All language subtitles for (1982) Changer eng

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INA presents

Image-Changing

Nine minutes, thirty seconds.

It would be good
if you went farther.

Farther than what?

We just expect a bit more,
finally.

After... this.

How to convey
an image of change.

Well, to be honest,
we're in something that's...

To give an idea of change
through an image.

We don't even know if...

Is there an image that can
show the idea of change?

Can an image even
qualify as something

that conveys
the notion of change?

Can an image...

Can an image change?

Why did I even do all of
those discussions on television

on the topic of reform,
which get on my nerves...

At the same time there was
something that I had to--

which is why I was so late,
it was...

Basically, I need to feel,

to show how I'd been
humiliated.

Why?

To show myself humiliated?

Because there is something
in the image that is...

I don't know what the sin is,
it's very connected to the text.

All of these discussions
taking place right now

are discussions
about text.

No one is
making images.

So to go farther,
well, I might have said to you,

"Fall even farther."

- Fall even farther.
- Fall even farther.

We speak about an image as
divine but perhaps it's more

but might rather come
from the devil and for me...

After all a deal had been made.

And as a civil servant

there was nothing better

for the Kingdom
of National Television,

who had called him,
day and night

for about three
or four months.

What determined
taskmasters they were.

Would the bosses be able to
show him off for the anniversary

of the takeover of this Kingdom
of National Television?

And for our idiot,
who would mistake easily

the work of research
with the research of work,

this imbecile was trapped
in his own game.

A nasty business.

Like usual, when non-fiction
gets mixed up with fiction.

You either have to give back
the money, or in five minutes

you need to create the images,
the sounds, the power,

the dreams,

well, all of humanity's
most profound desires,

whether good or bad.

After looking in deep reflection
into an old mirror

that the director
of Beauty and the Beast

had given him,

maybe the best would
be to buck up,

our idiot was telling himself.

After all, it was about
establishing a delicate formula

that could be seen
rather than spoken,

or spoken without ever
having been seen.

So, at the same time,
both invented and copied.

It was true that
this idiot's entire life

had been no more
than a sorry back-and-forth

between an image of life,
and the life of images.

Very soon,
he had shown

that there was no image,
but only chains of images,

and that the way in which
we connect the chains,

from DNA to the R5 assembly
line at the Renault Factory,

was itself a kind of image.

Was in a certain way,
an image of the idea we had

of how to insinuate ourselves

at the center or the edge
of the Universe.

And this task,
all of a sudden,

this figure-8 imposed
on this imbecilic skater,

who only loved
free-form skating,

brought back to him
the memory of a real adventure

that had happened
three or four years ago,

in what we call a "new" country,
in South America or Africa,

where he had been invited
for his so-called affection

for this type of country,

and also as an expert
on how images change,

having been invested recently
with the power

to create a new kind
of television.

But here is what happened,
and what could have happened,

which is what,
in fact, happened.

Or, as our idiot had said
often enough,

mixing the real
with the imaginary,

like many people in other times
might mix love with work.

Two weeks after
his arrival in the country,

and after he had
started to work,

there were obviously
the usual ups and downs,

this new country having forever

had its preconceived ideas
on the role of television.

Then, as our idiot began
his work with great enthusiasm,

those who had lost power
regained it,

and banished everyone,

including experts and advisors
from Europe and elsewhere

except for one.
Our idiot.

The new government was
half-military, half-civilian--

civilian at heart and military
for the uniform, or vice versa.

The new bosses,
in general,

and especially the Head of
Information and Communication,

as he loved to tell
journalists,

this one would have thought
that our idiot was the only one

who knew how to make television
that can serve the public

without offending
the powers that be.

Hence, that would please
the government

without harming the people.

Basically, the new chief
decided that this idiot

was able to deliver the right
formula to make television,

or the formula
of a good television.

He had done the same

for those who had brought him
into the country

and in any case, had already
spent the money on his ticket.

As soon as possible,
they assigned to our idiot

a former local reporter
who spoke some French

and had been promoted
through the ranks,

and was now part of the
army's public relations arm.

Those had joined forces with
the Public Health Department.

These new leaders wanted to work

for the good
of the people at all cost.

And this is how
two or three times a day,

with the strategic use

of animal psychology
and human pressure,

our idiot was asked what
the exact formula was

for changing images
and the image of change.

That in this movie, the prisoner
and the victim, which is you,

had written a letter
to his beloved...

Yes, I had started with that,

but there were
so many ideas in it that...

The image of change,

change which is so vast,
it's everywhere.

And in ten minutes
they gave me twelve minutes

then took back two-and-a-half.

Admittedly,
I took my time as well.

So then there is quite
a lot of material.

As a matter of fact,
there was the idea of two texts.

Two texts, one text
to his beloved somewhere.

Whether it's the revolution,
or whether

from a woman to a man,

all the texts
would be considered

like a letter to the beloved.

Whether it's St. Theresa of
Avila or Marx and Engels,

it would be a letter
to a beloved one.

And I had simply thought

because we show on television,
we always show victims,

like in photographs, we never
see the soldiers shooting,

we only see their backs.
Like that.

So, I had this idea
to be humiliated

because,
if you want in my opinion,

both television and film
are occupied by the enemy.

The government being
the principal enemy

and servant as well.

Really, a television technician,
for me, is a collaborator

like the French collaborators
who cooperated with the enemy.

And apart from that, the desire
to show that to create an image

is to maybe give slaps
but to be slapped as well,

that we had to receive slaps
just as we got to give them.

And that there was a real desire

to feel oneself
in occupied territory

and well, I had, I had wanted
to mix different things.

I would have liked to create

the role of an
executioner writing

his beloved from
wherever he was,

somewhere with his garrison,
something like that.

And then the other prisoner
would be writing

about the same kind of letter.

And, we would have combined
the two texts

and maybe that would have
created the image.

There is so much to show.
Show the resistance,

show the resistance
of the image to change.

Myself, I believe that I am
only the image,

and that I am not ready
to change, just like that.

On the other hand,
I think that

in between the
images we can change,

that's what we need
to show, this in-between.

It reminds me
of when I was little,

of my grandfather
driving around,

and only using the first gear.

We were little,
in the back seat

and every one of these
Sunday drives was awful.

From the back,
we'd cry out,

"Change Grandpa, change!
Change, Grandpa, change!"