711 --> 00:01:36,019
and a movie called Mullholland Drive
plays with our dreams.
20
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The 21st century came
and movies filmed it.
21
00:01:47,620 --> 00:01:51,544
Nature still looked lovely,
cities looked even more.
22
00:01:51,546 --> 00:01:55,115
Lots happened
in innovative cinema in recent years.
23
00:01:55,117 --> 00:01:58,843
One of the most surprising things
was that editing lessened.
24
00:01:58,849 --> 00:02:01,711
Slow cinema came to the fore.
25
00:02:01,713 --> 00:02:04,394
But deep down,
21st-century movies
26
00:02:04,419 --> 00:02:06,953
had been about
what movies started out to be about.
27
00:02:06,958 --> 00:02:09,916
The clash between
reality and dreaming.
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00:02:09,918 --> 00:02:12,737
This is the story of that clash.
29
00:02:15,776 --> 00:02:18,959
The story starts way back here
with "Laurel and Hardy."
30
00:02:20,725 --> 00:02:23,601
They're pulling a piano
in the Swiss alps.
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00:02:23,625 --> 00:02:26,822
A studio set
and painted backdrop.
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00:02:26,846 --> 00:02:28,540
We know something'll go wrong.
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00:02:28,564 --> 00:02:29,760
It always does.
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00:02:29,784 --> 00:02:30,812
But what?
35
00:02:30,837 --> 00:02:32,676
What'll happen next?
36
00:02:34,986 --> 00:02:38,960
That's the question
the filmmakers asked and will always ask.
37
00:02:38,984 --> 00:02:40,647
They racked their brains.
38
00:02:41,088 --> 00:02:44,152
In those days, there was a guy
on the set called "the wildy."
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00:02:44,176 --> 00:02:49,875
The wild man, often drunk, whose job
was to come up with the bizarre ideas.
40
00:02:50,263 --> 00:02:55,090
In this case the wildy suggested
that they should meet a gorilla.
41
00:02:55,941 --> 00:02:57,582
And here it comes.
42
00:02:57,606 --> 00:02:59,603
Silly but funny.
43
00:03:13,770 --> 00:03:16,052
Everything's okay.
44
00:03:16,076 --> 00:03:18,808
From now on
it's going to be easy sailing.
45
00:03:20,521 --> 00:03:22,613
The wild man had innovated.
46
00:03:22,637 --> 00:03:24,889
The gorilla was his innovation.
47
00:03:26,323 --> 00:03:29,188
The story of film
is the story of innovation.
48
00:03:29,212 --> 00:03:31,509
The story of the gorilla.
49
00:03:42,829 --> 00:03:44,265
And then look at this scene
50
00:03:44,289 --> 00:03:47,736
from one of Hollywood's most surreal films
Blonde Venus.
51
00:03:47,760 --> 00:03:49,060
We're in a nightclub.
52
00:03:49,084 --> 00:03:50,921
A frame densely packed.
53
00:03:50,945 --> 00:03:52,886
Soft, top lighting.
54
00:03:52,910 --> 00:03:56,702
The sort of lighting used
to photograph Marlene Dietrich.
55
00:04:05,127 --> 00:04:07,166
And then the reveal.
56
00:04:12,150 --> 00:04:14,962
It is Marlene Dietrich.
57
00:04:14,986 --> 00:04:19,052
She shed her skin
and the sparkles of the dresses soften
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00:04:19,077 --> 00:04:21,760
because of a diffusion filter
on the lens.
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00:04:21,784 --> 00:04:26,276
Hollywood at its most playful,
absurd, new.
60
00:04:30,924 --> 00:04:34,395
So since the new millennium,
what's been new in cinema,
61
00:04:34,420 --> 00:04:37,679
what's come at it,
what's been the gorilla?
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00:04:38,646 --> 00:04:41,250
At first it looks like there
hasn't been a gorilla.
63
00:04:41,252 --> 00:04:43,723
That it's been
business as usual.
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00:04:46,433 --> 00:04:50,646
The movies started
with this documentary in 1895.
65
00:04:50,648 --> 00:04:54,279
Workers leaving a factory,
filmed square on.
66
00:04:59,721 --> 00:05:01,938
But the big movie story
of the new millennium
67
00:05:01,962 --> 00:05:04,578
was that the reality came back.
68
00:05:05,933 --> 00:05:10,978
At first, in the form of documentaries,
which were suddenly big box office.
69
00:05:11,002 --> 00:05:13,577
The first time
in the whole story of film
70
00:05:13,601 --> 00:05:17,543
that non-fiction cinema held
its own on the big screen.
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00:05:19,776 --> 00:05:23,347
This happened in part
because of what used to stand here.
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00:05:23,349 --> 00:05:27,529
When the twin towers fell,
history got bigger.
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00:05:27,531 --> 00:05:33,094
The camcorder footage of 9/11
out-hollywooded Hollywood, image wise.
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00:05:33,099 --> 00:05:36,626
Fiction cinema looked
a bit old hat in comparison
75
00:05:36,650 --> 00:05:40,341
and reality was
more dramatic than escapism.
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00:05:40,949 --> 00:05:43,714
This film, Fahrenheit 9/11,
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00:05:43,738 --> 00:05:47,319
was one of the biggest box office hits
in the history of documentary.
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00:05:49,393 --> 00:05:53,547
It told a story about two families
called Bush and Saud.
79
00:05:55,172 --> 00:06:00,165
President Bush was being filmed as he heard
about the attacks on the twin towers.
80
00:06:02,251 --> 00:06:05,884
All director Michael Moore
had to do was show the footage,
81
00:06:05,908 --> 00:06:09,356
add a commentary and a clock
in the corner of the screen
82
00:06:09,380 --> 00:06:15,059
to make 2004's most memorable movie moment
about power and indecision.
83
00:06:15,083 --> 00:06:19,838
When the second plane hit the tower
his chief of staff entered the class room
84
00:06:19,862 --> 00:06:24,656
and told Mr. Bush,
"the nation is under attack."
85
00:06:27,473 --> 00:06:32,769
Not knowing what to do,
with no one telling him what to do,
86
00:06:32,794 --> 00:06:37,194
and no secret service rushing in
to take him to safety,
87
00:06:37,218 --> 00:06:44,810
Mr. Bush just sat there and continued
to read "My Pet Goat" with the children.
88
00:06:57,669 --> 00:07:04,001
Nearly 7 minutes passed
with nobody doing anything.
89
00:07:07,432 --> 00:07:11,537
As Bush sat in that Florida classroom,
was he wondering if maybe
90
00:07:11,562 --> 00:07:13,855
he should have shown up
to work more often?
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00:07:14,220 --> 00:07:19,103
Fahrenheit 9/11 took over a quarter
of a billion dollars at the box office,
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00:07:19,128 --> 00:07:21,949
something remarkable
was happening in the story of film
93
00:07:21,974 --> 00:07:25,366
because that's as much
as this fiction entertainment film,
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00:07:25,391 --> 00:07:28,694
The Bourne Supremacy,
released the same year.
95
00:07:28,701 --> 00:07:30,557
But look at The Bourne Supremacy
96
00:07:30,581 --> 00:07:34,084
and you notice how,
like a documentary, it's trying to be.
97
00:07:34,109 --> 00:07:36,294
Its director
came from documentary.
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00:07:36,295 --> 00:07:41,607
These shots could have been much steadier,
glossier, but rough documentary imagery
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00:07:41,631 --> 00:07:44,831
had become exciting and new
in the 21st century,
100
00:07:44,855 --> 00:07:47,848
so fiction films hitched a ride on it.
101
00:07:59,205 --> 00:08:02,280
Documentaries held the screen
for some years.
102
00:08:02,305 --> 00:08:08,208
This film, Être et avoir, which came a bit
before Fahrenheit 9/11, was a classic.
103
00:08:08,214 --> 00:08:11,677
Observational, character based.
104
00:08:11,701 --> 00:08:14,907
It's the end of the year
in a rural school.
105
00:08:14,886 --> 00:08:17,842
The teacher, Mr. Lopez,
is retiring.
106
00:08:17,867 --> 00:08:20,246
It's the last time
he'll see the kids.
107
00:08:20,248 --> 00:08:26,906
The camera is at the child's height,
then, tilts up to capture his sadness.
108
00:08:31,704 --> 00:08:34,954
Where heroes in fiction cinema
often have to strike out
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00:08:34,978 --> 00:08:38,850
and fight the world,
Mr. Lopez just stands there.
110
00:08:39,363 --> 00:08:43,994
And yet he was one of the most vivid
human beings on screen in 2002.
111
00:08:47,408 --> 00:08:49,646
And Douglas Gordon's
and Philippe Parreno's,
112
00:08:49,670 --> 00:08:53,883
Zidane: A 21st Century Portrait,
also a documentary,
113
00:08:53,908 --> 00:08:57,146
was one of the most
innovative films of its time.
114
00:08:57,170 --> 00:09:00,894
It used extra-long lenses
to film a football match,
115
00:09:00,918 --> 00:09:03,130
but it didn't follow
the story of the match,
116
00:09:03,154 --> 00:09:06,663
so much as one, hypnotic,
roving presence within it.
117
00:09:06,687 --> 00:09:11,772
The presence, footballer Zinedine Zidane
became almost mythic,
118
00:09:11,797 --> 00:09:16,776
we heard his breathing, and his thoughts
were subtitled even though he didn't speak.
119
00:09:42,265 --> 00:09:46,178
At times he's so isolated
and blown up that,
120
00:09:46,203 --> 00:09:49,895
as in an Antonioni film,
he almost dispersed.
121
00:09:49,919 --> 00:09:53,877
Like a pointillist
impressionist painting.
122
00:10:02,918 --> 00:10:08,254
He had two incompletely healed bullet holes
in his chest and another in his thigh.
123
00:10:08,260 --> 00:10:11,327
But it wasn't only in documentaries
that reality bounced back
124
00:10:11,351 --> 00:10:12,623
in the new millennium.
125
00:10:13,216 --> 00:10:18,869
Look at this film, The Assassination
of Jesse James by the Coward Robert Ford.
126
00:10:20,497 --> 00:10:23,254
Look at its photography: Sepia.
127
00:10:23,256 --> 00:10:25,152
Shallow focus.
128
00:10:25,153 --> 00:10:29,092
No attempt to sex up the image,
or make it look 21st century.
129
00:10:29,117 --> 00:10:30,500
Or computer-y.
130
00:10:30,524 --> 00:10:34,862
The defocusing of the edge of the image
was done in part by a computer.
131
00:10:38,796 --> 00:10:42,664
But if the way this famous face
is photographed reminds us of anything,
132
00:10:42,688 --> 00:10:49,890
it's the delicate photo-realism
of a face like this:
133
00:10:49,915 --> 00:10:52,203
Lillian Gish, softly lit.
134
00:10:57,210 --> 00:10:59,495
Talk about coming full circle.
135
00:11:03,132 --> 00:11:06,445
And where was
all this post 9/11 realism heading?
136
00:11:06,447 --> 00:11:09,792
In the direction
of an intimate scene like this.
137
00:11:09,794 --> 00:11:11,286
It's in Climates, [Iklimler]
138
00:11:11,311 --> 00:11:14,679
one of the most innovative fiction films
of the 21st century.
139
00:11:14,685 --> 00:11:17,902
We're in Turkey now
and a new master director,
140
00:11:17,926 --> 00:11:22,432
Nuri Bilge Ceylan, has had Climates,
shot digitally.
141
00:11:30,419 --> 00:11:31,833
A hotel room.
142
00:11:31,835 --> 00:11:33,410
A wife, in close-up.
143
00:11:33,412 --> 00:11:36,041
A drip of water
on the sound track.
144
00:11:43,132 --> 00:11:47,313
We cut to her older husband,
director Ceylan himself.
145
00:11:47,315 --> 00:11:51,239
Shallow focus
and his face half obscured.
146
00:11:51,241 --> 00:11:52,944
Sad eyes.
147
00:11:52,946 --> 00:11:55,198
Then a similar framing.
148
00:11:55,200 --> 00:11:59,154
Each plane of focus
so carefully chosen.
149
00:11:59,156 --> 00:12:03,466
Then this focus pull
and the pores on his forehead.
150
00:12:03,468 --> 00:12:05,720
No dialogue or music.
151
00:12:05,722 --> 00:12:07,297
Then this shot.
152
00:12:07,298 --> 00:12:10,453
Where is the focus here?
153
00:12:17,080 --> 00:12:18,849
The hand shows us.
154
00:12:18,851 --> 00:12:20,938
Up close.
155
00:12:20,940 --> 00:12:23,498
The camera's now lower
than the bed.
156
00:12:23,522 --> 00:12:26,642
And mysterious focus again.
157
00:12:26,667 --> 00:12:30,818
The search for it makes us feel
as if we are on the bed.
158
00:12:30,820 --> 00:12:33,875
In the head
of this sad marriage.
159
00:12:33,877 --> 00:12:39,090
We think of Ingmar Bergman's
sad films about marriage.
160
00:12:54,177 --> 00:12:58,229
And then a naked light,
161
00:12:58,253 --> 00:13:01,171
like a scene
in an Italian Neo-realist picture.
162
00:13:02,297 --> 00:13:05,890
And then it's over,
whatever it was: sex?
163
00:13:05,914 --> 00:13:08,379
The greatest use
of focus in cinema.
164
00:13:08,403 --> 00:13:12,041
Realist time stood still.
165
00:13:26,660 --> 00:13:31,502
The gorilla, the sparky new idea
in 21st century movies
166
00:13:31,527 --> 00:13:35,211
was a very old idea,
that real people still matter.
167
00:13:35,236 --> 00:13:38,122
That tender realism
is beautiful.
168
00:13:38,147 --> 00:13:41,238
This honesty flowed
from Turkey to Romania,
169
00:13:41,263 --> 00:13:45,038
where great new honest pictures
like this one emerged.
170
00:13:45,290 --> 00:13:48,058
Welcome to new Romanian cinema.
171
00:14:09,961 --> 00:14:12,335
This is Mr. Lazarescu.
172
00:14:12,367 --> 00:14:15,729
We've followed him all night,
from hospital to hospital,
173
00:14:15,754 --> 00:14:18,653
which have all been full
because of a bus accident.
174
00:14:19,741 --> 00:14:22,229
We've watched him
get worse and worse.
175
00:14:22,454 --> 00:14:23,672
Now he's dying.
176
00:14:26,070 --> 00:14:29,463
The woman in orange is a paramedic
who's helped him all night.
177
00:14:30,861 --> 00:14:36,208
Director Christi Puiu said that he wanted
to use camerawork like the TV series ER.
178
00:14:37,415 --> 00:14:42,678
Hand held, shooting in the round,
dowdy greenish fluorescent lighting.
179
00:14:42,683 --> 00:14:46,633
He used these techniques
to show a long night's journey
180
00:14:46,657 --> 00:14:51,454
into day and death, and the human
decency of the paramedic.
181
00:14:52,848 --> 00:14:54,327
The Death of Mister Lazarescu
[Moartea domnului Lãzãrescu]
182
00:14:54,351 --> 00:14:58,037
was one of the most moving works
of film realism of the new century.
183
00:15:01,685 --> 00:15:06,618
It passionately showed that we're
all in this scary new century together.
184
00:15:17,973 --> 00:15:22,487
Argentina's films in the new millennium
boldly confronted reality too.
185
00:15:22,940 --> 00:15:25,908
This is The Headless Woman
by Lucrecia Martel.
186
00:15:25,932 --> 00:15:27,944
Veronica is a well to do dentist.
187
00:15:27,968 --> 00:15:29,590
Her phones goes.
188
00:15:30,422 --> 00:15:31,831
Bam!
189
00:15:31,856 --> 00:15:33,893
She's hit something.
190
00:15:41,039 --> 00:15:44,706
Usually car accidents in movies
are done with fast editing.
191
00:15:44,708 --> 00:15:46,412
Here there's none.
192
00:15:46,414 --> 00:15:48,377
Veronica's been crying.
193
00:15:48,402 --> 00:15:51,519
Light rock music
as counterpoint.
194
00:16:01,054 --> 00:16:06,655
She tries to calm down,
static camera, shallow focus.
195
00:16:23,096 --> 00:16:25,543
Then she drives on.
196
00:16:42,310 --> 00:16:44,390
We see what she hit.
197
00:16:45,910 --> 00:16:52,569
A tense, tragic mysterious moment
that gives the film its tone.
198
00:16:56,995 --> 00:16:58,425
Then she stops.
199
00:16:58,427 --> 00:17:00,521
She's probably concussed.
200
00:17:00,545 --> 00:17:03,615
And as we see in the rest
of the film, she keeps secrets
201
00:17:03,639 --> 00:17:06,592
from her family
and from herself.
202
00:17:07,244 --> 00:17:12,683
You'd think the camera
would go with her but it stays here.
203
00:17:20,090 --> 00:17:23,359
Thunder then rain.
204
00:17:39,291 --> 00:17:40,877
Then she's out of focus.
205
00:17:40,901 --> 00:17:43,647
Headless.
206
00:17:43,671 --> 00:17:46,003
A woman who's lost her head.
207
00:17:47,346 --> 00:17:52,876
Veronica's isolation is brilliantly shown
in this haunting, un-glossy movie.
208
00:17:52,882 --> 00:17:56,340
One of the best ever made
in South America.
209
00:17:58,350 --> 00:18:00,382
And in Mexico in the 21st century,
210
00:18:00,406 --> 00:18:03,641
cinema was brilliantly honest
about human beings too.
211
00:18:04,530 --> 00:18:05,968
Look at this scene.
212
00:18:05,993 --> 00:18:09,973
A close up of a dark hand
holding a light skinned one.
213
00:18:11,446 --> 00:18:13,099
Then cut to this angle,
214
00:18:13,124 --> 00:18:17,555
made famous by a renaissance painting
of Christ by Mantegna.
215
00:18:17,561 --> 00:18:20,906
The woman's thin,
rich, privileged.
216
00:18:20,908 --> 00:18:22,675
The man's her chauffeur.
217
00:18:22,677 --> 00:18:26,026
Poorer, darker skinned, fatter.
218
00:18:27,729 --> 00:18:29,393
Then the camera rises.
219
00:18:29,417 --> 00:18:32,829
Music like at a funeral.
220
00:18:41,847 --> 00:18:45,575
A blank room
like a funeral parlor.
221
00:18:45,599 --> 00:18:47,178
We get a god's eye view.
222
00:18:47,202 --> 00:18:49,358
Or a Karl Marx eye view.
223
00:18:50,642 --> 00:18:53,713
The social gap between them
is so profound.
224
00:18:53,737 --> 00:18:56,495
The only way of bridging it
is through touch.
225
00:18:56,497 --> 00:18:58,980
In this case sexual touch.
226
00:19:09,156 --> 00:19:13,048
A moment ago they had sex
and the camera did this.
227
00:19:13,072 --> 00:19:15,000
Went out into the world
228
00:19:15,024 --> 00:19:22,574
in this single uncut crane shot
of more than three minutes,
229
00:19:22,599 --> 00:19:25,825
to show workers
taking down a TV aerial.
230
00:19:33,570 --> 00:19:37,554
A Marriot hotel for tourists
and rich people.
231
00:19:48,550 --> 00:19:51,435
The back story of Mexico City.
232
00:19:58,072 --> 00:20:01,295
The inequalities in Mexico
are epic in scale,
233
00:20:01,319 --> 00:20:04,714
and director Carlos Reygadas
uses an epic crane shot,
234
00:20:04,738 --> 00:20:09,153
to dramatize the enormity
of the problem, the standoff.
235
00:20:14,297 --> 00:20:18,538
Cinema, coming full circle,
to show that sometimes there's a world
236
00:20:18,562 --> 00:20:22,679
between two people,
even as they cling to each other.
237
00:20:33,347 --> 00:20:36,736
And if the realism of the new millennium
wasn't rich enough,
238
00:20:36,760 --> 00:20:41,651
Korean cinema suddenly darkened it
and gave it a strange brutality.
239
00:20:41,675 --> 00:20:45,378
The result was called
"new Korean cinema."
240
00:20:45,380 --> 00:20:50,394
There'd been good Korean movies
since the 1920s and a golden age in the '60s.
241
00:20:50,400 --> 00:20:57,742
But in the year 2003 alone, three movies
show how daring it had become.
242
00:20:58,108 --> 00:21:01,048
This is Lee Chang-dong's film,
Oasis. [Oasiseu]
243
00:21:01,050 --> 00:21:04,215
We're at a family party.
244
00:21:04,240 --> 00:21:08,224
A man who's just out of prison
is dominating the conversation,
245
00:21:08,248 --> 00:21:09,767
talking nonsense.
246
00:21:35,929 --> 00:21:37,588
He's anti-social.
247
00:21:37,612 --> 00:21:40,495
He's brought with him
an uninvited guest.
248
00:21:40,519 --> 00:21:44,013
This young woman in the foreground
who has cerebral palsy.
249
00:21:44,037 --> 00:21:48,024
The situation is awkward.
250
00:21:48,049 --> 00:21:51,102
More so when we hear
that the woman is the daughter
251
00:21:51,126 --> 00:21:53,982
of the man he's supposed
to have killed.
252
00:21:54,319 --> 00:21:57,470
And when they first met,
he raped her.
253
00:21:58,931 --> 00:22:02,871
And yet, somehow,
these people have a friendship.
254
00:22:02,895 --> 00:22:06,172
Maybe it's because both
are spurned by their families.
255
00:22:06,237 --> 00:22:10,212
New Korean cinema
was transgressive.
256
00:22:13,023 --> 00:22:16,984
Here's the ending
of another 2003 Korean film,
257
00:22:17,008 --> 00:22:20,409
Bong Joon-ho's,
Memories of Murder.
[Salinui chueok]
258
00:22:20,433 --> 00:22:22,569
The film is set
in the late '80s.
259
00:22:22,593 --> 00:22:25,598
A serial killer has murdered
ten Korean women,
260
00:22:25,622 --> 00:22:29,030
a true story
that scandalized the country.
261
00:22:29,778 --> 00:22:32,640
This policeman's been trying
to find the killer.
262
00:22:32,664 --> 00:22:36,383
He's stopped his car
and goes to look one last time
263
00:22:36,408 --> 00:22:39,581
at the gulley where
one of the victims was found.
264
00:22:40,131 --> 00:22:43,957
Flat, deserted, yellow land,
like the crop dusting scene
265
00:22:43,982 --> 00:22:46,687
in Hitchcock's,
North by North West.
266
00:22:50,242 --> 00:22:53,733
POV Camera approaching
the dark space.
267
00:22:57,530 --> 00:23:00,601
Somehow we think
of David Lynch films.
268
00:23:34,627 --> 00:23:38,930
The tunnel seems haunted
by the memory of the murder.
269
00:23:52,567 --> 00:23:56,292
And then this: A girl.
270
00:23:56,317 --> 00:24:00,707
But she reveals
that she's probably seen the murderer.
271
00:24:43,699 --> 00:24:46,671
A conversation, simply shot.
272
00:25:26,581 --> 00:25:30,382
All through the film the detective
has been hoping for such a breakthrough,
273
00:25:30,406 --> 00:25:34,315
but now that it happens
it's so ordinary.
274
00:25:34,779 --> 00:25:37,004
A stare into camera.
275
00:25:37,006 --> 00:25:40,006
Maybe the murderer is us.
276
00:25:51,389 --> 00:25:56,087
More transgressive still was
this new Korean film: Old Boy.
277
00:25:58,509 --> 00:26:01,243
We're in a dark, stylized world.
278
00:26:01,268 --> 00:26:05,449
This man was locked up
for 15 years and not told why.
279
00:26:06,804 --> 00:26:09,376
Now he's out and angry.
280
00:26:09,378 --> 00:26:11,112
Almost comically angry.
281
00:26:11,114 --> 00:26:13,264
He wants revenge.
282
00:26:13,289 --> 00:26:18,127
The film was based on a Japanese
manga cartoon book and it shows.
283
00:26:18,129 --> 00:26:21,571
The man has found the place
where he was imprisoned.
284
00:26:21,573 --> 00:26:24,628
He's going to bash
this security guard with a hammer.
285
00:26:24,630 --> 00:26:29,719
And, as in a cartoon,
he sees the hammer's trajectory.
286
00:26:29,744 --> 00:26:34,932
Once he's in the prison we get
this remarkable stylized fight scene.
287
00:26:34,956 --> 00:26:37,499
We're in the prison corridor.
288
00:26:50,326 --> 00:26:53,002
The wall nearest to us
has been taken away.
289
00:26:53,026 --> 00:26:55,267
A bit like in one of those
wildlife programs
290
00:26:55,292 --> 00:26:58,951
in which we see moles
in their burrows underground.
291
00:26:58,975 --> 00:27:02,047
The shot is far back
and makes the scene look
292
00:27:02,071 --> 00:27:04,129
like a cell in a cartoon.
293
00:27:04,153 --> 00:27:07,407
Our man fights 14 other men.
294
00:27:07,431 --> 00:27:09,679
Almost comic odds.
295
00:27:25,515 --> 00:27:28,594
The camera keeps its distance
on a Dolly.
296
00:27:28,618 --> 00:27:31,610
Not handheld in the fight.
297
00:27:36,145 --> 00:27:40,129
This isn't the realism of the early movies
of the Lumière brothers.
298
00:27:40,135 --> 00:27:43,120
New Korean cinema
in the year 2003
299
00:27:43,145 --> 00:27:46,242
was also doing something
like the opposite to realism.
300
00:27:46,248 --> 00:27:50,107
Stylized, dreamlike,
magical almost.
301
00:27:50,178 --> 00:27:55,519
Like this film, George Méliés,
The Moon at one Meter,
302
00:27:55,544 --> 00:27:58,437
one of the first
science fiction films.
303
00:27:58,443 --> 00:27:59,505
Theatrical.
304
00:27:59,507 --> 00:28:02,433
Wearing it's dreaminess
on its sleeve.
305
00:28:02,435 --> 00:28:06,997
Movies in the new millennium
were dreamlike as well as realistic.
306
00:28:07,003 --> 00:28:09,956
The gorilla, the innovation
in 21st century cinema
307
00:28:09,980 --> 00:28:13,703
was dreamlike
as well as naturalistic.
308
00:28:13,727 --> 00:28:17,691
Film history coming
full circle again.
309
00:28:26,092 --> 00:28:28,883
In the most famous American
movie about a dream,
310
00:28:28,907 --> 00:28:32,259
The Wizard of Oz,
a girl goes over a rainbow,
311
00:28:32,283 --> 00:28:37,298
meets people from her real life,
clicks her Ruby slippers together,
312
00:28:37,323 --> 00:28:40,505
and discovers
that there's no place like home.
313
00:28:40,958 --> 00:28:44,887
The best dream film of the new millennium,
Mulholland Drive,
314
00:28:44,911 --> 00:28:49,157
is as if someone dreamed
The Wizard of Oz dream.
315
00:28:49,357 --> 00:28:53,172
It's about a girl who wants
to climb the hill of movie stardom,
316
00:28:53,197 --> 00:28:57,289
Mulholland Drive,
where all the movie stars live.
317
00:29:03,383 --> 00:29:10,252
But, instead, falls asleep
and dives down into her own consciousness.
318
00:29:10,276 --> 00:29:16,388
Down in that consciousness we hear
of this dance in Ontario,
319
00:29:16,413 --> 00:29:17,677
when she was a girl.
320
00:29:19,538 --> 00:29:21,647
Her moment of innocence.
321
00:29:21,671 --> 00:29:24,629
People jitterbug,
shot against purple.
322
00:29:24,653 --> 00:29:27,590
Their own shadows create
moving digital windows
323
00:29:27,614 --> 00:29:29,748
through which we see
more layers.
324
00:29:30,222 --> 00:29:33,312
This is the girl, luminous
and smiling.
325
00:29:34,215 --> 00:29:37,403
But then the girl grows up,
falls in love with another girl,
326
00:29:37,427 --> 00:29:42,155
and then gets so jealous of her
that she asks this hit man to kill her.
327
00:29:43,168 --> 00:29:45,994
Director David Lynch has the scene
filmed conventionally,
328
00:29:46,018 --> 00:29:52,563
shot-reverse shot, almost natural light,
medium close ups, in a café called Winkies.
329
00:29:54,196 --> 00:29:56,024
But out of the corner of her eye
330
00:29:56,048 --> 00:29:58,418
the girls sees this man.
331
00:29:59,616 --> 00:30:02,289
He looks at her
as she arranges the murder.
332
00:30:02,313 --> 00:30:03,405
Bang.
333
00:30:03,430 --> 00:30:07,361
It's like he sees her commit the crime,
the thought crime.
334
00:30:08,604 --> 00:30:13,572
And so, in her long dream
we see him, not her,
335
00:30:13,596 --> 00:30:18,655
confronting something awful
behind a wall at the back of Winkies.
336
00:30:44,659 --> 00:30:45,880
Handheld camera.
337
00:30:45,905 --> 00:30:47,769
A roar on the soundtrack.
338
00:30:47,794 --> 00:30:51,292
A shock so great
that everything goes silent.
339
00:30:53,849 --> 00:30:57,832
The monster seems to be her terror
at planning the killing.
340
00:30:57,856 --> 00:31:03,649
She doesn't dream of herself confronting it
but of the man who looked at her doing so.
341
00:31:06,512 --> 00:31:10,751
And this place, Club Silencio,
also in Diane's sub conscious,
342
00:31:10,776 --> 00:31:13,144
is like Oz in The Wizard of Oz.
343
00:31:13,168 --> 00:31:16,049
Diane's dream comes
to a climax here.
344
00:31:16,073 --> 00:31:20,566
She shakes because
her subconscious is flooding.
345
00:31:38,982 --> 00:31:42,576
A wizard conjures blue lights,
disappears.
346
00:31:42,601 --> 00:31:44,750
Light like we're under water.
347
00:31:46,705 --> 00:31:50,103
Mulholland Dr. was so innovative
because it was The Wizard of Oz
348
00:31:50,127 --> 00:31:56,212
plunged into the black night of film noir
and the rabbit hole of David Lynch's brain.
349
00:31:57,323 --> 00:31:58,958
And then in the new millennium,
350
00:31:58,982 --> 00:32:03,365
there was an astonishing dream film of
sorts, Requiem for a Dream.
351
00:32:04,209 --> 00:32:06,786
Anybody want to waste some time?
352
00:32:08,006 --> 00:32:11,353
It looked with piteous recognition
at people on drugs.
353
00:32:11,378 --> 00:32:13,393
Angel says that this is the time,
we should do it now.
354
00:32:13,418 --> 00:32:15,013
Shit, I'm going
to call Brody tomorrow.
355
00:32:15,038 --> 00:32:15,596
Who's Brody?
356
00:32:15,621 --> 00:32:16,982
That's my sweet connection.
357
00:32:16,984 --> 00:32:18,719
He's got some unbelievable shit.
358
00:32:18,721 --> 00:32:19,951
Righteous!
359
00:32:19,976 --> 00:32:24,445
It was the great distortion movie
about how drugs distort the world.
360
00:32:24,469 --> 00:32:27,150
Speed it up,
give it a fish eye lens.
361
00:32:27,152 --> 00:32:27,794
Shit, man!
362
00:32:27,796 --> 00:32:30,077
Then we get us
a pound of pure and retire.
363
00:32:30,079 --> 00:32:31,461
You know what that means?
364
00:32:31,463 --> 00:32:32,909
No more hassle.
365
00:32:32,911 --> 00:32:35,354
We get off hard knocks
and be on easy street.
366
00:32:35,356 --> 00:32:37,383
Shit.
367
00:32:37,384 --> 00:32:42,796
What's the catch?
368
00:32:42,821 --> 00:32:44,252
Here's the catch.
369
00:32:44,277 --> 00:32:49,467
This woman wanted to be on TV
so took far too many weight reduction pills.
370
00:32:49,490 --> 00:32:52,459
Now she's scared
by her own apartment.
371
00:32:52,484 --> 00:32:57,368
It flickers, floats around her
like a gyroscope.
372
00:33:05,401 --> 00:33:10,877
Darren Aronofsky's film was
a paranoid dream in a fearful century.
373
00:33:13,138 --> 00:33:15,229
So if the story of film
in the new millennium
374
00:33:15,253 --> 00:33:18,682
has been the story of realist
films and dream films,
375
00:33:18,706 --> 00:33:21,664
that story is as old
as movies itself.
376
00:33:22,694 --> 00:33:24,784
There's nothing new there.
377
00:33:24,786 --> 00:33:26,231
But in the new millennium,
378
00:33:26,255 --> 00:33:31,505
film also combined reality
and fantasy in new ways.
379
00:33:31,529 --> 00:33:33,425
The line between them blurred.
380
00:33:33,474 --> 00:33:36,111
They got closer to each other.
381
00:33:36,113 --> 00:33:39,007
Look what we find here,
in Stockholm.
382
00:33:39,009 --> 00:33:42,114
The unique films of this man,
Roy Andersson,
383
00:33:42,138 --> 00:33:44,397
combine reality and dream
in a new way
384
00:33:44,422 --> 00:33:47,027
that few have ever done
in the story of film.
385
00:33:47,631 --> 00:33:52,299
You know, I was growing
up in a worker family
386
00:33:52,324 --> 00:33:56,369
and I grew up with that...
387
00:33:56,393 --> 00:34:00,728
Impressions that people really humiliated
each other and themselves also.
388
00:34:04,661 --> 00:34:08,108
In Andersson's film,
Songs from the Second Floor,
389
00:34:08,132 --> 00:34:12,650
this man in the middle, covered in ashes
has burnt down his business.
390
00:34:12,673 --> 00:34:14,793
A serious social theme.
391
00:34:14,818 --> 00:34:18,328
And the color in this shot
is a drab green.
392
00:34:18,352 --> 00:34:22,665
But suddenly the movie becomes
heightened like a musical fantasy.
393
00:34:41,933 --> 00:34:48,066
Unhappiness, it's not only the result
of poorness,
394
00:34:48,090 --> 00:34:54,170
without money, it's also the result of:
What is richdom in life?
395
00:34:54,194 --> 00:34:57,169
Is it money or...
how to be happy so to say?
396
00:34:57,193 --> 00:35:02,690
And I think that nowadays,
in the last 30 years, people have been...
397
00:35:02,714 --> 00:35:05,999
They are lost. They are lost.
398
00:35:06,024 --> 00:35:09,170
In the extraordinary ending of
Songs from the Second Floor,
399
00:35:09,194 --> 00:35:14,128
symbols of religion are being dumped
into a wasteland beyond the city.
400
00:35:14,152 --> 00:35:22,260
We built the road of wood
and we put in pieces to the right
401
00:35:22,284 --> 00:35:29,238
so that you get the impression
that there is a huge modern city there.
402
00:35:31,318 --> 00:35:38,952
It's like the end of the world
and then minutes into the uncut shot.
403
00:35:45,977 --> 00:35:48,013
People who have been there
the whole time,
404
00:35:48,037 --> 00:35:51,225
stand up from the land,
like the day of judgement.
405
00:35:57,024 --> 00:36:02,173
It's a theme that I'm very,
very interested in.
406
00:36:02,197 --> 00:36:06,121
Namely the question of guilt.
407
00:36:06,928 --> 00:36:10,288
Personal guilt and,
even, collective guilt.
408
00:36:10,312 --> 00:36:14,758
We are carrying a guilt,
a collective guilt,
409
00:36:14,782 --> 00:36:20,716
as representatives
of the human being or mankind.
410
00:36:20,740 --> 00:36:26,546
We are responsible and we have
to get that feeling of guilt,
411
00:36:26,570 --> 00:36:31,635
we have to get it reconciliated,
to get rid of it.
412
00:36:31,722 --> 00:36:36,660
And I think it's infected,
it infects the society,
413
00:36:36,684 --> 00:36:45,581
it infects our time, and I have that theme
in Songs from the Second Floor.
414
00:36:52,570 --> 00:36:55,291
And Andersson found
a striking visual style
415
00:36:55,315 --> 00:36:58,897
to show the humiliation, guilt
and comedy of modern life.
416
00:36:59,381 --> 00:37:00,810
He muted color.
417
00:37:00,835 --> 00:37:02,838
Favoring grays and greens.
418
00:37:02,863 --> 00:37:06,759
He loved plunging perspectives
and flat Nordic light.
419
00:37:06,784 --> 00:37:08,368
A bleak dream.
420
00:37:08,347 --> 00:37:11,007
And his camera seldom moves.
421
00:37:12,488 --> 00:37:18,790
I really don't want a single frame
in my movie that is indifferent.
422
00:37:18,796 --> 00:37:21,126
Visually indifferent.
423
00:37:21,948 --> 00:37:28,541
And I mean that the modern
way of filmmaking
424
00:37:28,566 --> 00:37:33,623
contains a lot
of indifferent frames.
425
00:37:33,629 --> 00:37:38,371
Because they are built
up to concentrate
426
00:37:38,395 --> 00:37:45,814
on a very specific situation,
most of the time killing or...
427
00:37:45,849 --> 00:37:48,229
Yeah, on stupid situations.
428
00:37:48,238 --> 00:37:56,279
Why can't movie
has the same qualities as painting,
429
00:37:56,304 --> 00:38:04,320
so you are fascinated by very...
each single frame.
430
00:38:04,327 --> 00:38:07,634
But what makes Andersson
so significant for modern cinema
431
00:38:07,658 --> 00:38:11,579
is that he combines this exactitude
with a real sense of humor.
432
00:38:11,856 --> 00:38:14,354
He's a fan of
"Laurel and Hardy."
433
00:38:18,513 --> 00:38:21,489
The simplicity of the way
this scene is shot for example.
434
00:38:21,513 --> 00:38:23,891
Square on, symmetrical.
435
00:38:28,074 --> 00:38:33,497
And they are so tragic
and so funny at the same time.
436
00:38:33,521 --> 00:38:36,027
And it's two losers.
437
00:38:36,051 --> 00:38:40,681
They want to be accepted
by the middle class or upper class.
438
00:38:40,705 --> 00:38:47,182
And they try so hard
to get that, to come in to this,
439
00:38:47,207 --> 00:38:52,763
to be accepted but they fail
all the time, all the time.
440
00:38:52,787 --> 00:39:00,706
It's not only simple jokes,
it's also social tragedy,
441
00:39:00,730 --> 00:39:02,293
political tragedy, of course.
442
00:39:02,318 --> 00:39:12,320
It's the underdog's efforts to be accepted,
to reach a higher level in society.
443
00:39:12,413 --> 00:39:15,882
Andersson gets the gorilla,
the innovation.
444
00:39:15,906 --> 00:39:20,168
He partially funds his films himself,
a one man movie studio.
445
00:39:20,192 --> 00:39:22,363
A one man film history.
446
00:39:23,728 --> 00:39:28,358
No-one has quite combined
reality and dream like this before.
447
00:39:34,373 --> 00:39:38,744
Twenty-first century cinema
built on the past combining worlds.
448
00:39:38,750 --> 00:39:42,500
In the '60s we saw how Stanley Donen,
director of Singin' in the Rain,
449
00:39:42,524 --> 00:39:45,734
used this split screen,
to get around censorship
450
00:39:45,758 --> 00:39:48,678
by making it look like two lovers
are in bed together.
451
00:39:49,884 --> 00:39:54,189
He filmed with two cameras
at the same time and combined the shots.
452
00:39:59,054 --> 00:40:00,621
Jump forward
to the new millennium,
453
00:40:00,645 --> 00:40:03,857
to this scene in Roger Avery's the
Rules of Attraction.
454
00:40:05,102 --> 00:40:08,091
Saturday morning
on an American campus.
455
00:40:08,115 --> 00:40:13,975
We've just watched, for several minutes,
these two students get up and go to class.
456
00:40:13,999 --> 00:40:19,537
Like Donen, Avery uses split screen,
but has his characters look to camera,
457
00:40:19,562 --> 00:40:22,542
to us, rather than each other.
458
00:40:22,768 --> 00:40:23,963
Typical.
459
00:40:24,153 --> 00:40:25,408
Never seen you there before.
460
00:40:25,432 --> 00:40:28,944
We feel in the middle
of this flirtatious moment.
461
00:40:28,946 --> 00:40:29,942
Yeah.
462
00:40:29,944 --> 00:40:32,033
You've got bad timing.
463
00:40:32,035 --> 00:40:34,047
Saturday's suck ass.
464
00:40:34,048 --> 00:40:35,501
I don't have to put up
with this shit.
465
00:40:35,525 --> 00:40:38,418
I'm dropping this fucking class!
466
00:40:38,442 --> 00:40:39,784
Yeah, me too.
467
00:40:39,808 --> 00:40:40,523
Really?
468
00:40:40,547 --> 00:40:41,530
Mmhm.
469
00:40:41,554 --> 00:40:42,196
I think I'm going to change...
470
00:40:42,431 --> 00:40:45,148
But then she says,
"show me your eyes."
471
00:40:45,172 --> 00:40:47,115
And a hand takes
his glasses off.
472
00:40:47,162 --> 00:40:48,399
Show me your eyes.
473
00:40:49,706 --> 00:40:51,376
And it's not his hand.
474
00:40:53,089 --> 00:40:58,584
Then the cameras each pull out
and swing round and the two world combine.
475
00:41:02,434 --> 00:41:06,046
We go from inside the moment,
to an outside observer.
476
00:41:07,735 --> 00:41:10,118
Each camera's move
was computer programmed
477
00:41:10,142 --> 00:41:13,140
and the two images
were digitally stitched together.
478
00:41:14,006 --> 00:41:17,964
Movies have always tried
to make people meet in memorable ways.
479
00:41:17,988 --> 00:41:20,813
Few meetings are as memorable
as this one.
480
00:41:22,827 --> 00:41:26,615
And in this film, Avatar,
computers also helped create
481
00:41:26,639 --> 00:41:31,115
new 21st-century syntheses
of reality and fantasy.
482
00:41:31,980 --> 00:41:34,834
In real life this character
is a marine, who,
483
00:41:34,858 --> 00:41:38,076
because he's in a wheelchair,
can't walk or run.
484
00:41:38,273 --> 00:41:40,660
But here he's on a mission
to the planet Pandora
485
00:41:40,684 --> 00:41:43,755
and has been transformed
into an attenuated creature
486
00:41:43,810 --> 00:41:47,355
who enjoys the sprint,
moves like a dancer.
487
00:42:01,403 --> 00:42:04,919
Canadian director James Cameron
has his camera flow,
488
00:42:04,943 --> 00:42:09,240
the creature move,
he feels the soil between his toes.
489
00:42:09,821 --> 00:42:15,300
Hey, marine!
490
00:42:15,302 --> 00:42:16,749
Grace?
491
00:42:16,751 --> 00:42:19,741
Well, who did you expect,
Numbnuts?
492
00:42:19,766 --> 00:42:21,465
Think fast.
493
00:42:21,803 --> 00:42:24,616
Everything about this scene
was animated on computers,
494
00:42:24,640 --> 00:42:27,946
as you'd expect,
except the most important thing.
495
00:42:27,970 --> 00:42:30,503
The facial expressions.
496
00:42:31,296 --> 00:42:32,918
This energetic documentary shows
497
00:42:32,942 --> 00:42:36,201
that the faces
were filmed with mini-cameras.
498
00:42:36,225 --> 00:42:39,563
The set of a modern Sci-Fi film
looks like a factory.
499
00:42:39,565 --> 00:42:43,425
Bright lights, computers,
no hint of an enchanted planet.
500
00:42:43,427 --> 00:42:46,225
Director James Cameron is excited
by the process.
501
00:42:46,227 --> 00:42:48,419
You know, there's a carbon fiber boom
that comes out
502
00:42:48,444 --> 00:42:49,698
with a little camera
on the front of it.
503
00:42:49,722 --> 00:42:53,152
And that camera shoots the face
in a nulled out close up.
504
00:42:53,176 --> 00:42:55,760
So, even though the actor
is moving all around,
505
00:42:55,791 --> 00:42:58,207
running, jumping, yelling,
screaming, jumping off stuff,
506
00:42:58,231 --> 00:43:01,300
jumping over logs, you know,
running flat out, whatever.
507
00:43:01,330 --> 00:43:04,559
We're getting that facial
performance absolutely locked off.
508
00:43:04,584 --> 00:43:08,228
This split screen in the documentary
shows the after and before.
509
00:43:11,983 --> 00:43:15,470
Twenty-first century cinema
managed to insert the mystery
510
00:43:15,494 --> 00:43:21,247
of human feeling into a digital
and electronic universe.
511
00:43:23,276 --> 00:43:27,014
But far away from Hollywood,
in Thailand in the new millennium,
512
00:43:27,038 --> 00:43:31,712
Apichatpong Weerasethakul did
something even more inventive.
513
00:43:32,500 --> 00:43:35,037
Look at this scene from
Tropical Malady.
514
00:43:35,061 --> 00:43:39,561
A Thai soldier, Keng,
and his farmer friend Dong.
515
00:43:39,585 --> 00:43:42,984
Two shy young men in Thailand,
filmed in natural light,
516
00:43:43,009 --> 00:43:46,684
in long takes,
in the languor of summer days.
517
00:44:01,576 --> 00:44:06,499
A backdrop so still
that it looks almost painted.
518
00:44:10,493 --> 00:44:16,151
Then, about half way through the film,
it seems to break down.
519
00:44:16,153 --> 00:44:20,363
There's black,
and then the story starts again.
520
00:44:20,387 --> 00:44:22,204
This time we're in a forest.
521
00:44:22,228 --> 00:44:27,960
A soundtrack full of the night chorus
of insects, frogs, and cicadas.
522
00:44:27,984 --> 00:44:31,240
This time soldier Ken
is lit by moonlight.
523
00:44:31,264 --> 00:44:34,118
He sees a tree
full of fireflies.
524
00:44:40,663 --> 00:44:43,304
It's like the Eiffel Tower
lit up.
525
00:44:46,746 --> 00:44:51,153
We hear that his friend, Dong,
has become a tiger.
526
00:44:51,155 --> 00:44:53,470
He must hunt him.
527
00:44:53,472 --> 00:45:00,193
Director Weerasethakul films the spirit
of a water buffalo leaving its own body.
528
00:45:04,388 --> 00:45:07,185
Keng's breathless, agog.
529
00:45:07,210 --> 00:45:11,072
Seeing life and death
and the gaia.
530
00:45:15,739 --> 00:45:18,786
The spirit takes him
into the forest.
531
00:45:23,772 --> 00:45:27,049
Not only has the farmer
been re-incarnated as a tiger,
532
00:45:27,073 --> 00:45:33,983
but the film seems to have
been re-incarnated,
533
00:45:34,007 --> 00:45:40,522
from a naturalistic tale of friendship,
to a mythic tale of hunter and hunted.
534
00:45:44,956 --> 00:45:50,375
Seldom in the whole history of cinema
has such a bold story shift happened.
535
00:45:50,399 --> 00:45:53,906
The wild man, the gorilla.
536
00:45:57,725 --> 00:46:00,282
Our last examples
of wildly inventive cinema
537
00:46:00,306 --> 00:46:04,599
in the new millennium come from this man,
Alexander Sokurov.
538
00:46:06,046 --> 00:46:08,298
This is his film,
Mother and Son.
[Mat i syn]
539
00:46:08,300 --> 00:46:11,032
We're in a Russian cottage
in the countryside.
540
00:46:11,034 --> 00:46:12,255
A mother's dying.
541
00:46:12,257 --> 00:46:15,280
Her son tends her.
542
00:46:15,282 --> 00:46:18,106
She's happy to die
in her son's arms.
543
00:46:20,558 --> 00:46:23,517
The pearly light
is in the trees outside.
544
00:46:23,519 --> 00:46:25,417
They whisper to each other.
545
00:46:25,419 --> 00:46:27,457
Utter peace.
546
00:46:37,031 --> 00:46:39,190
Sokurov explains his approach.
547
00:47:11,631 --> 00:47:14,015
Mother and Son
is one of the defining movies
548
00:47:14,039 --> 00:47:17,015
in what would come to be called
"slow cinema."
549
00:47:17,750 --> 00:47:24,258
Director Sokurov's imagery is as beautiful
as his teachers, Andrei Tarkovsky's,
550
00:47:24,283 --> 00:47:26,819
but also derives from painting.
551
00:48:57,010 --> 00:49:01,193
And, in shots like this,
Sokurov had the image stretched diagonally
552
00:49:01,218 --> 00:49:04,880
as if it was made
of rubber, to change how we see it.
553
00:49:46,062 --> 00:49:50,982
Many critics felt that Mother and Son
was one of the best films of its time.
554
00:50:02,697 --> 00:50:05,721
But then Sokurov made this film.
555
00:50:05,746 --> 00:50:08,359
Perhaps the most inventive
ever made.
556
00:50:08,361 --> 00:50:11,864
The greatest gorilla
in film history.
557
00:50:15,021 --> 00:50:17,777
We're in the Hermitage museum
in St. Petersburg,
558
00:50:17,802 --> 00:50:19,520
at the end of the 19th century.
559
00:50:19,526 --> 00:50:22,767
These tsarist aristocrats
have been partying all night
560
00:50:22,791 --> 00:50:26,746
and now they're flowing
down the steps, like a river.
561
00:50:26,771 --> 00:50:28,486
But the revolution is coming.
562
00:50:28,514 --> 00:50:31,075
This will be the last
of the great balls.
563
00:50:31,077 --> 00:50:33,941
Soon they will be dead.
564
00:51:48,512 --> 00:51:51,635
Sokurov saw the film
as the single last breadth
565
00:51:51,659 --> 00:51:59,578
of this civilization and so, astonishingly,
he filmed the whole movie in a single take.
566
00:51:59,602 --> 00:52:03,412
There hasn't been one cut
in the whole film.
567
00:52:03,436 --> 00:52:12,122
This shot has travelled 1,300 meters,
through 33 galleries, filming 867 people:
568
00:52:12,147 --> 00:52:19,116
Cavaliers, museum officials, spies, great
balls, and portents of the horrors to come.
569
00:52:19,140 --> 00:52:21,243
Over 90 minutes.
570
00:52:21,904 --> 00:52:25,957
Sokurov and his team rehearsed
for 6 months.
571
00:52:25,981 --> 00:52:31,789
Filming took place on 23rd December,
when there are only 4 hours of daylight.
572
00:52:31,813 --> 00:52:34,490
This allowed for just two takes.
573
00:52:36,017 --> 00:52:39,675
Take one had to be abandoned
after five minutes.
574
00:52:39,699 --> 00:52:44,008
Then take two, this one unfolds.
575
00:52:44,032 --> 00:52:47,795
Unbelievable tension.
576
00:52:47,820 --> 00:52:52,978
The steadicam so heavy that the operator
almost buckles at the knees in pain.
577
00:52:57,993 --> 00:53:02,602
Here's documentary footage
of the moment the filming finished.
578
00:53:28,750 --> 00:53:31,515
Their breath's show
how freezing it was.
579
00:53:31,517 --> 00:53:36,427
The handheld camera
captures the relief.
580
00:53:38,853 --> 00:53:45,479
Tears of joy that something entirely new
in the story of film had taken place.
581
00:53:53,880 --> 00:53:56,196
TV cameras to capture
this moment.
582
00:53:56,198 --> 00:53:58,834
The camera mills around
with the people.
583
00:53:58,836 --> 00:54:03,213
Moved, tired, exhilarated.
584
00:54:37,674 --> 00:54:41,654
Sokurov is one of the most serious
filmmakers of the 21st century
585
00:54:41,679 --> 00:54:44,305
and one of the most
stylistically daring.
586
00:54:44,329 --> 00:54:48,140
He and the filmmakers like him
suggest that the future of cinema
587
00:54:48,165 --> 00:54:50,464
is in provocative hands.
588
00:55:25,441 --> 00:55:27,937
If the history of film
has been the story of innovation,
589
00:55:27,961 --> 00:55:34,834
of passion, of breaking the mold,
590
00:55:34,859 --> 00:55:36,302
what's its future?
591
00:55:37,239 --> 00:55:40,887
Maestro di Angeles,
here in the Roman film studio, Cinecitta,
592
00:55:40,911 --> 00:55:44,488
made props for Fellini
but long after he's gone,
593
00:55:44,512 --> 00:55:47,484
will people still be breaking
the movie mold?
594
00:55:50,797 --> 00:55:52,736
Maybe in the year 2046,
595
00:55:52,760 --> 00:55:56,247
movie going will be like
Christopher Nolan's film Inception.
596
00:55:56,271 --> 00:55:59,856
It's an innovative Sci-Fi film
about layers of reality
597
00:55:59,880 --> 00:56:04,398
but maybe it's a metaphor, too,
for what film going could become.
598
00:56:04,422 --> 00:56:07,125
Look at this scene.
599
00:56:14,835 --> 00:56:18,501
Leonardo DiCaprio
and his friends wake up in a plane.
600
00:56:18,503 --> 00:56:21,139
They've just been
dreaming together.
601
00:56:25,614 --> 00:56:27,221
The camera glides.
602
00:56:27,223 --> 00:56:28,636
Greens and blues.
603
00:56:28,638 --> 00:56:31,436
Atmospheric beds of music.
604
00:56:31,899 --> 00:56:33,237
They're groggy.
605
00:56:33,239 --> 00:56:37,494
Embarrassed almost at the intimacy
of the dream they've just shared.
606
00:56:55,834 --> 00:57:00,298
They dreamt they were in this van,
falling ultra-slowly off a bridge.
607
00:57:00,322 --> 00:57:02,839
Shot at maybe
1,000 frames per second.
608
00:57:02,863 --> 00:57:04,741
No natural sound.
609
00:57:06,630 --> 00:57:10,004
But in it, they dream
a dream within a dream,
610
00:57:10,028 --> 00:57:13,621
in which they're in a hotel
whose gravity is on the blink.
611
00:57:19,291 --> 00:57:21,389
It's color coded orange.
612
00:57:21,413 --> 00:57:22,965
The camera floats.
613
00:57:22,989 --> 00:57:25,915
The actors are on wires.
614
00:57:25,940 --> 00:57:30,087
And in that dream within a dream,
they dream a fourth layer.
615
00:57:30,111 --> 00:57:33,690
They're in a James Bond style battle
in a snow lodge.
616
00:57:42,901 --> 00:57:44,823
Now the camera's handheld.
617
00:57:44,848 --> 00:57:46,068
The action's edgy.
618
00:57:46,093 --> 00:57:47,051
The sound natural.
619
00:57:47,053 --> 00:57:50,654
The dominant color's white.
620
00:57:50,656 --> 00:57:53,711
They live and die together.
621
00:57:53,713 --> 00:57:57,732
Maybe this is what movie going
is like in 2046.
622
00:57:57,734 --> 00:58:02,206
Playing a game
of living and dying together.
623
00:58:02,208 --> 00:58:05,584
Plunging into
an underwater YouTube.
624
00:58:05,586 --> 00:58:09,284
Or maybe something
awful happens.
625
00:58:09,286 --> 00:58:13,726
Look at this scene in
Eternal Sunshine of the Spotless Mind.
626
00:58:13,728 --> 00:58:18,436
Former lovers Joel and Clementine
are running through grand central station.
627
00:58:18,460 --> 00:58:23,254
People start to disappear because
they are undergoing a brain washing process
628
00:58:23,278 --> 00:58:26,811
where their memories
of their relationship are being removed.
629
00:58:29,345 --> 00:58:31,772
Then the brain washing
becomes a nightmare.
630
00:58:31,796 --> 00:58:34,026
It's shot like
a TV crime program.
631
00:58:34,050 --> 00:58:36,894
The camera's roving around,
with a light on it.
632
00:58:36,918 --> 00:58:40,065
Their past, their stories,
disappearing.
633
00:58:50,384 --> 00:58:52,708
She no longer has a face.
634
00:58:52,733 --> 00:58:54,780
You're erasing me from...
635
00:58:57,991 --> 00:58:59,131
I don't know.
636
00:58:59,721 --> 00:59:01,508
You got this thing.
637
00:59:01,510 --> 00:59:02,377
I'm in my bed.
638
00:59:02,379 --> 00:59:03,954
I know it.
639
00:59:03,956 --> 00:59:05,065
My brain!
640
00:59:05,089 --> 00:59:08,401
I'm part
of your imagination too, Joel.
641
00:59:08,425 --> 00:59:11,236
How can I help you from there?
642
00:59:11,261 --> 00:59:12,295
I'm inside your head...
643
00:59:12,320 --> 00:59:15,588
The eyes on another face
are upside down.
644
00:59:21,462 --> 00:59:24,030
What if the same happened
to film?
645
00:59:25,834 --> 00:59:28,488
Maybe there'll be
some digital or ideological storm
646
00:59:28,512 --> 00:59:30,905
and cinema will be
wiped or banned.
647
00:59:46,378 --> 00:59:49,178
And it will be impossible
to see it.
648
01:00:12,825 --> 01:00:16,118
Except in a hidden bunker or room
like this
649
01:00:16,142 --> 01:00:20,064
where all its treasures
are kept, in secret.
650
01:00:20,860 --> 01:00:23,698
If so, then those of us
who loved the movies
651
01:00:23,722 --> 01:00:27,948
will have to remember them,
talk about them, tell the story of them.
652
01:00:37,986 --> 01:00:40,401
Of the people who made them.
653
01:00:42,690 --> 01:00:45,807
The places where they were made.
654
01:00:54,622 --> 01:00:57,938
The objects
that appeared in them.
655
01:01:12,091 --> 01:01:16,821
Even the places
where the great filmmakers sat and thought.
656
01:01:40,022 --> 01:01:43,610
Or maybe movies will take up
a bigger part in our lives.
657
01:01:46,939 --> 01:01:52,661
This is what the city of Ouagadougou
in Burkina Faso looked like in 2011.
658
01:01:52,667 --> 01:01:57,399
At the very center of the city
is this huge monument to cinema.
659
01:01:58,201 --> 01:02:00,535
Maybe more cities will do this.
660
01:02:03,158 --> 01:02:06,729
Back in 2011, filmmakers
from around the world
661
01:02:06,754 --> 01:02:10,556
gathered at this monument,
held hands in the sweaty heat
662
01:02:10,581 --> 01:02:13,713
and walked around it
three times,
663
01:02:13,738 --> 01:02:17,680
in tribute to the filmmakers
who had died in the previous year.
664
01:02:23,139 --> 01:02:27,097
And, to the movies.
665
01:02:29,130 --> 01:02:33,717
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job0@whatkeepsmebusy.today
56764
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