All language subtitles for Making Of (Kahn, C├ędric 2023)_WEBRip.1080p.x264.AAC5.1_FR.en

- There, it's going to rain all day.
- We're not postponing, we're going now.

In any case, I'm going there.

I'll go, okay?
Here we go, come on. Get ready.

Get back or I'll hit you!

Come on, let's get together!

Go away!

Get out of there!

Come come!

Get out of there, I tell you!

Close the door!

Shut the fucking door!

They're doing the trick!

Go close on the other side.

Lets' go!

Come on!

Go! Go! Go!

Help us! Help us!

Yeah!

Cleared. Cleared!

- Turn off the water, turn off the water!
- Cut!

The ramp! You do it on purpose?

- I tripped!
- You're in the field!

- But where does it come from?
- He's the director of the making of.

But he's completely stupid,
my word. Did you see that?

Whose son is it again?

Belongs to nobody.
What is the relationship?

The report? I can't stand it.

- Wait, don't get angry.
- “Don’t get angry”, how?

- Shall we restart?
- Well yes, we're restarting.

OK, let's do it again!

- How so?
- Yes, I know, I know.

The decoration, on
the barricades, please.

I know. It's the last one
before lunch break, I promise.

- I promise.
- We're taken for shit!

Come on, decor, let's get moving, please.

Let's get back in place, please!

- When is the canteen?
- We'll eat afterwards, I promise.

Corentin, the car! Great.

Moritz, over there!

Moritz, come on, let's hurry!

Come on, please.

- Oh, guys!
- In place, there!

- We were OK.
- We left for 40 days.

- You're not the boss!
- You have to stop being so angry.

Let's stop complaining, oh!

We've done it ten times!

No, no time to go to the bathroom.

- Did you talk to the director?
- Impossible. He is never alone.

In addition, he is super worshipful.

Your place is there!

You're in the door group, you.

Come on, let's speed up.

Is rain good?

Everyone is in place.

We can go.

It's fake when Nadia opens
the door from the inside.

- No, it was good.
- Don't say no.

- I swear it was good.
- Clothes are bogus.

Girls and clothes don't work at all.

He looks like a SVT teacher.

I am with workers. We don't believe it.

Does the scene work or not?

- She walks.
- She walks?

The scene works like crazy.

- No, but it's bogus.
- It's fake when she opens the door.

- It's good.
- I'm telling you it's bogus, stop!

What's your name? Thing...

- Where is Jeff?
- With the portal group.

- Can I get you a cigarette?
- Yeah.

Thank you, you are a sweetheart.

I'll pay you a bundle tomorrow.
Good job guys.

Well done, it was amazing.

- How many times do we do it?
- I don't know.

Jeff, just one question.

- Did it really happen like that?
- What?

A girl came in and opened the door?

- I do not know anymore.
- Actually, we had the keys.

From the start, we have had them.

- Did you open the door?
- YES.

Thanks guys.

Wait please.

Simon, the guys told me:

“It doesn’t work, Nadia
opening the door.”

- What?
- It's laborious. It takes two years.

We're here like idiots.
It's up to us to break down the door.

- We'll knock it out of you in two minutes.
- Yes, but what does she do?

I don't know. She is
there, she is watching.

Don't introduce all the
characters right away.

Then it's not collective.
She takes over the factory herself.

- It's complicated to change.
- But no!

Believe me, it takes two minutes.
We try a take.

Okay, yeah. We're trying that.

OK, let's try that. We make one like this.

Alain, get back in place.

We're dropping that plan.

- Nadia, you're not in this plan.
- OK.

Hey, but it's raining, guys. Come on!

We're going to play real rain.
In place, engine!

Engine, please!

- We're going to shoot. Get ready.
- Engine!

- It won't last, engine!
- Get away.

- It's just a downpour.
- Let's take advantage of the downpour!

- Engine!
- Wait, wait!

- Engine!
- I didn't say "it's working"!

It's going to stop, engine!

Cut!

SO?

That’s it, that’s collective! Eh?

There, I'm in the film!

Hello thank you.

- Enjoy your food.
- Oh, what are you doing?

No, no, I'm sorry!

No, you can't stay here.
It's not the tent for the figuration.

This is for the technical team.
You have to leave the premises.

- Where are we going?
- Come on, let's go!

- Do you have umbrellas?
- No I do not have. Come on.

Come on, here we go. Come, come!

Come on, come on, come on, come on!

Good morning.

I don't eat there, I'm an extra.

We do not care. Eat, if you want.

- Good morning.
- Hi.

Why don't you move forward?

- I don't eat there.
- Where is the director?

- Haven't you seen Simon?
- He's on set.

- Can you move forward?
- (-THANKS.)

Pardon.

- Do you know where the director is?
- I don't know.

Excuse me.

Excuse me, sorry.

Do you know where I
can find the director?

At the production director's.

- Where is it?
- Opposite the canteen.

OK, thanks a lot.

I'm looking for the
production manager's office.

- Over there, at the end of the corridor.
- OK.

Yeah.

Good morning. Sorry to bother you.

I... There you go.

I live in the city, opposite.
I wanted to give you this.

I signed up as an extra for that.

This is my first screenplay.
I never did it...

This would be to get your opinion.
I love your films, I've seen them all.

If you can tell me what you think.

I put my phone number on
there, thanks. Sorry, goodbye.

Where does this one come from?

In his costume, he looks like a vigilante.

- Why doesn't he do the making of?
- The other is a disaster.

But stop with that. The making of,

- no one looks at them.
- Why don't we fire him?

Whose son is it again?

I don't know. It doesn't matter.

What is wrong?

You have a budget, a great
team, a strong story, great actors.

Do you think it’s great, Alain?

- Alan?
- He is credible

as a worker?

- Absolutely, thoroughly.
- No, he sucks.

- He makes crates of them.
- Anything.

Why did I take this one?

You took it to finance your film.

Video ringtone

Ah well, our producer.

She picks up.

Hi, Michael.

- Hello, Viviane.
- I'm with Simon.

We're on speakerphone, he can hear you.

So, this first morning?

What are you doing? You're not coming?

Yes, we're coming. We get on the train.

"We"? Who is “we”?

- With Boule and Bill.
- I'm waiting for them at Lyon station.

For what? We don't need them.

Courtesy visit, that is.

And they want to talk to you
again about something in the script.

- We've only just started.
- We're not going to talk about the scenario again.

They have a little problem with the ending.

A little problem with the ending? What?

Nothing serious, don't worry.

They're coming, I'll leave you.
We'll see you later.

Billy and Buddy?

This is the nickname we
gave to the co-producers.

What is this scenario thing?

I personaly do not know! I swear.

If they come on the first
day, there's a big problem.

I know them.
They don't move for nothing.

But I don't care. You know what?

They can say whatever they want,
I won't change a line of the script.

Whore...

Go! Go! Go!

Come on!

So!

So!

Yeah!

Come on!

Come!

- Cut.
- End of the day?

OK, it's the end of the day.
Thanks, it was great.

Thank you, Nadia. We take the
actors back to their dressing rooms.

Simon, Viviane is waiting
for you to go to the hotel.

- I'll meet her directly there.
- OK that works.

Moritz, tell Viviane that Simon
is meeting her at the hotel?

- Where is the guy from the making of?
- Julius?

- That's it.
- I think he's at the management table.

Gentlemen of the rain, don't

mess around, don't pack up.

I have to make only rain sounds.
I want to have clean rain.

- You come.
- I need you to film something.

- Me?
- Yes you.

Isn't the day over yet?

Yes, but I would like you to
film a meeting with the producers.

OK. They're up-to-date?

No, we're going to take them by surprise.

Is that part of the making of?

- No, listen, forget it.
- It doesn't matter.

Give me your gear.
I'll manage on my own.

The extras room?

Hey, can you call the guy here?

No not You. You, there, him, him, him.

You, yes, come. Come see.

- Yes?
- Do you know how to use a camera?

I think yes.

- Could you film something?
- Of course. When?

- There, now, immediately.
- OK of course.

- I'm coming.
- Great, yes.

Starts the service
at the pizzeria for me.

- Does your sister know?
- I warn her.

Thank you, you save my life.

Sorry for the delay.

Hey!

- How are you?
- Yes I'm fine.

- Are you okay, Simon?
- How are you.

Hello, I am the studio's lawyer.

Absolutely, you came with your lawyer.

Um, what is he doing with the camera?

He does a kind of offbeat
making-of, a logbook.

I thought it would be... interesting,

well, kind of fun to film this meeting.

- Explain to us.
- Why film this meeting?

We came to discuss in a good spirit.

If it's a good spirit,
what's the problem?

There is no problem.

So, Simon, this first day,

- How was it?
- Well, it was good.

And your actor?

Did you see this bomb?
He's crazy, isn't he?

- Yeah.
- Yeah.

Perfect.

OK, Simon, we are super
happy to be on your film,

super happy with the
latest version of the script.

We're sure it's going to be great.

We still have a problem
with the new ending.

- The new ending?
- Yeah.

- I don't understand.
- What new ending?

Yes it is...

The ending we received last week.

I don't know what you got,
but the ending never changed.

Oh yes. Yes, yes, yes, yes. Yes Yes.

We read a film with workers
who win against their bosses

and who regain their factory
under self-management.

There, they lose everything,
are evacuated, burn

their machine out of
despair. Well, it's not...

This is my ending, as it is in my
scenario which has never changed.

There, we have to explain.

- Explain what to you?
- You didn't understand what?

- Everything is clear.
- What is clear?

Well, there were several versions,

with a lot of back and forth as often,

until this latest version you received.

Where is the problem?

The problem is that we financed a film

with an optimistic,
hyper-positive ending.

There, it's heavy.
We want to shoot ourselves.

Look, Simon.

We're not crazy.

Look what we read six months ago.

What is this thing?

I never wrote that. Never.

OK. If Simon didn't
write it, who did it?

But yes, Simon, it’s us.

It was when you wanted
to make a social comedy.

I never wanted to do that.

But yes, there were all
these months of work.

Your workers had to play their own role.

You convinced me that
this film must be a tragedy.

And he's right, it's
going to be magnificent.

You are going to make a
classic, an Antigone, a Hamlet...

- Okay, okay.
- Richard III!

We understand. It's nice,
all that, the tragedy, the

social cinema and the
workers playing their own role.

But if there are spectators
in the room, it's better, right?

I don't see how a tragedy
would prevent people

from going to theaters in large numbers.

People like to be talked to
about themselves. It's cathartic.

The producers laugh.

Yes!

No, but... No, sorry,
but it's cathartic here.

We're talking to you about
people who are having real

problems, who go to see
films to forget their worries.

Of the secretary who,
during her lunch break, goes

to the cinema and wants
to be told a good story.

It's for her that we work.

Maybe at some point she
gets a little tired of being served

- the same marshmallow.
- But no!

Maybe she has a father or grandfather

who experienced the same
humiliations as his workers

and maybe

that this movie will fix it.

But no, she won't feel repaired at all.

She will feel weighed down, period.

And as a result, she won't
recommend the film to her friends.

That's how success works.

Trust us. We do this all day.

Yeah, but you have to know
what we're talking about.

We're not in the United States here.

Authors have the right
to do what they want.

So if Simon no longer wants this ending,
he no longer wants this ending, period.

- I never wanted this ending!
- Wait, Simon.

Everyone calms down.

No one is against you here.

Six months ago, we read a
script that was... upsetting. OK?

People were crying in
the reading committee.

With this ending, you
finally have your success.

This is what we want for you.

But that's not my problem.

I just want to make my film, that's all.

What if we made two
endings like in La Belle Équipe?

Afterwards, we see which one suits best.

There is a little extra cost,
but it can do it, Viviane, right?

No. No.

We have already mentioned this possibility.
Our bosses clearly said no.

- They want guarantees.
- What guarantees?

Should I shoot your happy ending?

- That's it?
- It's not a happy ending.

- Yes that's it.
- Crazy ringtone

Oh, forgive me.

This is a call I have to take.

- Sorry.
- But Michel!

- Go on a little without me. I will be back.
- Good then...

Yes hello?

What do we do?

Listen to me, the workers I'm
talking about went through hell.

Their factory closed, they lost everything.

50 years of work for some, a lifetime.

And behind them, an entire region sank.

Businesses and schools have closed.

People found themselves on the floor.

It's the same 100 kilometers
further, and 100 kilometers further.

It's the same thing everywhere!

People crushed, humiliated
by violent capitalism.

This story is beyond us.

We can't change it to
make a little more money.

So sorry, guys, I'm not
changing the ending.

We're sorry, but this is more of an

artistic question but a legal question.

My customers believe that you
made a fake to deceive them.

They could take legal action.

They won't. It's not their practice.

They ask you to put the scenario

back as it was when they validated it.

Otherwise, they withdraw from the project.

And without indiscretion, how much
does your contribution represent?

- One million Euros.
- And Marquez is

- aware?
- Yes, he has already received a formal notice.

- So, they are both there?
- So what!

- You don't even warn. Nothing!
- Hold on.

Is it going well or what?

- You look beautiful there!
- It's you. So, the end?

Do you know about it?

Yes, they've been bothering
me with this for two weeks.

- No no, well listen, nothing, status quo.
- Simon doesn't want to move.

He does what he wants,
he's the boss. I'm going.

Aren't you having dinner with us?

- Yes, but I'm going to see Jeff.
- I'll get him some clothes. See you later.

It's okay, can we go?

That's exceptional.

- This is exceptional. Shall we take this?
- Yes.

- Can we take everything?
- Yes, take everything. I was going to give it my all.

- Wow, that's perfect.
- It's over, it's perfect.

That's great too. We take.

Wow, it's a gem. That's exceptional.

This is a very beautiful piece.

I look like him, don't I? Eh?

- Do I look like your husband?
- Not really, no.

Yes, yes, that’s good.

Tell me, I was thinking of something.

Jeff, did he have a big depression,
actually, when they lost the factory?

He wasn't at his best but
he wasn't in a big depression.

- Still, he thought about death.
- He didn't try to commit suicide?

He never thought about death.

Because you came back?

- Income from...?
- You left him, anyway.

I never left Jeff.

He's your director.
He made that up for his story.

Why would he do that?

So you can fuck the 25 year old actress.

She goes down the stairs.

Come on, let's get out of here.

It smells good. What did you make to eat?

- Risotto.
- Oh dear, it's my favorite dish.

- Are you okay, kids?
- YES.

- What did you do it with?
- The mushrooms we collected.

- I can taste?
- Of course.

- THANKS.
- I am the king of risotto.

- Mmh!
- Oh!

- Oh, how good it is!
- Dad's risotto is good.

- Do you want to stay and eat?
- Yeah, with pleasure.

You have to join the producers.

Nothing to worry about. We're not
going to get gastro with two ass heads.

We're going to eat risotto as a family.

- Sorry, children.
- Two ass heads!

I got carried away, sorry.

- Children, don't say...
- "Ass-head".

I'm going to get yelled at.

- It's me who plays dad in the cinema.
- And Cathy, what does she do?

- Does she drink beer?
- Yeah.

- It's crazy, she's a visionary.
- Shut up.

- I'm kidding.
- Yeah, it's funny.

- Hold. Will you bring me your plate?
- Yes excuse me.

Can you give this to the
gentleman who just passed by?

- THANKS.
- Yes.

I've been looking for you for 20 minutes.

- I was waiting for you to go to the restaurant.
- You speak!

You set me up with the two
assholes and left. You're just a coward.

I do not believe it!

You rewrote my script behind
my back without telling me!

You lied to me at the studio.
You're a fool!

Oh, Simon, I'm sorry.

They shouldn't have had
this version of the script.

She's my assistant.
She totally screwed up.

Instead of the financing plan,

she threw out all the attachments.

Three months ago, she
was still a beautician.

The smallest production
assistant has a bac +5.

Your problem is women, not money.

- Do you want me to cut off my balls?
- No, stop the bullshit.

What would you have
said when they found out?

- Nothing!
- You know how it goes.

If it is successful, no one finds
anything to complain about.

We steal the money, otherwise we do shit.

- What are you talking about?
- We're not robbing anything at all.

We lost a million euros in one day.

Without this money, we stop filming.

No, no, no, we're not
stopping anything at all.

I have 300,000 euros outside.
We're in the open sea, we're going.

- Let's go? Where are we going?
- How do we do?

- You do nothing.
- What do I say to the team?

- You do not say anything.
- You act like everything is fine.

You turn. I'm going back
to Paris to find financiers.

With your script and your casting,
things are going to be bumpy.

Do not worry. We go to the
restaurant with Boule and Bill.

Are you going to eat with them?

- Yeah.
- I'm not hungry. I'm going to bed.

- I'm selling them your next film. An idea?
- No, I have no idea.

I only filmed for one day. You realize?

I'm completely exhausted.
I don't know how I'm going to hold on.

Focus on your filming.

Marquez will find a solution.

- He's not going to find anything at all.
- He's messed up.

He no longer knows the difference
between reality and its lies.

I can't take any more of his bullshit.

He continues as if the
world had never changed.

He's finished and I'm
going to go down with him.

Why haven't I left him all this time?

- You will never leave him, you know that.
- Why do you say that?

- You need him.
- I need him?

You're kidding?
Is he the one who needs me?

- You can't do without it.
- He's your bandit.

What do you mean, my bandit?

- He does the dirty tricks.
- You keep your hands clean.

Oh yes? Is that how you see things?

- Yes.
- You're tough.

- Excuse me. We remember?
- I haven't finished my day.

I miss you.

I miss you.

I leave messages for the children.
They don't answer.

They don't answer me either.

- Except you see them every day.
- They are fine?

Yes, they are doing very well.

She types on her keyboard.

Come with them this weekend.

- Not sure they accept.
- They always have things planned.

And you?

- Me?
- Yes, wouldn't you like to come?

- This weekend, I can't.
- Next weekend.

No, no weekends. I won't come.

Simon...

we have to stop.

We have to stop pretending.

Pretend what?

- Six months of saying we're separating.
- You act as if nothing happened.

When you come back, we'll get organized.

- We can't continue like this.
- Which means?

- I'm going to look for an apartment.
- I disagree.

- What do you disagree with?
- So that you can get an apartment.

But I... I have no choice.

You decide everything, alone, like
everything since we were together.

If you want to decide, just leave.

- Yes, but...
- Go ahead, decide.

I don't want us to break up.

What are you talking about?

It's only your work that counts.
We don't exist.

It's wrong. You are
what matters most to me.

Without you, I'm falling apart.

You don't even believe it.

You know.

Phew.

Look, you're wearing me out.
I can't carry you anymore.

I can carry you.

No that's not true.

You can't even carry yourself.

I absolutely don't
understand what you're saying.

It doesn't matter anymore.

I have 72 hours of
guard time under my belt.

I still have emails.
I have to answer all of this.

Leave me alone.
I kiss you and good luck.

I'm kissing you strongly.

- Hello?
- It's Simon, the director.

Yes, two seconds.

A problem?

- I left the camera at reception.
- I'm not calling about that.

- I would like to thank you and apologize.
- What?

To bring you into the cinema
through this disgusting meeting.

It's the sewers.
It's not like that all the time.

No, I don't think anything.

It was very informative. It was
my pleasure to be able to help you.

You know, also... I thought about it.

I think this logbook is a good idea.

This shoot is going to be a real
hassle, a hassle without a name.

Maybe even my last film.

I would love to keep track.

Would you be interested in doing that?

What? A making of?

- Perhaps more than a making of.
- Isn't there already someone doing this?

- Yes, a draw, a piston.
- I'm going to give him the role of a worker.

He'll be happy to be an actor
and hang out with one more.

So you would agree?

Severe. Yeah, yeah, yeah, absolutely.

You will have to be there every day.

You do not work?

- Yes, at the restaurant with my sister.
- But I will make arrangements with her.

See you at 9 a.m. tomorrow morning.

- Great, tomorrow, 9 a.m., I'll be there.
- You can count on me.

Thanks thanks.

See you tomorrow.

He blows.

Ah, holy shit.

- What are you doing, it’s not ready?
- They burned. I raise.

You arrive two hours late
and you do something stupid?

I had an important call.

The director wants me to
go back to do the making of.

- The what?
- The making of, the film about the film.

- Do you know how to do that?
- It's not complicated. You film everything.

- Are you going to go there every day?
- Yes, it's every day.

- Didn't you say you couldn't?
- No, you're crazy.

- For what?
- I absolutely want to do this!

Of course I'm going to do it.
I will never say no!

How am I doing here without you?

Ludo will do lunchtimes
and I will do evenings.

- No, we don't have the means.
- I'll give him some cash.

Cash? What cash?

- What I will earn on the set!
- Let me concentrate!

As a priority, we had to prevent them
from taking the machine to Poland.

We did it.

How we did it!

Congratulations to all of
you because you were heroic.

Now the real question,

it's knowing...

Do we decide to go even further together?

Do we decide to take over the factory?

And become our own bosses?

Take your time.

Because if that's the case,

there will be sacrifices.

There will be no salary.

For a while, you won't see your families.

The fight will be long. There
will be no gifts from the bosses.

On the other hand, one thing is certain.

This is my belief.

If we all stay together,
if we all stay united,

if we stand together,

we will win in the end.

So who agrees, here,

to do a SCOP?

Who agrees here?

To take over the factory
under self-management?

Hi.

- Oh, Simon. It's a pleasure to see you.
- How are you?

- I'm with Viviane.
- She can't reach you.

- Hi.
- Ah, hello, Viviane.

Okay then, how is it going?

Well it's going. We are going forward.

Have you found a buyer?

- No. For what?
- Because we are attacking

the third week, that I spend way too

much and that I have
to make decisions now.

- Don't worry.
- A guy looks very hung up.

We attack the negotiations on Monday.

- You said that last week.
- It is the same?

No, it's true this time.

Wait, wasn't that true, the other one?

No, yes, yes.

Yes, but I mean, it's that...

With him, I am closer to conclusion.

OK, and if he doesn't come, what do we do?

At worst, I have a
media group from Qatar.

- What is this story again?
- I couldn't talk to you about it.

These are the guys I
met at the Berlin festival.

They are very interested in
entering production in France.

With them, we won't be bothered
by the subtleties of the scenario.

They don't understand a word of French.
You don't bile.

In 15 days, it will be fixed.

- 15 days?
- It does not make any sense!

In 15 days, we will almost
have finished filming.

- No, but 15 days...
- That's a way of speaking.

I am late. A taxi is waiting for me.
I have a meeting.

A meeting at 7 a.m., in a dressing gown?

He's got nothing, he's bluffing.

You're sure?

- Yes, 100% sure.
- I know it by heart.

- I'm not fine?
- No, it's not okay.

- Where are your medications?
- I have more.

Oh shit!

Simon doesn't feel well.
Anyone have Lexomil? Lithium?

- Cognac?
- Apart from coke, I have nothing.

Does that mean we're not filming?

Anyone have anything?

Until now, we've protected
you, but it's no longer possible.

15 days ago, the
main financier let us go.

We lost a million euros
and we couldn't find a buyer.

We have to lower the cost of filming,
otherwise we won't make it to the end.

We're not going to find everything on
our own. Without you, we won't make it.

I won't touch the salaries, I promise.

But we will no longer be
able to pay the surcharges:

more hours of transportation,
night shifts and more overtime.

We are going to put as many people as
possible in lodges, holiday villages, etc.

Finally, you will have a choice.

The first question is
for the post managers.

Do you agree to continue
despite the conditions?

- Of course.
- You're taking us hostage a bit.

We do, but our teams, after...

The second question concerns your teams.

Do you think they will play the game?

- I'll talk to them.
- A priori, it's good.

Except for the head guy maybe.

Under these conditions,
would he volunteer to leave?

- You have to check with him.
- If he leaves, I need one as good.

Yes, but we will find that.

- And you?
- Well me, my team,

we quickly went around.

My boom operator, as long as she
has to drink and smoke, she doesn't care.

Little laughs - There
are no problems for us.

- And you, in the decoration?
- There won't be any problem.

They are happy to be there.
They love Simon, the project.

They will make the necessary efforts.

Would anyone volunteer to leave?

- How so?
- I need to lighten up

payroll. They are under contract.

I can't fire them.
Volunteers are needed.

- For what?
- They are happy to be there.

It's not just you. Overall,

take a look at your teams

to see the volunteers to leave the shoot.

But who do we replace them with?

- We can't replace them!
- I am reducing the payroll.

But who does the work?

At worst, we take local guys.

Local guys?

Well yes, local guys
who come to Pôle Emploi.

The famous “local guys”.

And the actors will
make an effort too? Are

you going to put them in a private home?

- Alain already almost lives with Jeff.
- Not false.

We will ask them

- to make the same efforts.
- What does it mean?

They will be asked to
contribute part of their fee.

We'll call the officers.

- We are taking care of it.
- Yeah.

We agree that all this holds if no one

throws us into the labor inspectorate.

Okay, is it over?

So we have to promise
to work more overtime.

Simon, can you commit to it

now that they are paid more?

- What do you think?
- I think

that as it stands, it's
impossible to get involved.

The days are packed. I no longer
have any social security anywhere.

- We have to cut the script.
- Yeah.

The cemetery scene?

Yes.

- Yes, no problem.
- Haven't we cut it for a long time?

Simon handed it over just before filming.

- She's not on the work surface.
- We decided to shoot it on the fly.

- That changes nothing.
- It's not a cut.

We need to lighten the work surface.

- Shall we cut it?
- No, that doesn't make it any easier.

Yes, yes, we cut it! Simon, stop.

- Can we get serious about it?
- I'm serious.

What do you think of the cemetery scene?

- Me?
- Yes.

- What do I really think about it?
- Yes, for real.

I find her weird.

Cheloue? Can you expand?

Well weird, in the sense...

I don't find it in the spirit of the film.

It's important that he talks to his father.

- I didn't need it.
- I understood without.

- It's not a matter of understanding.
- It's a feeling, a metaphor.

It's the end of a world.
They bury their illusions.

Interesting, but we're the
ones burying ourselves.

So can we get back to it?

So, the scene of Jim and Oudia in

the car, when they go to the bank.

Can't you go straight to the bank?

OK, but where do we put the dialogue?

You cut it or at the bank when
they are waiting for the appointment.

- Good idea.
- The car scene,

This is a big saving in filming time.

Yes OK.

Why don't we fire this bank scene?

It's not particularly sexy, two

clamps sitting opposite a guy in a tie.

They can tell this to others

- in the next scene.
- But no!

Big capital slams
the door in their faces.

You have to be with them.
This is the heart of the film.

This is the beginning of their
rapprochement. Isn't that important?

That of collection at the supermarket?

Yes, that's a good saving.

- Yes, that's good.
- No, that's a shame.

You don't want to cut anything.

- But if!
- So what?

What scenes?

When the lawyer explains to them
about the SCOP, self-management...

- It's a bit long.
- It's a tunnel.

It's unbeatable.
I never understood anything.

Did you understand anything?

- I know about labor law.
- If I don't understand anything,

who will understand?

I can't concentrate,
I'm going to watch it

alone this evening in
my hotel room, that's it.

Piss off.
They all suck, don't give a damn.

Management refuses to include
your takeover project in the

negotiations and the courts have
even validated their social plan.

- No, you're wrong, Mansour!
- It's not me who abuses.

I am retired.

I could be in the South,
under the palm trees.

But I'm here for you.

You're not messing with me,
but with these asshole bosses.

They seek to exhaust us.

It's dead, they're never
going to let go of this factory.

- Nothing is lost.
- We will appeal this decision.

How long will the call last?

- Hard to say.
- It can be up to six months.

Wait, wait, wait.

Six months without pay?
Are you kidding? This is madness.

- That's how strikes are.
- We wait and we fight.

We can no longer be patient.

We are all caught by the throat.

Sorry, but Marie and I
won't be able to hold on.

There are two of us working here.

We have no salary coming in, nothing.

We have the credits, the
bills, the house, the car.

We can't get out of this, it's
impossible. Another month

like this, and we end up
on the street with our kids.

I'm at the bottom of the hole now.

Really, you're all blowing my mind here.

It's crazy what you're doing there.
Did we do all this for that?

- Concretely...
- No, two seconds. Let me finish.

Look me in the eyes.
Did we take the factory for nothing?

Prevented the machine
from leaving for nothing?

We suffered surveillance, we

suffered violence, false promises

to stop now like this?

Don't break down now.

Because there, you
don't see that they are...

There, they are doing everything
to make us let go of the factory.

They take us where they want.

- Concretely, what do we do?
- What are we doing?

We're talking about families who are going
to be on the street, that's not nothing.

We're talking about
children who need to eat.

- I'm talking about holding on.
- And me, to eat.

Everyone is in the same problem.

If we are not able to hold it there,
we will never hold the factory.

We've been here since the beginning.

- You have to go to the end, accept it.
- Obviously.

Guys, I'm telling you... Just

something to stop the dreams, all that:

That’s what being a boss is all about.

- Being a boss means assuming risks.
- But stop, stop!

You mix everything up.
We all take risks.

Yes!

We don't need a lesson
at all, thank you, it's okay.

We need to find a more equitable

system that allows everyone to survive.

We have to put everything
together: the prize pools, the aid...

Those who have children
should receive more.

Those who have a spouse who
works outside the home, a little less.

When we run the factory,
we will operate the same way.

We will not withdraw wages
from sick people, we will

distribute overtime
according to everyone's needs,

- we will take the risks together.
- YEAH!

We are going to become free workers!

More united!

Cut! Cut!

It makes no sense.

Why are you cutting? It was great.

- Everyone improvises.
- We're not finished.

We don't improvise. The scenario?

Can you pass me your script?

We don't improvise at all.

Alain, we say exactly what is written.

- It's not the Bible either.
- Frankly, we're not exactly sure of the word.

It's not the Bible, but it was very good.

No. The only good thing is
Mansour who has cool things to say.

But when Nadia takes
the lead, I don't believe it.

- We did dozens of readings.
- We agreed.

But it's not the readings!

We are in the real site,
with the real workers.

We're exhausted like them.
For me, it's real.

It's not chicanery, what I do.
My character is an asshole.

I'm an asshole who yells at everyone.

And I'm sorry, Jeff, I'm
not doing you justice.

What do you want?

That I frame you all the time?
Be alone?

- It's not an ego thing.
- No, of course.

- Nothing to see.
- I am 100% in your film.

I saw it from the inside
from the beginning!

In this case, you would know that it is a

collective story, that
you must let others exist.

- Yes or no?
- You can't say that to me!

It's me who's talking
to you about collective.

Reality, yes okay, but we make cinema.

You have to get people,
the public, on board.

For the moment, I'm not on board.
Are you?

Are you on board?

Tell me, are you on board?

Who is on board? Are you on board?

You are not. Everyone is pissed off.

- That's reality.
- But no one gets pissed off.

- Yes.
- I say if we get pissed off.

- I'll tell you calmly.
- The public will not understand.

He's not going to understand
that I'm being run over like shit.

Give me a sentence,
so I can counterattack.

Pardon? Oh no, no.

Simon, that's enough.

You don't give in.
Not a little sentence in two takes.

You know it's going to become a
monologue and in the end he'll be alone.

You know it, Simon. Let me exist.

- She doesn't care about the movie.
- Shut your mouth. Farm...

Shut up!

Stop pretending you're
defending the film, workers!

In reality, it’s only your
face that interests you!

You might be a big star, well done,

but above all you are
a huge son of a bitch!

You're a piece of shit!

- Fuck...
- Simon, I tell you,

I really hope you filmed it,
because it was exceptional.

Nadia, that's all we're asking you to do.

Why don't you do it?
She's drooling, she's crying.

Whore!

- You recorded...
- Are you really leaving?

Are you leaving? Whore! Well

listen, it's settled, if she's gone.

Nadia, open me, please.

I'm sorry. This filming is a mess.

I have too much going on in my
head, I have too much pressure.

Open me.

It's better if we talk to
each other inside, right?

Well, Nadia, from now
on, things will change.

We will prepare well for the days.
We will make arrangements.

Eh?

We'll stop the nonsense, I promise.

Nadia.

Nadia, I have the whole
team here, on my back, eh.

I have pressure on wheat, all that.

You can't crash a
day right in the middle.

It's not possible, we don't have the means.
Do you understand that?

You get out of your fucking
cabin or not, I don't give a damn!

Workers, bosses,
technicians, you piss me off!

So get over it, I'm out, end of the day.

Wait, Simon! What are you doing?

- I'm going back to the hotel.
- How?

- Walk.
- Ah good?

Nadia?

You find me Nadia.
She's not in her dressing room.

I'm catching up with Simon.

Simon, wait!

- Nadia!
- Nadia, oh oh!

Nadia!

Nadia!

Nadia!

Nadia!

Oh, Nadia!

Nadia, where are you?

Nadia!

Nadia!

I leave you?

No, please stay.

Don't you have a cigarette?

No, sorry.

What does Simon say?

- Is he mad with rage?
- He returned to the hotel.

Oh, damn, that's not true...

But it's horrible.
Why am I doing this to him?

- He must hate me there.
- No do not worry.

In this game, Alain beats
you by a wide margin.

- He drives me crazy.
- I want him to die.

I dreamed of it so much,
to have a role like that.

I struggled for years over this
and it ruins everything for me.

- He spoils nothing at all.
- You're going to be great.

You said out loud what
everyone is thinking.

You are going to become
the heroine of this shoot.

- Can I ask you a question?
- Something intrigues me.

How do you go from extra
to director of the making of?

- I didn't do anything special.
- It's a stroke of luck.

I signed up as an extra
to give my script to Simon.

- Did you write a screenplay?
- Do you want to make films?

Yeah, since I was little.

I think about it, I watch
movies all the time.

I take the lead on everyone.
People make fun of me, but I believe in it.

Have you ever tried anything?

Yes, I went to Nantes after my

baccalaureate to study cinema.

It was rotten.
There were only hassle plans.

I wanted to go to Paris.

My father fell ill.
They left with my mother.

My sister found herself alone at
the restaurant. I had to help him.

I've been stuck there ever since.

For you, it's a movie set.
For me, it's my whole life.

There, that's where I grew up.

There, that's where I went to school.

- And that, the big tower, there...
- Mmh?

This is where I live now.

Do you see the factory from where you live?

Hmm.

It's okay, you're saved.
Everyone packs up.

- Can we wait a bit?
- I don't want to meet anyone.

How do you get back to the hotel?

Don't you have a motorbike?

Wow.

I don't want to go back to the hotel.

- What?
- I don't want to go back to the hotel!

It happened right there.

At first, they were arguing
over a cell phone thing.

And they started
arguing louder and louder.

My friend pretended to leave,

then he came back and threw a stone.

Except it hit the other guy in the head.

He collapsed to the ground.

There was blood everywhere.
I told my friend to get out.

I called the fire brigade.
I tried to take care of the other guy.

But he died before help arrived.

In the months that
followed, I stayed with

my friend and told
him it wasn't his fault,

that he had nothing to feel guilty
about, that it was an accident.

He didn't want to know anything.

He started to...

doing little stupid things,
bigger and bigger stupid things.

He got caught a first

time, a second time,

until they put him in jail.

And there he hanged himself in his cell.

Is that your scenario?

Yes.

Finally, I changed.

I wrote that it was his
girlfriend who was with him.

I would love for you to play that role.

And how is your film going?

- The technicians are angry.
- The actors do anything.

Me, I try to cut from my scenario.

I can't do it.

It's a nightmare.

I wonder if I'm going to call the

studio back and shoot their ending.

You are incapable of
it. You are incapable

of making the slightest concession.

Dad, what's the end of the studio?

It's a completely new happy ending.

That's great. We're fed up with
these depressing French films.

Make action movies with hot chicks.

That makes you laugh?

I want to see your action
movies with hot chicks.

You're the only really good girl I know.

It's the best compliment
you've ever given me.

- I have more pills.
- Will you send me a prescription by email?

No, that won't work.

But I'll have it sent to
you from the hospital.

What if you came and
brought it to me yourself?

I only have to go, 400
kilometers for a prescription.

- Oh yes, what do you have to do?
- Do you have a lover?

- If only...
- Ah!

Come on, throw out the file, kids.

Who is mom's lover? A family friend?

Please, aren't you going to start again?

It concerns you a little, though.

No, but honestly, you're really heavy.

You're really heavy.

Hey, no! The plates.

- Stop eating in your room!
- Stopped!

I have to go see some friends.
Kisses I love you.

No, your plate!

No, I have to hurry.

- I find them strange.
- Who?

The children. They don't tell me anything.

Well, you have to say, you're
not very interested in them.

You're freezing.

It's horrible.

Everything can't end like that.
Nothing existed?

Our exchanges, our
conversations, our feelings...

Love, what.

Was it all lies?

- Will you stop?
- But no, it wasn't lies.

- Why are we separating?
- But stop saying...

I don't want to have this conversation
through a screen anymore!

You come in and we talk. Stopped!

Simon?

- (Shh!)
- Listen, I'm with you.

I want you to know that I am your ally.

We are not far from truly creating
a little masterpiece, a little gem.

I'm behind you.

At any time, whenever you want, wherever
you want, we can talk to each other.

Don't hesitate to ask me.

Because I am your
associate, I am your partner.

I've never been offered a role like that.

The shower water is running.

Ah, are you in the shower?

OK, well listen, I'll come
back in ten minutes.

Nadia, it's... It's Alain.

Look, I wanted to apologize
for earlier, I really do.

Because I was a shit, that's it.
I was a real shit.

I am ashamed. I should never
have talked to you like that.

And there is nothing on
the planet that justifies

speaking like that to
another human being.

So I sincerely want to apologize.

And really, I really
want us to make peace.

Already, it is important for us.

This is also important for the film.
We have to believe in this love story.

“Are you telling me like that?
Are you leaving me?

"Honestly, you're... It's disgusting."

“We no longer exist for you.
It’s just the factory.”

“You know very well that it’s not true!

“I think about you, all the time.
I think about us.

“If I was alone, I wouldn’t give
a damn about going to Poland.”

“If this continues, you
will lose everything.”

“But what? What am I going to lose?

"I'm not going to lose anything at all.
I haven't lost the factory."

"You do not understand."

"What? What don't I understand?"

“In any case, we didn’t
lose the factory, far from it.

"Stop with that! You're finishing me off."

- Damn, did you see the time?
- Do you want to fuck?

No, I want to work.

- No, you're annoying.
- Make me work on my text.

It sounds.

- Hi. How are you?
- What do you want?

- Is Jeff there?
- Yeah.

- Great.
- We have to rehearse tomorrow's scene.

I won't stay long. She breathes.

For weeks I have been fighting for

you, fighting for you, for our children.

And you tell me that
you're leaving me like that?

Frankly, it's disgusting.

We no longer exist. It's just the factory.

- No, I forbid you from saying that!
- All right? It's wrong!

I think of you every day!

I want us to be able
to stay here together!

Alone, I wouldn't care about
going to the depths of Europe.

If it continues like this,
you will lose everything.

No, don't say things you don't know.

I haven't lost the plant yet.

- You really don't understand anything.
- So what?

What don't I understand? What?

- It's over.
- I want more, I can more.

But what do you want? You want to kill me?

Do not leave me.
Without you I am nothing.

- Holy shit!
- OK, OK, OK!

- Wow!
- They laugh.

- It was not bad. What do you think?
- Honestly?

- Yeah.
- Do you have to shout all the time?

- But of course.
- Damn, you're right a thousand times over.

I need to make it more interior.

It will be more impactful.
Of course, obviously.

- He screams.
- Can you make less noise?

- The children are trying to sleep upstairs!
- I'm sorry.

That's what we told ourselves.

I'm going to make it less shouty,
more interior. It will be straighter.

You don't want to give me the answer?
We ring the bell.

We are at a stage...

What the hell is this again?

I'm sorry, I hope I won't bother you.

I would like to speak to Jeff quickly.

- He is in the kitchen with Alain.
- Shit.

- I've been looking for you for two hours.
- Where were you?

- I am here.
- But it is okay?

Yes, I am fine. Good evening, Jeff.

Hi. Do you want to drink something?

No, please.

I want to talk to you
about something important.

I'm listening to you.

Yes, go ahead, we'll listen to you.

I'm on the verge of shooting
the end of the studio.

What is their end?

All's well that ends well:
the factory is not relocated,

the workers take it back
under self-management.

- That's what we wanted.
- Yes.

- Why not.
- If it can give people hope,

- maybe it's not so bad.
- What do you think?

I prefer that the film tells
what really happened.

But if you decide to change
the ending, I'm with you.

- And the others?
- They'll follow you too, don't worry.

- THANKS.
- Please.

I go. Well see you tomorrow.

- Wait, Simon.
- Are you two serious?

- What?
- Do not do that. No I am sorry.

We're not going to be
defeated by two assholes who

know nothing about cinema
or the lives of workers.

I'm sorry, you don't move a line.
You don't change anything.

It's a fucking tragedy
that you wrote, and it's

a fucking tragedy
that we're going to film.

Today, are you OK to tell me real things?

You asked me to talk about myself and my

work. It's not that
simple but hey, I'll try

to be honest, even if I don't really know

what the word "honest" means anymore.

You're the one who asked
me to take your portrait!

Yes, that is right.

But actually, it's quite
difficult to talk about yourself.

Does it still make sense
to talk about workers today?

When I think about my script,

I'm a bit like my main character.

I am the captain of a drifting boat.

I carry my project like a burden.

And I feel alone, often alone.

But this solitude is part
of the contract. I accept it.

Now I accept it.

Help me, instead of filming.

- No, keep filming.
- That's the truth.

On my first films, I had the same dream.

I arrived on set in the morning.
There was no one, nowhere.

In the dressing rooms, on the set...

And I was shouting, "Where
are you? Where are you?"

And it was so scary that it woke me up.

Is that your making of?

- Yeah.
- Finally, this is a first version.

It makes no sense.

How so?

No, but I mean, you don't put any
images of the team, of the filming.

- It's normal.
- I'm more of a filmmaker's portrait.

But you can't just show that.

Why not?

Well, that’s not what filming is!

Oh well yes, sorry.

It is the solitude of a director,
his fight against others.

But no not at all.

He is a conductor, a leader of a troop.

No, he's a single man.

- What are you talking about?
- Take a little interest in others.

Lots of people feed the director's story.

Open your eyes.

Aurélie the canteen lady,
have you spoken to her?

She has an incredible life.

Or Jeff. He's a brilliant guy.
It's deep.

Or the goalkeeper.
Fortunately he was there.

He saved my life, opened
the roof door for me...

And you can continue.
A film is a collective adventure.

It's a naive thought.

A guard, a canteen, an
actor, you can change him.

We are not just puppets in
the hands of the great creator.

Sorry, if you don't
have the director and the

script, you're nothing
and you stay at home.

Well, I'm going to leave.

She opens the door then closes it.

- Where are you going?
- I'm going back to the hotel.

- Wait, I'll take you back.
- I'm going to take a taxi.

- There's no taxi here.
- I'll call one.

We are not in the center of Paris.

Do you think I've always
lived in the center of Paris?

Wait, stay a little longer.

I'll cook something for you.

We have a drink and
then I'll take you back.

I...

I've got a boyfriend. Sorry, I can't.

OK sorry.

I did not know.
Don't think I'm taking advantage of...

Shut up.

So, who is your lover?

Is he a famous actor?

No.

He's a guy from my neighborhood.
We've been together since high school.

- Ah yes, so it's a big story.
- Yeah.

Especially long.

It never ends.

I tried to leave him, but I couldn't.

I'm too attached to him.

Too much experience is...

It is complicated.

- Hi.
- Hi.

Sorry, I'm late.

So, day 24?

- Day 24: the team is exhausted.
- All zombies.

I feel better.

I think for the first time that we are
going to make it to the end of this film.

And what's more, thanks to my insomnia,

I read a very good script last night.

Ah good? What was it about?

From a young guy who
lives in a city near here.

Have you read my script?

Yeah.

Non-stop, in one go.

I loved.

I even felt a pang of jealousy.

The jealousy of the guy who feels finished.

Direct, simple, sincere.
Anything I'm no longer capable of doing.

It's about my best friend.

We had to make films together.
He let me go.

Did he leave you?

Well he committed suicide.

- Oh yes? As in the scenario.
- Mmh mmh.

You're right to hold on.

You will make this film.
And you'll do more, you're made for that.

Radio video ringtone

...

Oh.

It's not too early. I left you I
don’t know how many messages!

- Sorry, I was really bad.
- I had heart tests done.

Ah good? And are you okay?

- Yes, it's okay, don't worry.
- Are you with Simon?

- We're not sleeping together yet.
- For what?

- Nobody wants the film.
- I'm not going to be able to refinance.

The crates are empty.
I am banned from banking.

Ask the team to finish
without being paid.

But are you serious?

Yes, I have no other solutions.

And Simon knows about it?

No.

Tell him, you. He'll take it better.

- Never ever.
- I'm not going to say anything.

Get on the train and
come talk to everyone.

I'll check the train timetable
and let you know when I arrive.

Well, tomorrow it's
the industrial tribunal.

This will be the moment of truth.

You will pass in front of
the bosses one by one and

they will try to intimidate
you, to destabilize you

and to make you fall in love
by all means, and for that...

They are going to increase premiums again.

They would be ready to
go up to 100,000 euros.

Whispers of astonishment

To continue, we need to count ourselves.

Who leaves by taking the bonus?

Be brave.

At least be honest, guys.

We didn't fight all this to be honest.

So who will take the bonus? Say it.

Mehdi and I will take it.

We did our calculations.
Between two, that’s 200,000 euros.

That leaves us enough
to repay our debts, put

some money aside and
start a small business.

OK.

Good luck with your little business.
Who else?

I'm going to take it too.

OK. Who else?

I'm going to take it too.

I don't believe it anymore.

It's doomed to failure.

I take it.

100K is not nothing.

I'm going on vacation,
I'm working for six months.

Yellow laughs

You're right, laugh, it's funny.

I'm going to take it too.

- Do you take it?
- Yes.

I'm two years from retirement,
and I'm tired of fighting.

I'm tired.

Okay, who else, guys? Come on.

Well that's it, guys, then.

What do you want me to tell you?

Well done. Congratulations to all.

They won.

By accepting the
bounties, you finish us off.

I tell you, and Mansour...

if you can press, at 30, they
will never let us have the factory.

- You know that very well.
- Understand us.

- No no no.
- It's huge for us!

I want you to understand something.

- What do you believe?
- We do what we can.

As we can of what?

You fall for 100,000 balls!

We fought for months for this factory!

- You have no right to make us feel guilty.
- It's disgusting!

Don't tell me I don't have the right.

I'm telling you the truth,
you don't want to hear it.

I understand.

But that's the truth, what I'm saying.

So we fought months
for nothing, and I tell you,

those who accept the
bonuses are collaborators.

They're cowards.

And that's the truth too.

Damn, can you hear yourself?

How you break our balls!
It's incredible.

- Shall I break your balls?
- Yeah!

Is that all you have to tell me?
I've been here for days!

Let me watch, day and night!

To save the factory!
Should I break your balls?

Find arguments.
You're shitting on my face.

You don't realize how much
pressure you're putting on us.

It's impressive. We get rid
of one boss, we get another.

That wasn't the point of the game.

- Am I the problem?
- Of course it's you.

Do you think that too?

Yes.

Am I the problem?

Good news: there are no more problems.
I'm breaking.

Hey, get over it.

Frankly, you are being unfair.

It's thanks to him if we are here today.

If management increases your
bonuses, it will also be thanks to him.

You'll think about it
when your ass is warm.

You're getting us drunk!

It's dictatorship!
You are worse than them.

- What do you want?
- But you're annoying me!

Go ahead, start your little business.
What will you become?

Small bosses in a commercial

area with the banks behind them.

Shut your big mouth!

Are you really going to leave?

Isn't that a joke?

Jim, without you, it's over.

There's nothing left.

I'm tired.

My wife left me. I see my children more.

I want to sit in front of
the TV, think about nothing.

Stopped.

You have no right to do that.

For you.

For everyone. You don't
have the right to leave us now.

(Please.)

(Stay.)

Cut.

Gorgeous.

Show me the project.

- He's in the field.
- Do you have much longer?

You seem to like kissing him.

Are you serious?

I'm just doing my job.

What are you looking for there?

- I'm not looking for anything.
- Yes, go ahead and say.

What's the matter?

You've been avoiding me for two
days, we haven't seen each other.

We spend more evenings together.
I wonder what's going on.

My boyfriend is here.

He's like a phew, he smells something.
He won't let me go, I'm sorry.

Come on, you have to go.

Nadia, excuse me. We are ready.

- Yeah, I'm coming.
- THANKS.

We'll meet in my dressing
room at the end of the day.

- Great, Nadia is here.
- We'll be able to get back in place.

Small quick connectors.

- Camera is rolling, announce.
- 62/2, first.

It's over.

- Listen...
- They laugh.

You don't have the right to let go of us.

Pardon.

- Just go.
- Come on.

I'm tired.

- Let's hurry.
- We don't have two days.

Wait, it's a disaster.

Whore!

Stop, no but...

We suck.

- Please stay inside.
- We'll get started straight away.

Where are you? I didn't
see you on the platform.

I'm parked in a double line.
I'll wait for you on the bridge.

Don't tell me you didn't take the train!

You really are a son of a bitch!

Yes hello. Is Michel with you?

Yes, he was on the set. I
thought he left again this morning?

Oh.

Okay, I'm sorry, I have to leave you.

Hi, it's Viviane. Pass me Michel.

Don't worry, he's with you!
Pass it to me!

Stop now! He's definitely with you!

Damn, you're all pissing me off!

- Excuse me. Where is Nadia?
- She returned to the hotel.

“Hasta siempre” (Carlos Puebla)

- Nadia, it's Joseph.
- I'm downstairs, in the decorating department.

I am waiting for you.

We sing “Hasta siempre”.

Sorry, sorry.

Can you stop playing, please?

I won't interrupt you for long.

Can you go get the whole team?
I have to talk to them.

OK.

Come closer, please.
Viviane wants to talk to you.

Hey, people in the back, come on!

Please come.
Viviane has something to tell us.

Sorry to interrupt your little party.

We don't have long.

We have an important decision to make for

tomorrow morning and
the rest of the filming.

So, the situation is as follows:

the accounts are
blocked, the cash registers

empty and I no longer
have any way of paying you.

What are you trying to tell us?

Either we finish the film without being
paid, or we go home tomorrow morning.

I know, saying it like
that is a bit harsh, but we

have no other choice. This
is a case of force majeure.

Does this also concern this

week that we haven't touched yet?

- You don't understand.
- There's nothing left.

I can't get a round out anymore.

- Two weeks free, like?
- We have guarantees

- to touch them one day?
- No None.

Marquez has disappeared into thin air.
I'm all alone to manage.

It's blackmail.

- No!
- It's disgusting!

- It's the truth.
- I'm like you, me. I'm naked.

So who is OK with finishing
the movie without getting paid?

Big salaries can work.

But there are plenty of people who

can't afford to lose two weeks' pay.

No no no.

I don't work for free, on principle.

Me neither. My assistant was
already fired two weeks ago.

- I'm not a volunteer.
- There you see.

We understand all of that and
we respect each other’s positions.

But we have to make a decision now.

So I suggest we vote.

You're grabbing us by the throat!

Give us time to talk about it.

If we want to shoot tomorrow morning,
we have to make a decision this evening.

- Simon, don't you say anything?
- Do you have anything to tell us?

- What do you want me to say?
- I want to finish.

But I can't force anyone.

I continue, Simon.

You asshole, go!

Ass lick! He's an asshole.

We finish too.

- The ass lickers club.
- We're not going to spend the evening there.

- Who is OK to continue for free?
- No!

- We continue.
- We understand.

Okay, two, three, four,
five, six, seven, eight.

It's settled, we'll stop tonight.

Are you kidding or what?

We've been getting high for weeks.
We're not going to stop!

And the workers, who is going to tell
them that it's over tomorrow morning?

This is the second time they
have found themselves on the floor.

- Do you assume?
- What is this guilt?

- It's not guilt.
- If.

We are like the workers.
We're getting screwed.

Who will announce what to whom?

You're going to tell them.
No I do not know.

He is right. What you
are doing, Simon, is

as disgusting as what you are denouncing.

Stop, stop, let's stop the discussion.

Sorry, we should never
have asked you that.

We'll stop and resume
when we can pay you.

- Well, there you go!
- THANKS.

Aren't you ashamed to
compare yourself to workers?

Are you measuring your luck?
I joined the factory at 16.

I didn't earn the 1200 bucks per week.

I got high to leave this life, I bought

my canteen, made unpaid films,

and we don't care because
we are lucky to be there.

She's right.

- Are we artists or not?
- Yeah, you're an artist.

I carry heavy stuff. My back is broken.

No one ever asks me for my opinion.
It doesn't matter.

But stop with the stupid speeches.

- You are fools, I tell you.
- All.

I am also part of this film.
I can speak?

You are sabotaging a great film.

You are all fools.

You don't stop a film for two weeks' pay.

You are preventing an
artist from making his film.

- You're crazy.
- Two weeks, what planet are you on?

It's huge, two weeks.

Give your stamp.

Do you want to know how much I get paid?

I get paid in participation, buddy.

If the film hits zero
balls, I hit zero balls.

- I work for free.
- Oh sorry!

But how are you?
You're going to make me cry.

You take one plate per film.

He can't afford a drink. Cheap!

Go ahead, pay our salaries.
Don't come and lecture me.

- I paid for it!
- Don't lecture me.

- What are you talking about?
- Shut your mouth.

- Pardon? What are you talking to me about?
- Shut your mouth.

- You don't tell me "shut up".
- You're a little pest.

Stop, oh!

And you, stop with your shitty camera!

We're not in some stupid reality TV!

Blow You piss off!

You're all pissing off
with your stupid speeches!

You piss off! Cut

I'm going to report you
to the industrial tribunal!

He's crazy.

Moaning in pain

I'm sorry.

No, don't worry, it's okay.

Another stupid idea, this making of.

It may be the only film left.

- You think?
- He said it, everything stops tonight.

- Is that what you said?
- That's what I said.

It can't stop with a week to go.

There is definitely a solution.
You will find.

Yes, there is a solution.

How are you?

- Give away your car keys.
- For what?

- I'm going back to Paris.
- I need to talk to my wife.

No, that's out of the question.

I want to convince the team to finish.
You have to be there.

- I go back and forth in the night.
- I will be there tomorrow.

Look at your condition. There's no
way you're going to hit the road alone.

Or you go with him.

I don't have my car license.

- Okay, you're fired.
- I am a volunteer.

- Like us.
- I'm going to find someone

to take you.

(-Oh fuck...)

Did you see that you were
overtaken by all the cars?

At this rate, we won't arrive for 3 days.

Okay, stop. I can't take it anymore.

- Or?
- On the emergency lane.

- There, here? But it's forbidden.
- I ask you any questions?

Stop.

Push yourself, come on, get out.

Come on.

(-What are you doing?)
(-What are you doing?

(Everything goes wrong. Filming stops.)

- What?
- The film ends tonight, it's over!

(-It's not okay!) (-I can't stand
seeing you locked up anymore.)

(I want to scream.) (-I know, I know.)

(-No, please stop! Stop...)

- What is happening?
- We didn't ask you anything.

- What's wrong with him?
- Nothing. Go home.

- What's the story between you?
- You did not understand?

- Don't understand what?
- Shut up, you're not welcome.

- Do you have to repeat it?
- Let go.

- What's wrong with his head?
- He's drunk.

- What do you want from me?
- You're a drag, man!

- She doesn't dare tell you!
- I never said that! You're sick!

- Come on, come on.
- No, stop, stop! But stop!

You go into the room. Go home.

You get out. Go away.
Come on, come home!

Go home. Just go. Move, move!

Asshole, go!

Sorry, this is the last time.

I missed the date of my life.

How are you? We left you 20 messages.

- I'm here now.
- Did you hurt yourself?

- Wait, I'll look.
- Do not touch me!

I can’t wait for this filming to end.

- It's not going to end.
- What are you talking about?

- Pizza is not my life!
- I want to make films.

Stop, you're going to hit yourself.

- You've already tried.
- You always stopped me.

- We didn't stop anything at all.
- If!

You can't see any
further than this shitty life!

- Do you understand that or not?
- No, I don't understand.

- I don't understand why you're mean.
- I'm suffocating!

I'm suffocating! I can't
stand being here anymore!

I don't want to spend
my life like you, in this

fucking pizzeria! The
customers stop talking.

(-It's me.) (-What are you doing here?)

(-Are you okay?) (-Are you finished?)

- I'm just going back and forth.
- I came to see you, to talk to you.

I decided to call the studio
back and shoot their ending.

Why are you doing this?

Because I lost.

Big capital has won.

So you have to accept your defeat.

But that doesn't matter.

I let myself be eaten
up by this shoot, thinking

that things were going
to work out between us.

The more time passed, the more...

I feel like we were losing

each other, like I was losing you.

I do not want to lose you.

I want us to give each other one

last chance, to spend time together,

that we don't let ourselves
be invaded by cinema.

I could stop if you asked me.

I would never ask
you something like that.

It's your whole life.

No, my life is you.

It's you.

It's too late. We got lost.

It's finish.

I'm coming. Wait in the car.

- OK, but here we go.
- Yes.

- Do you want to drive?
- No, it's okay.

- Can I ask you a question?
- Yes, of course.

A question that has been
bothering me since the start of filming.

Whose son are you, actually?

How so?

Who pushed you to be on this film?

Person. I just submitted my CV to
production and they called me back.

You mean you're nobody's son?

Yes, I am my parents' son.

I'm not fine?

I'm not fine.

It's not OK at all.

Can you get out as soon
as you see a gas station?

- It doesn't matter.
- Sometimes people make mistakes.

- This is very serious.
- You can ruin a life like that.

But no. I'm really
happy to be in your film.

It's a great experience.

I had the lawyer.

We lost.

We must have vacated the factory
by tomorrow morning at the latest.

I have to tell the others.

Honestly, I don't know how to do it.

So that ends tomorrow, the story.

Yeah.

We're not going to let
ourselves die like that.

Eh?

Come on, come on, there's more.

Come on!

It's okay, that's enough.

Step back.

Machine motor

It's cut, thank you.

- Do you have everything?
- Yes.

It’s the end of the sequence, the
end of the day, the end of filming.

This was the workers' last plan.

Well done!

Well done, eh.

We always get there.

This time,

I really thought this
film would get to me.

No one can have your skin.

You're a lion, you. You are a phoenix.

Now you can tell me.

How did you find the money
so we could finish filming?

I did not do anything. You did everything.

I took advantage of your
hospitalization to put the film under

insurance and I scrounged 300,000
euros from the insurance companies.

You could end up however you wanted.
You're a genius.

You're the genius. The evil genius.

- Yeah, complain.
- You're going to make films for 20 years.

It is the last. I'll stop.

It ate me.

I'm at the end.

- Ah good?
- Yes Yes.

I want to take care of myself, my life.

Live.

Anything.

We can't stop cinema.
Person. We die on stage.

Have you calculated your
retirement points, out of curiosity?

You're stupid.

I won't give you six months
before I piss you off like a dead rat.

Cinema is a hard drug.

No, no, get out!

Should I take it all out?

If you don't tell me, I can't do it.

Oh, Joseph! Come come!

Man, everyone told me
you wrote a crazy script.

That's true?

- How old is your character?
- 18 years old.

- Age it a little.
- For what?

Because I'm playing it for you, buddy.

Take my number to production.
You call me.

- We're talking about it seriously.
- OK.

OK? Don't be shy.

- No OK.
- Come on, ciao.

Are you finished?

- Are you letting go of me?
- Yes.

- You're really pissed.
- Yeah.

- You will regret it.
- Kisses, ciao.

- Good life.
- Hey, go ahead!

You're right, park behind the bush.

Didn't you want to park behind the tree?

Yeah?

I was told you were leaving right away.

- I can't stay, sorry.
- I have to go.

I didn't want to not talk to
you again before you left.

You did well.

That's it, it's over.

- It feels weird.
- Mmh.

Do you know what you're going to do next?

I'm going to Paris, trying
to find work on film sets

- and find a producer for my film.
- Oh!

And do you know where to sleep?

People from the team
offered to help me out.

Don't hesitate, there's room at my place.

OK, I don't hesitate.

I'm sorry for the last time.
I don't know what came over me.

I left her.

1, 2, 3, come on, let's go down!