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THANK YOU FOR COMING

YOU HAVE TO COME AND SEE IT

Thanks so much for coming.

I'm going to end tonight
with a piece I composed

while we were in lockdown.

This piece is called ''Limbo''.

- It was good, wasn't it?
- Yeah, wasn't it? It was incredible.

Yeah, I really enjoyed it.

Thanks so much for telling us about it.

Yes, thanks so much.

When was the last time
we saw him here?

I was just wondering that,
I think it was three years ago, wasn't it?

- Three or four.
- Four.

Yes, because it was December
and you guys didn't know each other yet.

- Everything is so different now.
- Yes, you're right.

This whole time,
I've had a feeling like, I don't know...

Like Déjà vu?

No, no, it wasn't Déjà vu.

Déjà vu.

No, no. Something else.

- Here's your bill.
- Thank you.

- No, we'll get it.
- No.

- Yes, we'll get it.
- But, why?

You guys came up with the plan
and bought the tickets.

- It's only four glasses of wine.
- Thank you.

- Are you sure?
- I'm sure.

Okay.

- Do you have it?
- Yes.

We really felt like
doing something like this.

I don't need a receipt.

We shouldn't see
so little of each other.

- You've to come to us next time.
- You have to come and see it.

Yeah, yeah, sure.

When?

I don't know, whenever you want.

- Whenever you want.
- Of course.

We really aren't that far away.

I go back and forth almost every day.

Yeah...

How long does it take?

It's half an hour on the commuter train.

30 minutes from Atocha.

Ah, only half an hour.

And then the house is a ten-minute drive
from the station, it's hardly anything.

We can pick you up and everything.

Well, we'll have to go.

We definitely will.

Of course.

Either way, let's not wait
another year before seeing each other.

- A year? It hasn't been that long.
- I think it has, at least.

Since February.

It was March, we saw you guys for dinner
on the 7th of March.

You're right.

In Pandora, and we were joking around.

Yeah.

Nine months?

Yes, nine months.

What's up with you?

Well, it's not that bad, is it?

What's up?

Well, we weren't going to...

Were we?

- As you wish.
- We aren't telling people yet, but...

- Seriously?
- No way!

Seriously?

You knew or you'd guessed
or something.

Yeah, you're right,
it had crossed my mind.

Well, that's great, isn't it?

- Yeah. It's great!
- Or scary, I don't know anymore.

- Let's raise a toast.
- Of course.

They're pretty much empty,
but let's raise a toast to you.

Let's raise a toast to the baby,
to the house...

In the car we'd decided
we wouldn't say anything.

Well it seems as
if it was all planned...

- No, not at all.
- No, it wasn't planned.

No, honestly.

One thing has nothing
to do with the other.

I wanted to leave Madrid,
but I didn't...

It's not connected.

No, I wanted to leave Madrid, but I...

- Are you feeling okay?
- Yes.

I'm doing really well.

We're good.

- Congratulations!
- Thank you.

The unreal refers to life.

The world, the trees, the animals,
the countryside, the objects...

Is very real.

The unreal corresponds to how it is,
to the present, to the activity of being.

On the one hand what is uncertain.
Living still.

The slenderness of our presence

and the unstable and evanescent
nature of our relationship with others.

How superficial, enclosed or limited

our contact is
depending on the type of relationship.

If we add to this
the speed of doing and happening,

the result is the vertiginous
sliding of images, sensations, sounds...

The indifferent contiguity
of time forms part of the unreal.

Improvisation of the past.
The strangeness of the present.

How cold it is!

It'll be four or five degrees less
where they are.

And it doesn't take half an hour.
It's at least an hour and a half.

They said thirty minutes by train.

By train and then by car.

Damn, the garbage!

Shit!

I'll leave it open.

- Did you get it?
- Yes.

Are you still hungry?

We hardly had anything for dinner.

Are you okay?

Yes.

You've been left in limbo.

The thing is that
it doesn't interest me.

What?

It seems as if I'm supposed to feel guilty
for not doing what they're doing.

They hardly said that, did they?

They kept saying:
''You have to come and see it''.

Didn't they?

When someone insists that much
it's because it's not going to happen.

Don't you think having a kid,
with how the world is now, is a bit odd?

The world is how it is.

You find it all weird
because you don't see them.

And now you've seen them.

You don't realise how strange it is
until you see them again.

You realise that you've got used
to not seeing them.

YOU HAVE TO COME AND SEE IT

How's your friend Sloterdijk?

Good.

Ploughing through...

''The planet of the practising''.

''You must change your life''.

I like this city.

The buildings...

Even the ugly ones.

The tarmac...

The roundabouts...

I like the bollards...

The rubbish bins...

SIX MONTHS LATER

Let's move to the country

Let's move to the country

Just you and me

A goat and a monkey

A mule and a flea

Just move to the country just...

You and me

My travels are over

My travels are through

Let's move to the country just...

Me and you

Let's start a family

Let's have a baby

Or maybe two

YOU MUST CHANGE YOUR LIFE

Let's move to the country just...

Me and you

My travels are over
My travels are through

Let's move to the country just
Me and you

But we were in Atocha...

Well, I don't know,
instead of waiting...

I insisted,
because Elena didn't want,

but I insisted on getting the...

Yeah...

Yeah, I know you told us to get the C3,
which is direct...

But, the thing is just as...

We were waiting in Atocha

and I thought instead of waiting here,
why not make a bit of headway...

So we got the C10 to Villalba
to change on to the C3.

But we got on the C8
instead of the C3...

Well, because we're idiots.

Well, I'm the idiot,
Elena wanted to get the C3 from Atocha.

Yeah.

Yeah, well we're here in Alpedrete.

Yeah, okay.

Okay, so we'll wait for you
on the other side.

Not where the station house is,
the other side.

Okay, yeah.

Okay.

Yeah, yes.

Perfect.

Okay.

Yeah.

Okay, see you.

What did he say?

That we're to wait for him here,
but on the opposite side to the house.

He's in the car

and he'll be here in five minutes.

It won't be five minutes, but...

Well here it is.

Let's move to the country

Let's move to the country just...

You and me

Let's start a family

Let's have a baby

Or maybe two

It's Let's start.

- That's what I said.
- Let's start a family.

Let's.

- Let's...
- Star.

- Start.
- Star.

''Start'', not ''star''.

There they are.

Let's start.

I said ''let star”.

Star.

Let’s start.

That's it.

We should put our masks on, right?

He's not wearing one.

You have to go
everywhere by car here.

You have to do a lot by car
because you can't...

It's a long way if you have
to carry all of your shopping home.

But I like it,
there's something nice about it.

Over there there's a place
called Las Tinajas.

It has a really village vibe,
they serve a hundred meals a day.

It's always packed, but they cook
really well and the women are lovely.

That's great.

Do you go there a lot for lunch?

Yeah, occasionally.

This bar over here has great food.

It's run by this really nice guy
from Segovia.

It's very cool.

And over here is the bakery
I told you about

that makes really great coffee.

We go there a lot for breakfast.

This part is a bit nicer, isn't it?

Guillermo, have you
managed to make friends around here?

No, making friends here is fucking hard.

People have their lives here,
they have their houses, their gardens...

If you want to make friends here
you have to have kids,

so that the parents meet each other
at school, and...

What is he doing!

''Barlovento''.

This part is uglier, it's more industrial.

There are loads of
industrial estates.

Our place is over on the other side.

And is Susana okay?

Yeah, she's good.

She's really busy with the editorial.

She's working a lot.

She's really busy with things
that she shouldn't even be doing.

But, yeah, she's good.

- You made it!
- Hello, my lovely.

You look great, you know?

So do you.

- This is great!
- We made it.

We couldn't not come.

Put them in some water
because they're a bit...

They're lovely.

The entrance is lovely,
it's really unusual with the slate roof.

This was one of the first
to be built in this area.

- Come in.
- Welcome.

- Come in.
- Hello.

- Hello.
- How are you?

- Good.
- It smells great.

- He's cooking lamb.
- You like it, don't you?

- Of course.
- A suckling lamb.

Great. I'm going
to look at the lamb, I'll be right back..

Okay.

Wow.

- The house is quite something, isn't it?
- Yes, it's lovely.

- It was one of your relative's wasn't it?
- Yes, one of my father's brothers

who died a few years ago.

And well, my father and my aunt
had been sharing it.

But my aunt has moved away

and my dad has a new girlfriend
who isn't a big fan of the house,

so that was that.

Well, it has layers, lives...
It's good.

- I love the house.
- Guille loved it from day one.

In fact he was the one
who convinced me to come so quickly.

Wow, that terrace is amazing.

We can go outside, if you want.

Let's go.

This is the little garden,
you can see it from here.

- That's a plum tree, isn't it?
- Yes, red plums.

It's called Prunus pisardi.

My uncle must have planted it
years ago.

It's not actually that old,
these trees grow really quickly.

It's a shame because back
in March and April

it had some really pretty flowers.

Yeah, they were really pretty,
a nice pink colour.

- Well, it looks nice now too.
- And you've got a tennis court as well.

That's part of the other urbanisation.

If you want we can go upstairs
and you'll see it better.

The view is better.

- ¿Ok?
- Sure.

And this?

What's this doing here?

Do you see it?

- Yes, but what's it doing here?
- You gave me it, don't you remember?

I'd forgotten about it.

- It's great.
- I love it.

You gave me it
when you took down the exhibition

in that small gallery in Chueca.

- In José Robles.
- The gallery is no longer there.

- It was the last one.
- You gave me it for my birthday.

When you turned 30.

The bastard gave me this, you know?

It was too late then,
well imagine now.

We haven't decided where to put it.

I'd thought about hanging it up here,
but this wall is...

- It's heavy, it's methacrylate.
- It's so heavy.

Of course, you'll have
to change the frame.

This piece was hanging up in the exhibit,
it was a type of sculpture...

Here it says Beautiful days,
you're right.

The things that go on in Dani's head.

Shall we go upstairs?

You told me to hold on to it, but
if you need it, I'll give it back, okay?

No, no.

- We're going up, okay?
- Okay.

I do it a lot,
I leave pieces to other friends

to hang onto for a while.

Here's another bathroom
but it's a mess, don't go in.

And our bedroom.

I love this corner.

Sometimes I work here.

There's so much light,
it's great here.

And look.

Come out.

And this is the bedroom.

Look, that's where I usually go for walks.

It's not pretty, but I don't know,
I like it, it's close.

And the poplar trees...

- Great.
- We can for a walk later if you want.

Of course.

How are you?

- Great.
- Great.

- And you guys?
- Great.

Your bedroom is lovely.

Have you seen the terrace, Dani?

- Yeah, it's great.
- Su works here, look at all the light.

- You work here?
- Yes.

It's lovely, I love the house.

Well, this part is full of junk.

It's like this now, but...

I'd like to make a dark room
to develop photos.

I even thought about trying out
woodwork. Doing something...

Working with your hands, right, Guille?

And you've got a ping-pong table.

Yeah, but look at it.

We played a lot at the beginning,
but it bores Susana.

It doesn't bore me.

- It doesn't, but I don't know how to play.
- Yes you do!

Well...

You even beat me once.

Wow, there's fruit on it.

It's a cherry tree.

- Yes, but they are really bitter.
- You can't eat them when they're sour.

- Will we eat out here?
- Yes.

It's a lovely day.

Water and salt, that's all.

I put it skin-down for a good while
and then I turn it over

with the skin up at 200 degree.

Look at how crispy the skin is.
It's almost ready.

- It's so great that you've come.
- We're glad to come.

His partner isn't convinced
and he wants out.

He's going to have to buy him out.

And it's not just
that he doesn't want to accept it,

but I don't know if he'll be able to.

Well, he seems
really happy here with you.

Yes, he's happy.

Happy.

And I love seeing him like this,

and seeing how
much he enjoys being here.

But I find it hard sometimes,
if I'm honest.

Like I feel like he was
more sure about it all.

About the pregnancy too, you know?

But as he doesn't like
talking much, well, I don't know...

And I know that it...

That it affected him.

Like it affected me.

But he doesn't...

Perhaps he's scared or something

and so he acts as if it never happened.

He's reserved.

I remember when he was 16

he always said he wanted to be a dad.
And we used to laugh at him.

Well, I don't know...

I'm not convinced that I'd want
to go through it again, if I'm honest.

Of course.

- The thing I find crazy...
- It's ready!

Okay.

What I find crazy is the number of
miscarriages that friends

or people close to you have had, but...

I mean, my mother told me
that my gran had three miscarriages.

But she only told me
once it had happened to me.

But why don't they tell us about it?

I think it's a topic we're scared
to discuss, so we stay quiet,

or maybe we're embarrassed
or whatever...

I think we'd all prefer to know
that it could happen to us.

And that it's something normal
and that it's fine.

Yeah.

It's as if we want to hide the fact
that nature is how it is.

And, that sometimes it can be that cruel.

- It's great.
- It's just water.

- This lamb is delicious.
- Dani, I'll get you some more.

- You're scraping your plate.
- Okay, yes. It's delicious.

- But just a small bit.
- No.

- Would you like some more?
- I'm...

- Are you sure?
- Yes, I've had enough.

I'm trying to eat less meat,
but I really like it.

You could live without it
but my body sometimes craves it.

The drama of the modern man,

who thinks like a vegetarian,
but lives like a carnivore.

You're right.

Sloterdijk says that
in the book we're reading.

- Have you reached that bit yet?
- No.

I don't think I've got there yet.

Well he's right.

What book is it?

The book is called,
''You Must Change Your Life''.

It sounds a bit like a self-help manual,
doesn't it?

No, no. It's really long
and it's not an easy read.

I've got it in my bag,
I can do weights with it.

- Who is published by?
- Pre-Textos.

The title of the book
comes from one of Rilke's verses.

It's from a poem he wrote after
contemplating the torso of Apollo,

well the statue of Apollo,
the torso's all that's left in the museum.

And as he contemplated this
incomplete statue,

which is missing its head,
arms and legs,

it was if, all of a sudden,

because of its incompleteness
he could sense its completeness.

And it was as if the statue
was looking at him and spoke to him.

And that inspired
the last line of the poem,

''You must change your life'',
which is the title of the book.

Wait, wait.
What, what...?

I didn't understand that part at all.

Yeah.

What he's saying is,
that the fragmentation,

the part that's missing,
this imperfection,

may be more perfect
than what is perfect.

Yes, but the way he got to...

''You must change your life''.
Where did that...?

You said that it was as if
the sculpture was looking at him.

Yes, exactly, it's something
that has happened to all of us, isn't it?

Some pieces of art
seem to be more alive than we are,

and they can speak to us
in a very intimate way, almost...

...through time.

''Well...

...there is no place
that does not see you.

You must change your life''.

That's how the poem ends.

It's lovely.

Well that's only the start of the book.

The book actually explains
how art has lost its strength,

the strength it had before.

And that now only nature
can speak to us with this strength.

Catastrophes, pandemics,
the climate crisis...

They're the only things that make us
feel that things can't go on like this

and that we have to change.

Yeah, so the solution is for us all
to become vegetarians then...

Well, perhaps it is.
It's what we've been talking about.

No, it's just a quote from the book.

No, of course not. There are
loads of ideas and examples.

The book is sort of prophetic.

The core idea
is that we are a species

that trains itself and looks for ways
to improve and transcend.

He calls it ''anthropotechnics''.

Which is our daily work,
I don't know...

Doing sport, studying, creating art,

meditating, doing yoga,
that sort of stuff.

These are kind
of immunological systems

that help us to not think about
the bad thing that will happen to us,

well, you know,
the fact that we're going to die.

Before we had religion

and that helped us deal with it,
and anesthetised it a bit,

but religion doesn't have that
same strength anymore, does it?

So are you saying
that we live anesthetised?

No.

That's not exactly it.

I think that it's an optimistic book,
it's almost Utopian.

Yeah.

This whole immunology thing
doesn't have negative connotations.

He praises humankind for all
they have managed to build,

to invent, to imagine...

But he does say that...

That these things have happened
because one part of the world

has taken advantage of another.

And that we have been treating
the natural world

and the planet
as if their resources were unlimited,

and now we are seeing
that they are limited,

and that in some way or another
we have to limit ourselves.

But at the end of the day
that's just capitalism.

Well, capitalism, globalisation,

fascism, communism,
all of that.

He addresses communism at the end,
you aren't at that part yet, are you?

Seriously? No.

Yes. Well...

He recovers some ideas
but with a completely different logic.

- It's...
- That's great.

Yes. He talks about
this almost individual immunology

we've developed, which could become
a global or collective immunology,

which would be a new metaphysics.

He speaks about ''co-immunism''.

- Co-immunism?
- Yes.

Co-immunism.

Yes, it's really interesting.

He really goes into it...
Where did you leave the book?

In the bag.

And where's the bag?

In the hall, I think.

He explains it a really nice way.
I'm going to go and get it.

I'll be right back.

Just a second, I'll get it and...

- I don't know what's got into her...
- Well, it's great, isn't it?

If you'd known her 20 years ago...
It's great.

Anyways, this whole art thing,
the idea that...

I don't agree that it has
lost its strength.

It depends on who is looking.

Yes, of course.
Well that's one of the problems.

But where in the hall, Dani?
I can't find it.

Well, I don't know, perhaps it's on the
sofa, over there, next to the sofa.

Okay.

- But it's not necessary.
- It is necessary, of course it is!

Of course it is.
In fact you could read it from up there.

We can all listen to you
reciting from the balcony.

You helping her, just great!

- Yes.
- Look. It's worth it. Just a second.

Okay.

It was this bit. Look.

''I must assert myself
as a world citizen,

although I hardly know my
neighbours and I neglect my friends.

Although the majority
of my compatriots in the world

are inaccessible to me,

I have the task of co-thinking
their real presence

in every one of my operations''.

This is lovely.

''I must develop
into a fakir of coexistence

with everyone and everything,

and reduce my footprint
in the environment

to the trail of a feather''.

So basically we have
to stop contaminating.

That's right.
It's nice what he says about friends.

Yeah, that is nice.

That it's important to look after friends
and those that aren't your friends...

There's another thing here...

''Romanticism of brotherliness

is replaced by a cooperative logic.

Humanity becomes a political concept''.

This is the part about communism:
''Although communism was

a conglomeration of a few
correct ideas and many wrong ones,

its reasonable part will have to assert
itself anew sooner or later:

this understanding
that shared life interests

of the highest order
can only be realized

within a horizon of universal
co-operative ascetisms''.

That's about globalism.

''This will press for a macrostructure
of global immunisations,

- to a...''
- Co-immunism.

''A structure like that
is called civilisation.

The rules of the Order must be
drawn up now, or they never will be''.

This, it's just...

That's how it ends.

It's almost...

It's nice, isn't it?

Why don't you sit down?

Shit, sorry.

- Great.
- Come on.

- I messed up.
- Come on.

- Hey, wait.
- Come on, Ele.

- What do you mean, wait?
- Great.

- Don't smash it.
- Great! Don't you see?

- A point for us.
- That didn't count.

Of course, you can't hit the table,
what are you on about?

- Another point for us.
- Guille, you're wavering.

Go on, great.

Great, both at the same time,
that's how you play!

- Good point.
- Come on, concentrate.

Great point!

Great!

Smashing? I don't know...

- Come on.
- Okay, serve it.

- What was that?
- A serve! It was a serve.

- It wasn't anything.
- Your serve is so ugly!

What do you mean, ugly?
It was great!

Incredible!

- Come on.
- Yeah.

- Come on.
- Finish it off.

Little lessons.

- I hit it.
- Shit!

- The nerve of you!
- What do you mean the nerve of me?

It was a great shot!

Well done, Dani, well done!

It hit the edge.

The ball decides, come one.

Would you look at my partner!

We have to be united, okay?

- We can't be...
- I couldn't be any more united!

Is it my turn? Yes, it is!

What's going on there?

Okay.
Fine then, is that how we're doing it?

Is this how we're doing it? From here?

- Perfect.
- Okay, let's go.

- Come on.
- Come on, Dani, hit it already!

- Hit it.
- Dani, calm down!

- I am calm.
- Great.

Like that, sideways, great.

Great. Do you get it?

Great. I'm going again, okay?

You're waiting...

What happened there?

I'm so happy, honestly!
I'm so happy!

That way.

All of this has grown so much.

- Should I lead?
- No, I'm okay.

- Are you okay?
- Yes.

- Between the two trees, okay?
- Okay!

That way.

This used to be a meadow,
it has grown so much, but...

It wasn't yellow, it was green.

I think I've got something
in my foot.

- Carme loves it.
- Who?

- Carme.
- Yeah, I like it too.

They look like blackberries,
but they're not. They haven't thorns, see?

Blackberries picking is in October.

- Are you okay?
- Just a second.

- What happened?
- I got a sprig in my...

This place is full of thistles.

And you're wearing shoes
without socks.

- Yeah, I didn't know...
- Are you okay now?

- Yeah, I'm sorted.
- Tie your laces.

That's it.

Just behind there is a stream.

I think Elena is having a problem.

Guille insisted that we come here...

- Are you okay?
- Yeah. I just...

There are loads of paths near
the house that go down to a pine forest.

But we had to come
to the Amazon forest instead.

It's okay.

Where are they?

Well, we'll catch up with them.

The sun is hiding behind
the mountain, isn't it?

Yes.

That's Mount Abantos.

Is that one coming or going?

That one is coming from Madrid.

There's one almost every hour.

- And the last one?
- There's definitely one more.

You need to come here more often.

- Years ago, wasn't it?
- Yeah.

- I remember.
- It's half broken.

The lens doesn't close properly.
There's something on the flash.

- But I like it.
- But that was years ago.

Are you writing anything new?

Yes.

I don't know...

Sometimes I forget.

I don't really know where I am.

I have to pee.

- Maybe...
- Of course.

No?

- I'm going to find the others. See if...
- Of course.

The real: beings, the world.

The real: nothing but knowing the real.

Impressions, dialogue and tracks:

experience and the memory of experience.

Feeling.

Knowing.

Subtitles:
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