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A FORBIDDEN ORANGE

'A Clockwork Orange'
was released at the end of 1971

in New York

and in January, 1972, in London.

The film had a big impact on me

but also frustrated me

because I didn't understand
some of the dialogues.

Of course,

many years later,
I found out that in the film

they were speaking
in a made-up language.

'A Clockwork Orange'
was preceded by the scent of
scandal.

Many said it was immoral and
cruel,

that it favoured crime, etc.

At one point it was like an
anathema,

a persecution even.

People didn't consider
the values of the film,

it was supposedly morally
corrupt

and this made Kubrick

decide to withdraw the film.

He removed it from the cinemas

not wanting to feed
into something that he said

was extra-cinematographic.

The film had a big impact

all over the world

and, at the same time,
it disappeared.

It had the aura of a cursed
film.

Spain is spilling its blood

in the defence of civilisation.

Back then, the majors had no
control.

Franco said that the money
made from American films

had to stay Spain.

He even made it obligatory
for all profits and royalties

paid for American films

to be invested in Spanish
production.

I've governed this state for 30
years

saving the nation
from the storms of our times

and, despite it all, I'm still
here,
ready for anything.

SPAIN IS WITH FRANCO

WELCOME TO VALLADOLID

In the 70s, Valladolid
was an important university city

and a big industrial city.

The Renault factory was here,

FASA-Renault.

Back then,
FASA had 15,000 workers

so the province of Valladolid
became depopulated

and a many people
moved to the capital.

Up until then, Valladolid
had been a typically rural city.

The rural landowners
were the ones in charge.

Everything developed with FASA
and blended together more

but the social differences
were still quite obvious.

The neighbourhoods
were very ordinary,

the living conditions
were terrible

and the centre...

The people that lived in the
centre

were bourgeois families
and there weren't many of them.

It's a city where the
bourgeoisie
are very connected

with the rural world
so it's rather conservative

and was very devoted
to Catholicism at the time.

It wasn't completely Catholic,

that would be excessive,

but it gave the impression
of a Catholic city

with deeply-rooted traditions.

The Procession of the Seven
Words
in Valladolid

covers the city on horseback
to the beat of drums and
trumpets

as is fitting for a town

with a clear lineage
of a noble cavalry.

The city has 20
confraternities...

There was also
a buzzing university scene.

There was a lot of activity,
not only in faculties

but in the colleges too.

There were lots of activities.

One thing that wasn't so common
and easy for people to access

was a normal level of culture.

We were at home most of the
time.

We did go to the cinema.

We went a lot.

Sometimes three or four times a
week.

UNCLE TOM'S CABIN

I worked in a bank

but in the afternoon
I worked at the family cinema.

The seating area
at the Roxy Cinema was my
playground.

I learnt how to run the box
office,
I helped them move the seats,

I hid behind the curtains
to see a bit of the adult film.

Back then, cinema
was the best distraction.

It was my world.

The first session was at 5 p.m.

and we wouldn't just
get 20 or 30 customers,

we'd get 400 or 500.

It was constantly sold out.

It's some of my best memories.

Your parents took you

and you grew up
with that fondness for the
cinema,

it was so important.

There are few places
I've been happier

than in one of those cinemas.

The lights went down

and you waited anxiously
for that beam of light

to fill the screen with images.

It was an absolutely magical
moment.

You were waiting
for one of life's wonders.

For me, the cinema
was a break from everyday life.

It was a fantasy world
but also closely linked with
reality,

with wanting a different world.

Through motion pictures,

people discovered,
people travelled,

people formed an opinion.

I think that cinema changed
the pace of culture in
Valladolid.

First, because of
the university scene

but Film Week
was also a decisive push.

I loved Film Week

because it changed the city.

Suddenly, there were new things
to see in Valladolid.

I came to Valladolid in 1964.

I had passed my exams

to work for the Superior Body
of State Administration

and I specifically
requested Valladolid

because of International Film
Week.

The festival was founded

by Antolín de Santiago y Juárez,

Manager of Information and
Tourism,

a man with a gift for
organisation.

He wanted to set up
a religious film festival.

The festival was an extension
of the Holy Week.

It started with a mass

which all of the guests
attended.

The fact that there were nuns
and priests there was a talking
point

and they actually seemed
the most interested in it.

RELIGIOUS CINEMA WEEK

The first session

was for religious films

and they showed a controversial
film
that people complained about.

But the festival had to expand

because there weren't
that many good religious films

and it started
to include human problems.

That was a big deal for the
festival

because it could now show
all types of films.

And it was called

Religious and Human Values
Film Festival.

It's an umbrella term
that covers so many things:

social cinema,
political cinema,

cinema from a humanist
point of view...

I said there was room for
everything,

even eroticism, because
eroticism
is something profoundly human.

It triggered broad discussion.

It was a big change.

They suggested risqué films,

difficult films,

controversial films.

You weren't sure
which planet they came from.

You probably couldn't see
what came to Seminci anywhere
else.

We started getting films
from beyond the Iron Curtain

that were hardly shown anywhere
else.

We had Felini's films,
Rossellini's films...

Ingmar Bergman.

We had La Nouvelle Vague too.

François Truffaut.

Finally, we managed to get
Buñuel.

And we showed 'The Milky Way'

and 'Simon of the Desert'.

It was incredible
but it got us into two tight
spots.

First with the archbishop

who almost
got into a fight with Antolín.

And then
with the cinematography course

which was run by Father Staehlin
and Father Landáburu

who were also
annoyed about the festival.

There was a kind of tension:

"We're going ahead with it
but it'll cause a scene."

They showed 'The Virgin Spring'

which has a rape scene
and all sorts

and there was a bit of a panic
because there were nuns there.

It seemed strange
to show Bergman's films

in Religious Film Week

and to see disturbing films...

you didn't know how to feel
about what you just saw.

It was a cultural effervescence

made possible by Film Week.

They showed films

that really shocked people

but everyone still
wanted to see them.

The cinemas were sold out
every single day in Film Week.

For me, Film Week
opened my mind up to the world.

Intellectual and cultural
curiosity

was rife among young people.

With censorship ever present,

they looked for subterfuges

and ways to keep the flame
of culture alive however they
could.

On the churches' religious
notice boards

next to the scheduled masses

you'd find the events' moral
ratings.

You could look up the films

and were only supposed
to watch the ones rated one,

suitable for all audiences.

Franco's regime was most strict
about cinematic censorship.

It was easy to do across many
levels,

not just in the traditional way
of cutting the footage,

but also by introducing
a verbal censorship

which meant changing the
dialogues.

There's the famous case
of the film 'Mogambo'

where censorship was used

to make the romantic
relationships clearer

but they actually made it
so that there was incest

instead of adultery,

which is a much bigger sin.

Besides those manipulations,

omissions and changes,

the worst thing was not getting
films
that were being shown elsewhere.

We didn't get the risqué films,

neither the erotic ones

nor the political ones.

For example,
Kubrick's 'Paths of Glory',

the anti-war film
which was one of his best works,

didn't make it here.

Francoism was terrible.

It was so dark and so brutal,

something beyond comparison.

Everything that was
most in touch with the times,

that modernity
that you longed to be a part of,

was completely blocked.

The Police claim
she has committed cruel acts.

Yes, an interesting case.

We'll try to make you useful

in accordance with the law.

It's time for
our third film programme

where you can see the film
'A Clockwork Orange',

produced in 1971 by Warner Bros.

and directed by Stanley Kubrick.

MR. HERCULES AGAINST KARATE

You either went to secret
or clandestine screenings

or you had to go abroad.

Visiting Paris was more
than just the Eiffel Tower

or the Champs-Élysées,

it also meant discovering the
cinemas

and Buñuel's films
that hadn't made it to Spain,

along with other directors.

On the weekend in Catalonia,
especially in Barcelona,

they organised trips to
Perpignan

to see films like 'Emanuelle'
or 'Last Tango In Paris'.

It was like La Rambla over
there,

everyone knew and greeted each
other.

Then they did a marathon
viewing.

The screenings started at 3 p.m.

and then they would run
to another cinema

because they had tickets
to watch two more films,

erotic ones, and others
that were banned in Spain.

I saw it in Montreal,
in Canada,

in 1973,
something like that.

I thought it would be difficult
for this to make it to Spain,

the censorship was very strict

and the chances of us getting it
were very slim.

I put it to the back of my mind

and then in 1975

I directed the festival

and the possibility of showing
'A Clockwork Orange' came up.

Warner Bros. called me

and said: "Hey, we're interested
in showing 'A Clockwork Orange'

in Valladolid

and the General Bureau
of Cinema has agreed."

The simple fact
that the General Bureau of
Cinema

and the distributor,
Warner Bros.,

were considering
giving Valladolid a chance

gave us a certain status.

The stars aligned
because, in February,

there was a post
in the State Official Bulletin

saying that the censorship
control system had been
suspended.

The regime's leaders also
realised

that this couldn't go on
for much longer

and maybe saw the film
as a way to show people

that they could be modern too

by showing things
that were controversial and
risqué.

A propagandistic way

of showing that the regimen
was starting to change.

In Spain, it was a milestone

to think that 'A Clockwork
Orange'
might be shown in cinemas

relatively soon.

They did an experiment
in Valladolid in 1974

and there was quite a commotion

at the doors of a cinema

that was showing
'Jesus Christ Superstar'.

There was a real outcry,

and it's funny
because the film isn't...

So much so
that 'Jesus Christ Superstar'

was authorised on a Friday
to be shown on a Sunday

by the Council of Ministers

headed by Franco himself.

With that in mind,

when they suggested
that we screen

'A Clockwork Orange'
we decided to go ahead

thinking we'd be dropping a
bomb,
and we sure were.

CONFLICTIVE CITY

PEACEFUL RALLY

THE STRIKE

POLITICAL STRIKE

PROTEST MARCH

FASA Renault went on strike,
so did construction...

The neighbourhoods were
destroyed,
there was a lot of social
activity.

Other industries were also on
strike,
fighting over agreements

and the improvement
of working conditions.

Lock-ins and assemblies
in churches were common

and some working priests

said they were sent by the
church
to catechize the workers

and then the workers
ended up unionising them.

MADRID, BARCELONA AND SALAMANCA
UNIVERSITIES ON FULL STRIKE

WARNING NOTES
IN UNIVERSITIES

Valladolid had
a population of 200,000 people

and 30,000 of them were students

so the political atmosphere
was quite combative.

In 1975,

I was studying English philology
at the University of Valladolid.

A singer songwriter, Elisa
Serna,
came to perform a concert

which was later banned.

However, the concert went ahead

because the ministerial order
stated

that the Police
couldn't access the campus

so it wasn't a problem.

But that's not what happened,
the Police came in

using their batons
to break up the concert.

We all scrambled to get out

but some were luckier than
others

and several of us got a good
beating.

My father was Republican
and a reprisal victim and he
said:

"My girl, this is all very well
but ideas are one thing

and political activism is
another."

That concert changed the
University
of Valladolid completely.

To set an example

for other universities,

the government
decided to end the academic
year.

THE CLOSURE OF THE UNIVERSITY

The university closed,

a decision made by the
then-rector,
José Ramón del Sol.

He came out
of the Faculty of Medicine

and there was an assembly
in the street

with people throwing eggs

and calling for him to resign.

That made
the academic authorities get
together

and put up a note saying that,

because of the trouble
at the university,

all academic activity
was suspended indefinitely.

The regimen
was very much alive in
Valladolid

and other parts of the state

and the punishment for belonging
to certain political
organisations

even involved prison.

The Political-Social Brigade
that had been at its peak

and seemed to have died down
towards the end of the 60s

recovered its bad reputation

with mass arrests at the
university

and among FASA-Renault workers.

A group of students
from the university

were sentenced to years in
prison

and one of them

had what was supposedly an
accident
at the Felipe II Police Station.

They said he tried to flee

via the interior patios
of the station

but Cancho has always said
that they threw him

from inside the station
onto the interior patio.

Imagine all of those
continuous combustions

in a city
with a relatively small
population,

and then overnight

the Seminci announced
that, in April,

to celebrate its 20th edition,

there would be a special
screening
of 'A Clockwork Orange'.

It shook up the cultural scene.

It was a war-like challenge

to show something
that wasn't approved of

and had caused such conflict.

Expectations were really high.

Fifteen or twenty days
before the festival,

Warner Bros. called me and said:

"Look, we want to check your
copy

of 'A Clockwork Orange'

because we're not sure
it's in perfect condition."

So, the copy of the film
left Valladolid

and headed for Madrid.

But two days
after sending the film back

Warner Bros. called me again:
"Look, we're really sorry,

but Kubrick won't authorise
the screening of this film."

You're kidding?

We couldn't believe it...

It was just over a week
before the festival.

Kubrick didn't think that
Valladolid
was the right place

to release and present
the film in Spain.

He had probably heard
that Valladolid still had

an international reputation

for being strongly linked
to religious cinema.

I also think he heard

that at the Valladolid Festival

the 35mm projection equipment

wasn't good enough
to guarantee the screening

that he wanted for the film.

He was an obsessive
perfectionist.

I spent a whole week with him,

every day, for many hours,

when I started working
on the translation

and subsequent dubbing
of The Shining.

I'd done A Clockwork Orange
before

and I was thrilled to be staying
in a big hotel next to his
house.

One day,
I asked him for something

that I knew
he didn't want to give me,

an interview.

I never felt
like I was talking to a star

but that's what he was.

He had something
that I really value in people,

especially those
of such an artistic level,

which was an interest in others.

Instead of talking
about his films or Hollywood,

which didn't interest him,

he asked you questions
about things like Spanish
politics

and the Spanish Civil War.

He wasn't a proud and arrogant
man

or even that sure of himself.

He was a friendly person

and one thing
really stood out for me,

something more important
than somebody's character,

whether they're good or bad,
nasty or nice,

which was his exigency.

The level of exigency

that he imposed on himself

wasn't just a quirk or a hangup,
as many people have said...

"He was a maniac,
he was crazy, he was a pain",

that's all been said about
Kubrick.

He was a maniac,
he was crazy, he was a pain

when it came to quality.

That's one of the things
I admire most in artists.

Legend and Kubrick
go hand in hand together.

They used to say...

and when I asked him
he just smiled

as if to say:
"Believe whatever you want",

that he even sent spies
to the big cities

in the countries where his films
were going to be shown

to find out whether the cinema
had the right conditions

so that the creation
that he had filmed,

shot and translated,

with him guiding the
translators,

for so long

was up to the same standards

that he demanded of himself.

In fact, I remember reading

that even for the premier in New
York

he demanded a certain size
screen.

If Stanley Kubrick thought

that instead of showing it
at Madrid's Gran Vía

or Lope de Vega cinemas,

it should be shown
at the Carlos III Cinema,

a much less important one,

it would premier at the Carlos
III
because he said so

and he thought his film
was right for that cinema.

He was capable of refusing
to screen one of his films

because the colour of the room
didn't go well enough

with the colours in the film

so he wouldn't let it go ahead.

He had full control
over the exploitation of his
film.

He wanted to control everything

from production
and management to exhibition,

which the big majors do
nowadays.

Warner Bros. were very
interested

in showing the film in
Valladolid

which would open the doors

for the possible normal
commercial distribution of the
film.

They called me and said:
"We're going to work on Kubrick

and try to get his permission".

Warner Bros.
sent one of their managers,

Angel Corbi, to London

to convince Kubrick to authorise

the screening
of the film in Valladolid.

He came to see me
when he got back

and told me to write him a
letter

saying that the film
would be screened

at the University of Valladolid.

He thought that telling him

that the film
would be shown exclusively

at the University

might convince him
to give his permission.

It was our only chance
and we had to give it a go.

I wrote a letter explaining

about the festival's
personality,

what our approach was,

that it was progressive

and the film would be screened

for the university.

That's how we got Kubrick
to give us his permission.

That the festival management,

Romero with his letter

and the representative
from Warner Bros. Spain,

did something all too common
among epic Spanish characters,

who use every trick in the book

to make things happen that,

seen from any other angle,
are absolutely impossible.

Although I'd said that the film

was going to be shown
at the university,

I didn't really trick him

because the audience
that watched it in the Carrión

was exclusively from the
university.

The university world was fired
up,

coming off the back
of an exceptional situation.

The fact that a film was being
shown

that had been banned
and censored for four years

since its release

made the university students

lose control,

it was a reward,
a cultural uprising.

You had to go!

'A Clockwork Orange'
was such an attraction,

an unhealthy one,
you might say,

and people queued
as far as the eye could see.

I remember the cinema
surrounded by people waiting.

I was in that queue

and people even
brought sleeping bags.

Some people slept out there
all night.

They were taking it in turns.

Two hours each and then switch.

I remember at one point
the Police went by,

maybe somebody said something,

and then charged

scattering the queue

only for it to reform later on.

And the next day they rushed in

as if they'd been tied down,
everyone running to get there
first.

When the tickets
were supposed to go on sale,

they called me
and said there was a problem,

there were no tickets
left at the Carrión.

"No tickets?
But they're not even on sale
yet."

"Yes, but there are no tickets
for 'A Clockwork Orange'."

We went straight over.

When we saw the queue,
Carmelo and I got a shock.

We thought:
"This is going to get messy."

We asked the ticket operator
what was wrong.

"Sir, the owner of the cinema,

has given all of the tickets
for 'A Clockwork Orange'

to their friends, contacts, etc.

and there are none left."

None of the people waiting
outside

could get in
because there were no tickets.

"What do you mean?

What am I going to do
with all of these people

who have been queueing
for over 24 hours

waiting to see the film?"

"I don't know,
there are no tickets."

They cancelled the tickets
that had been assigned
beforehand.

They brought out some new
tickets,

gave them
to the ticket operator and said:

"Use these ones".

The poor woman
looked like she'd just seen a
ghost.

He had given one thousand
tickets

to all the people
who wanted to see the film

and hadn't queued.

It had a big impact
but it was well organised

and sorted out properly.

The tickets sold out
immediately.

The only inconvenience,
besides spending the night
outside,

was that lots of people in the
queue

were planning to buy ten or
twelve
tickets for their friends

but were met
with the unpleasant surprise

that the organisers were only
selling
two tickets per person.

So the friend that got to the
front
was only given two tickets

to share with everyone...

it was a big disappointment.

We were such good friends
that we drew straws for the
tickets

and my husband and I
ended up with them

so we went to see it

and our expectations were very
high.

There was an organised way
to pick up the tickets

and enter the cinema
in an orderly fashion.

My role at the cinema

was to make sure nothing went
wrong
during the screening.

The city was divided:
those who were excited

and those who sat at the front
saying the rosary,

they couldn't believe it.

Peace wasn't guaranteed.

The previous year a film
by Carlos Saura had been shown,

'Cousin Angelica'.

I went to see it in Gijón
and they stopped the film

because Falange,
very right-wing people

didn't like how they were
portrayed.

The Police had their eye on it.

There was a small group
of anti-riot police in the
cinema.

They were keeping an eye
on what was going on.

I decided to go up
to the projection booth

to make sure that nothing went
wrong

and that everything
was running smoothly.

I watched it from up here,
from where we're filming.

It was full to the rafters.

Everyone was absolutely silent,
there wasn't a sound.

Silent and excited

to see what we'd waited
all night for,

what it was like,
we didn't want to miss a thing.

Half way through the film,

the Police rang me

to say there was a bomb
in the cinema.

Oh my God...

Back then, bomb alerts

were relatively common

at cultural and problematic
events.

Calling up and saying:

"Hey, there's a bomb
in such a such place"

meant the activity would be
stopped

and implied no risk
for the person who called it in.

I decided to take a chance
and I told him:

"Look, sir, I'm sorry

but I'll be held responsible
for not stopping the screening.

We're half way through,

and after everything that's
happened,

we'll see it through to the
end."

I was impressed by the film.

It was visually striking.

The whole set design is
incredible.
It's brutalist.

The setting is so modern.

The colours,

the clothes...

Pop iconography
was so interesting to us back
then.

I thought
it was absolutely fantastic,

very clever, very well done,
very well performed.

Malcolm McDowell
with that evil face and that
eye...

It's also striking
the way they try to cure him.

With his eyes held open

to make him watch the scenes
of violence and everything...

I remember that the music...

perfectly matched
the scenes of violence.

It made me feel quite ill,

I'd never seen violence like it.

There were some scenes
that I couldn't even watch

because they were too
disturbing.

I started to feel like throwing
up,

I didn't know what to do...

To be honest,

I was surprised
at how well-thought-out it was,

even with that
constant injection of violence.

It explains
the whole phenomenon of
domination

between people,
castes and classes,

and the State's domination of
people.

It was about a type of violence

that we saw in the streets
quite often.

In Valladolid,
we had friends in prison...

and a friend who had been thrown

from the window
of the Police station.

That was what we saw
from 1971 or 1972

up until the vote
for the constitution.

It was a very disturbing film,

one that doesn't leave you
indifferent.

It caused a commotion,

it's one of the films
that made the most noise.

The film?
What can I say? I didn't like
it.

It was very unpleasant...

but it's a great film.

It's astonishing

because of how it's made

and the genius behind it.

I absolutely loved it.

I don't know if I should say
this...
but I found it really funny.

I really enjoyed myself
and the end is great.

When the screening was over
everyone started clapping

but nothing untoward happened.

People were amazed by the film,

in awe of Kubrick's directing,

how powerful the film was,
but that was all.

Back then, it was trendy
to have a film forum.

When we saw
a Woody Allen or Buñuel film

we always commented
and reflected on it,

something that could go on for
days

when you met up with your
friends.

This film didn't give rise
to that kind of film forum.

This may seem absurd...

Afterwards,
they seemed almost frustrated.

I don't know
what they were expecting to
see...

One thing we mustn't forget

is the mark
that censorship leaves

on a cultural product.

It created certain expectations
and a special interest

regardless of whether they ended
up
watching a masterpiece or not.

It's like when
you're getting ready for a trip

and you enjoy the planning
more than the trip itself.

I think I've seen films
that I like more

in terms of the plot and content

but I'll never forget that film.

It's a really important film
that marked a before and after

in the behaviour
of viewers and critics

and the people
from Valladolid in general.

And that's the story of the film
at the Valladolid festival.

The festival was elevated

by the screening
of 'A Clockwork Orange'

but some films
didn't cause such a hype...

For example, the first film
by Steven Spielberg

that was shown at the festival.

A few months later,
the film was authorised for
screening

in art-house cinemas.

It was shown
in the Cid Campeador in Madrid.

But we had to wait two more
years
for the commercial dubbed
version.

Of all the film translation
projects
that I've done,

it was definitely the most
difficult.

The film was shot
in a made-up language.

Burgess, the novelist, said:
"I'm going to do it

in a language that's all mixed
up."

He blended the Queen's English
with some contemporary English
slang

and also some Russian

inspired by
what he heard being spoken

by a group of dandies
from Saint Petersburg.

The head,
in the original novel and film,

is called the "Gulliver"...

It's taken from that famous
novel,

Gulliver's Travels.

I translated it as the
"quijotera".

I did the translation,

Saura, with Kubrick's guidelines
that he sent from London,

did the dubbing

and the film was released,

as I like to joke, "openly",

not just
for select audiences like
before.

'A Clockwork Orange' was one
of the biggest phenomena in
Spain,

on a par with Star Wars.

It was shown for a year.

FRANCO IS DEAD

Valladolid is a city
with a certain amount of
conservatism

and a cultural effervescence

that was already around in the
70s

with Seminci and the screening
of 'A Clockwork Orange'

which people still remember
and talk about.

I think it still has
a big impact on the city.

I grew up with that legend.

It's always difficult to know
what's true and what's not.

I think it's best
to just believe the legend.

It's mainly the young people
who don't know

about the screening

because they're disconnected
from classical cinema.

From my experience as a teacher,

I'm pretty sure that the
majority
of new generations

haven't even seen it.

No, I haven't seen it.

I've never heard
of 'A Clockwork Orange' or
Kubrick.

It rings a bell. I've heard
of the title, but that's it.

I know nothing about it.

I know it was revolutionary
in its time, but that's all.

I've heard
it's uncomfortable to watch

but I don't know what it's
about.

You recognise the iconography.

You know it's from the film
even if you haven't seen it.

It's still
an aesthetically powerful film.

It's become an icon.

At Halloween,
people dress up as droogs...

The hats...

It's part of pop culture.

It means that
they recognise some images

like with other films
but it doesn't mean they've seen
it.

No, I haven't seen it.

The aesthetics,
an episode of 'The Simpsons'...

An episode
of 'The Simpsons' or other
series.

And they don't know the plot
or what it's about...

The only thing I know
about 'A Clockwork Orange' are
memes

or jokes I've seen on the
Internet.

I'm sure the film
still has the ability

to awaken people's consciences
and churn their stomachs.

It depends on how sensitive they
are.

I think the way it started

got you hooked
and you wanted to watch the
rest.

At the beginning,
the drunk guy they beat up

says he doesn't want
to live in a lawless world.

I was shocked when they were
in the tunnel beating him up.

When they rape the woman
in the house and the man's
watching.

When they hit each other.

As well as the scenes
of explicit violence,

it's quite shocking
when they force his eyes open.

Institutional violence

and how the system
takes that violence and uses it.

The influence of the media
on society stood out for me.

Some of the scenes are shocking

and I'm not sure
what people must've thought

when it first came out.

Right from the very first scene,

with four men
forcing themselves on a woman...

and not just that one,
a couple more...

I found them pretty shocking
because they're really explicit

for a film
that was screened at a festival

and is recognised as a cult
film.

I found it difficult to watch
and quite savage,

but I liked it overall.

I liked the film.

I really liked the film.

I loved it.

I liked it but I feel
a little unsettled.

It would be impossible for this
to be released nowadays.

People would be up in arms.

It would be risky to make it now

because I think it's
controversial

and very explicit.

It was too much for me.

The sexual stuff...

I don't think it would be
received
the same way now as it was then.

No, you couldn't make
this film now because...

no director could...

get enough support to make it,
and even if they did

no producer would approve it.

Maybe the film
couldn't be made today

mainly because the producers

wouldn't deem it appropriate.

We sometimes automatically apply

certain scales of behaviour

and, in real life,

we have to be very strict

and recognise
there are some things we can't
do

and shouldn't do,

but it's another thing for me
to envisage a book

with a violent scene
that might upset somebody...

Just because it upsets somebody

doesn't mean
that work must disappear.

Wrongness isn't erased

by removing the reflection
of something that's wrong

from a beautiful film or book.

Having been through it myself

but also having had time
to reflect on it,

I despise the existence
of censorship.

That censorship was much more
severe,

tougher and more aggressive

but much less subtle

than it would be to today accept
a censorship on traditions,

on habits,

on what's politically correct
or incorrect,

on what's commercial and what's
not.

With any cultural
or artistic activity,

the creator's need for freedom
is fundamental.

Translation: Amy Sue Bennett
Subtitles: Bbo Subtitulado