00:00:10.160 --> 00:00:16.120
SOMETIMES, A FILM COMES TO BE
A CAUSE FOR CELEBRATION...

00:00:19.040 --> 00:00:23.880
I AM A FILMMAKER, AND THIS YEAR 2020
I WILL BE HALF A CENTURY OLD.

00:00:43.800 --> 00:00:48.840
a PRODUCCIONES DOBLE BANDA production

00:01:20.960 --> 00:01:27.880
THESE ARE THE FIRST IMAGES I EVER FILMED.

00:01:29.880 --> 00:01:40.960
I FILMED THEM IN 1987, AT THE AGE OF 17,
WITH AN SUPER 8 CAMERA THAT MY PARENTS GAVE ME.

00:02:00.240 --> 00:02:06.760
THE FIRST PERSON I FILMED WAS MY MOTHER.

00:02:33.040 --> 00:02:37.800
SHE WAS DRIVING
TOWARDS FUENTE ÁLAMO, IN ALBACETE,

00:02:39.800 --> 00:02:44.960
THE VILLAGE WHERE MY GRANDMOTHER
AND MY FATHER WERE BORN.

00:03:04.120 --> 00:03:07.240
EDDIE SAETA
(BARCELONA, NOVEMBER 2014)

00:03:07.360 --> 00:03:09.320
-You go.
-OK.

00:03:09.520 --> 00:03:12.000
And after a while, I'll come.

00:03:12.120 --> 00:03:14.200
-You wait outside while we close up.
-OK.

00:03:14.480 --> 00:03:17.920
-I'll stay and let you know when I'm done.
-OK, that's fine.

00:03:18.040 --> 00:03:22.320
We're moving from
a house with a garden

00:03:22.440 --> 00:03:25.880
to a shared room
with bars on the window.

00:03:26.000 --> 00:03:28.400
When you see it,
you won't believe it.

00:03:28.520 --> 00:03:31.520
because it feels exactly
like being in a prison,

00:03:31.840 --> 00:03:35.040
You can see Jean Nouvel's tower.

00:03:35.520 --> 00:03:37.320
The foreskin...

00:03:37.440 --> 00:03:38.920
The tip...

00:03:39.560 --> 00:03:41.960
I don't know
what I'll do with the dog.

00:03:42.080 --> 00:03:46.560
They won't let him be there,
because it's a shared space.

00:03:46.920 --> 00:03:48.760
So he'll be alone at home all day.

00:03:48.880 --> 00:03:51.360
-I used to bring him in.
-Of course.

00:03:51.480 --> 00:03:54.960
He had a great time with us, poor thing.

00:03:58.120 --> 00:04:01.160
If it's OK with you,
I'll lock up.

00:04:01.560 --> 00:04:03.560
Before Montse gets back.

00:04:06.040 --> 00:04:10.800
This reminds me of
a Satyajit Ray film, The Music Room,

00:04:11.080 --> 00:04:16.600
where he throws a huge party
to tell everyone he's ruined.

00:04:16.720 --> 00:04:18.160
The last party.

00:04:20.000 --> 00:04:23.360
I hope whoever comes here
take care of the house.

00:04:24.560 --> 00:04:29.520
With this plugs, I always have trouble
turning off the lights.

00:04:39.120 --> 00:04:40.280
There.

00:04:47.880 --> 00:04:51.120
I'll leave this one open
and close that one.

00:05:09.480 --> 00:05:16.760
LUIS MIÑARRO, FILMMAKER AND PRODUCER,
IS RELUCTANT TO CLOSE THE DOOR

00:05:18.720 --> 00:05:25.480
AND I’M NOT PRONE TO MOVEMENT,
RATHER THE OPPOSITE.

00:07:09.000 --> 00:07:13.600
FOR 3 YEARS WE TRIED
UNSUCCESSFULLY TO PREMIERE
OUR FIRST FEATURE FILM.

00:07:15.000 --> 00:07:18.840
IN 2001 WE MET LUIS

00:07:21.640 --> 00:07:27.440
AND THAT YEAR, IN COPRODUCTION
WITH HIM, WE PREMIERED
“FUENTE ÁLAMO, THE CARESS OF TIME”.

00:07:50.280 --> 00:07:51.840
Yes, hello?

00:07:52.080 --> 00:07:53.360
What is it?

00:07:53.480 --> 00:07:56.440
Olé! What are you up to?
I'm fine.

00:07:58.560 --> 00:08:01.680
Well, it's great that you're coming.
I can't wait to see you.

00:08:01.840 --> 00:08:04.280
Have you done your exams yet?

00:08:05.920 --> 00:08:07.920
No, have you done your exams?

00:08:09.040 --> 00:08:11.000
And how is it going?

00:08:15.840 --> 00:08:17.440
Olé, that's a lot.

00:08:18.120 --> 00:08:20.680
Too many exams.

00:08:20.800 --> 00:08:23.480
Well, keep studying,
make the most of your time.

00:08:23.600 --> 00:08:26.280
Yes, they got me cooped up
here all day...

00:08:27.840 --> 00:08:29.280
...with the film.

00:08:30.440 --> 00:08:33.560
Oh, lovely!
And they sing beautifully.

00:08:33.960 --> 00:08:37.680
Yes. Let's hope you come soon.

00:08:38.200 --> 00:08:41.200
They gave you a job?
That's good, very good.

00:08:42.880 --> 00:08:46.000
Well, now you have
a little bit of something.

00:08:46.120 --> 00:08:47.320
How did it go over there?

00:08:49.720 --> 00:08:51.720
Did you learn the language?

00:08:53.880 --> 00:08:55.360
Yes, very good.

00:08:56.040 --> 00:08:57.760
Any news about your parents?

00:08:58.000 --> 00:09:03.800
UNCERTAIN JOURNEY

00:10:41.760 --> 00:10:44.360
-Bring some of the green one.
-Yes.

00:10:44.720 --> 00:10:48.600
We can put that green wood
in the fireplace,

00:10:48.720 --> 00:10:50.480
we'll see if it lasts.

00:10:55.640 --> 00:10:57.960
It's burning well now.

00:12:04.120 --> 00:12:08.080
IN 2014, WHEN I SHOT THESE IMAGES,

00:12:09.600 --> 00:12:12.640
MY DAUGHTER ALICIA
HAD NOT YET BEEN BORN

00:12:15.200 --> 00:12:20.760
NOW, AS I WRITE, SHE SLEEPS
IN A ROOM NEARBY.

00:12:29.280 --> 00:12:31.440
THIS IS ISABEL.

00:12:32.320 --> 00:12:34.600
ALICIA'S MUM.

00:13:05.760 --> 00:13:08.960
ALICIA NEVER MET
HER GREAT-GRANDPARENTS.

00:13:41.520 --> 00:13:45.160
WHEN I STARTED FILMING “UNCERTAIN
JOURNEY”, IN NOVEMBER 2014,

00:13:45.160 --> 00:13:49.080
LUIS MIÑARRO WAS CLEARING OUT
HIS PRODUCTION COMPANY EDDIE SAETA.

00:14:17.520 --> 00:14:19.720
-Are they here?
-Yes.

00:14:19.840 --> 00:14:22.360
But you can have it.

00:14:22.480 --> 00:14:26.040
OK. Do you remember
which one we used in the film?

00:14:26.160 --> 00:14:29.680
We'll give them one.
We can give the other to the Filmoteca.

00:14:29.800 --> 00:14:31.120
I think it was this one.

00:14:47.960 --> 00:14:49.280
What was it?

00:14:49.400 --> 00:14:52.400
It's a reproduction we made

00:14:52.520 --> 00:14:56.840
for the film Stella Cadente,

00:14:57.240 --> 00:14:59.560
which is exactly...

00:14:59.680 --> 00:15:03.240
The composition is very similar
to an anonymous painting about...

00:15:03.640 --> 00:15:07.080
the funeral of General Prim,
which Amadeo of Savoy attended.

00:15:07.200 --> 00:15:11.120
That was in Madrid,
we filmed it in a church in Barcelona,

00:15:11.240 --> 00:15:13.720
but it reproduces the same situation.

00:15:14.440 --> 00:15:15.720
I made this painting

00:15:15.840 --> 00:15:19.640
because at one point,
at the end of the film, I wasn't sure

00:15:19.920 --> 00:15:22.320
...what it was the king threw away.

00:15:22.440 --> 00:15:24.200
Which attributes he threw away.

00:15:24.400 --> 00:15:29.680
If you've seen the film,
you'll see it's his sash and his sword

00:15:29.800 --> 00:15:32.440
that he throws away,
and water flows from a stone.

00:15:32.560 --> 00:15:34.480
A little hope for the future.

00:15:34.600 --> 00:15:36.320
But initially,

00:15:37.080 --> 00:15:39.160
I thought he'd throw away this painting

00:15:39.280 --> 00:15:42.480
that is present
in some corner of the film.

00:15:42.640 --> 00:15:46.720
So he threw away the story
that he had found on his arrival.

00:15:47.080 --> 00:15:50.920
A little bit like Victor Sjöström.

00:15:51.280 --> 00:15:55.920
How images can have
a healing, liberating effect, too.

00:15:56.080 --> 00:15:58.840
You get rid of this,
at a certain moment,

00:15:58.960 --> 00:16:02.360
which is what caused the nightmare
of your existence in Spain.

00:16:02.480 --> 00:16:06.280
And when you get rid of it,
you are freed from the past.

00:16:06.400 --> 00:16:10.920
But in the end I decided it was
more symbolic and representative

00:16:11.040 --> 00:16:15.200
if he threw away
the red sash and the sword.

00:16:15.640 --> 00:16:18.000
Easier to understand. Simpler.

00:16:18.440 --> 00:16:20.600
But we made this little painting

00:16:20.720 --> 00:16:23.720
that is somewhere in the film,
on an easel.

00:16:24.000 --> 00:16:26.640
In the end we filmed him
throwing it away too,

00:16:26.760 --> 00:16:30.320
but we didn't use it,
we used the alternative.

00:16:31.560 --> 00:16:34.480
We'll give it to
the Filmoteca as a memento,

00:16:34.600 --> 00:16:36.320
with this costume...

00:16:40.360 --> 00:16:45.440
...which is the one Àlex Brendemühl
wore in the film.

00:16:45.560 --> 00:16:47.480
We've got it here,
all wrapped up...

00:16:48.560 --> 00:16:51.200
We just need the hat,
which is on its way.

00:16:51.360 --> 00:16:55.680
All this is going to
the Filmoteca de Catalunya's warehouse.

00:17:00.800 --> 00:17:02.560
At least it won't be lost.

00:17:04.080 --> 00:17:06.200
Some day they'll rediscover it.

00:17:11.640 --> 00:17:14.240
UP UNTIL EDDIE SAETA
HAD TO MOVE OUT,

00:17:14.360 --> 00:17:20.600
LUIS MIÑARRO HAD PRODUCED OR CO-PRODUCED
MORE THAN 30 FEATURE FILMS.

00:18:13.840 --> 00:18:15.840
We’re in the middle of a relocation.

00:18:15.840 --> 00:18:20.480
You know, we’re emptying
the beautiful office you saw.

00:18:21.440 --> 00:18:24.240
Well, I don't know.
There's nothing we can do.

00:18:24.360 --> 00:18:26.160
We've rented it out for now,

00:18:26.600 --> 00:18:31.480
and with the rent from the house,
we hope to keep on going.

00:18:36.280 --> 00:18:39.120
Yes, I've managed to rent it.

00:18:39.240 --> 00:18:41.920
It took months.

00:18:44.200 --> 00:18:47.840
In Valencia, well, everywhere,
people are close to slitting their wrists.

00:18:47.960 --> 00:18:50.120
They've taken it all to pieces.

00:18:50.240 --> 00:18:51.720
It's devastating.

00:18:54.440 --> 00:18:55.520
Right...

00:18:59.680 --> 00:19:01.640
The weather's still good, yes...

00:19:07.440 --> 00:19:09.600
OK. Well that's all.

00:19:11.320 --> 00:19:12.600
This way, do you think?

00:19:12.720 --> 00:19:15.320
Yes, but go a bit that way.

00:19:15.760 --> 00:19:17.160
No, no.

00:19:20.600 --> 00:19:22.640
I'll call you.

00:19:25.360 --> 00:19:27.200
OK. Thank you.

00:19:28.800 --> 00:19:30.600
See you soon, take care.

00:19:30.840 --> 00:19:32.240
See you later.

00:19:32.440 --> 00:19:34.080
Yes. Ciao.

00:19:37.560 --> 00:19:41.880
If things are bad here,
imagine how it is in Valencia.

00:20:04.880 --> 00:20:06.240
-After you.
-Go on.

00:20:52.920 --> 00:20:57.000
IN BARCELONA I STUDIED CINEMA AT THE CECC.

00:21:00.600 --> 00:21:04.680
WE FILMED A LOT IN SUPER 8.

00:22:49.320 --> 00:22:54.080
GREAT FRIENDSHIPS EMERGED
AS WE FILMED.

00:23:27.520 --> 00:23:31.960
WITH SOME OF THOSE FRIENDS WE FILMED
"FUENTE ÁLAMO, THE CARESS OF TIME"

00:23:44.440 --> 00:23:46.960
If you can stand there so I can focus.

00:23:47.080 --> 00:23:48.960
-Do you want me to sit down?
-Yes.

00:23:49.920 --> 00:23:53.360
Sorry, in the end you've wasted
a lot of time here.

00:23:53.480 --> 00:23:55.240
Well, I've been filming...

00:23:55.360 --> 00:23:58.080
-I even went up to the rooftop.
-OK, great.

00:23:59.080 --> 00:24:02.000
Can you move a bit forward?

00:24:02.120 --> 00:24:03.120
Yes.

00:24:03.240 --> 00:24:04.520
OK, there.

00:24:05.400 --> 00:24:07.960
So that you don't have that shadow...

00:24:10.760 --> 00:24:13.400
And a bit to your left.

00:24:14.400 --> 00:24:16.320
-To my left.
-A bit.

00:24:19.240 --> 00:24:20.240
There.

00:24:25.600 --> 00:24:27.880
-It's non-stop, isn't it?
-Yes.

00:24:28.120 --> 00:24:30.520
I mean you, you've been...

00:24:30.640 --> 00:24:33.560
I'm going away tomorrow.

00:24:33.680 --> 00:24:37.080
I'm here for two or three days and
I'm off, it's like that almost all year.

00:24:38.080 --> 00:24:40.320
And now all of this at the same time.

00:24:46.160 --> 00:24:47.840
Are you filming?

00:24:49.280 --> 00:24:52.680
Yes. John Ford and Alfred Hitchcock.

00:24:52.800 --> 00:24:55.600
No, I love Hitchcock.
More than Ford.

00:24:55.720 --> 00:24:57.520
I know Ford is very important

00:24:57.640 --> 00:25:01.480
because in some ways
he started lots of things,

00:25:01.600 --> 00:25:05.440
that from that point onwards
became cinematographic norms.

00:25:05.600 --> 00:25:08.800
But Hitchcock seems
much more interesting to me.

00:25:08.920 --> 00:25:11.560
He's much more devastating,

00:25:11.680 --> 00:25:16.280
in the sense that he plays a lot more
with your emotions.

00:25:16.480 --> 00:25:20.520
I think film, like art in general,
has to be provocative.

00:25:20.640 --> 00:25:22.680
Not to leave you indifferent,
to be provocative.

00:26:56.480 --> 00:26:58.000
I...

00:27:00.160 --> 00:27:05.200
after reaching 100 years of age,

00:27:11.680 --> 00:27:15.360
I consider myself
a very special filmmaker.

00:27:18.440 --> 00:27:23.320
But I am not responsible for my age,

00:27:26.400 --> 00:27:29.320
my age is...

00:27:30.880 --> 00:27:33.280
...a caprice of nature.

00:27:35.800 --> 00:27:40.720
But I am responsible for my films.

00:27:43.920 --> 00:27:46.480
Totally responsible for them.

00:28:15.480 --> 00:28:16.680
What do you know?

00:28:21.000 --> 00:28:24.520
The truck can come as close
as where the palm trees stand.

00:28:26.240 --> 00:28:27.480
What is Saeta?

00:28:27.600 --> 00:28:28.640
-Saeta?
-Yes.

00:28:28.760 --> 00:28:30.680
Saeta is sort of like...

00:28:34.800 --> 00:28:37.480
-You don't know.
-I'm thinking.

00:28:37.600 --> 00:28:39.520
I knew it, I'm thinking.

00:28:39.640 --> 00:28:41.760
"Saeta" is chanel 10, too.

00:28:41.880 --> 00:28:44.720
-Chanel 10.
-I think it's information.

00:28:45.000 --> 00:28:48.400
I think it's information.
"Saeta" is a newspaper, right?

00:28:49.960 --> 00:28:51.560
The "Saeta" newspaper.

00:28:52.320 --> 00:28:54.920
"La saeta", "La Gaceta"...

00:28:55.200 --> 00:28:56.600
-You're getting confused.
-I am?

00:28:56.720 --> 00:28:58.160
What?

00:28:59.520 --> 00:29:00.720
Yes?

00:29:01.760 --> 00:29:02.880
What did you say?

00:30:59.360 --> 00:31:00.920
-Ramón.
-What is it?

00:31:01.040 --> 00:31:05.520
Two things, now I've finished
folding the clothes,

00:31:05.640 --> 00:31:08.280
two things we'll do better together.

00:31:10.400 --> 00:31:11.480
What's that?

00:31:14.040 --> 00:31:15.240
Let me see.

00:31:17.000 --> 00:31:18.240
Where do I...

00:31:21.240 --> 00:31:22.360
Like that?

00:31:25.280 --> 00:31:27.400
We fold it like this, right?

00:31:27.720 --> 00:31:30.200
-If not we won't be able to move.
-Let's see.

00:31:58.800 --> 00:32:00.680
There, that's right.

00:32:03.160 --> 00:32:05.840
-Face up?
-Yes, sir.

00:32:09.200 --> 00:32:10.640
How does this one go?

00:32:10.760 --> 00:32:13.320
Doesn't matter.
When you get hold we'll see.

00:32:13.440 --> 00:32:14.440
Yes?

00:32:15.440 --> 00:32:17.320
It looks square to me.

00:32:18.040 --> 00:32:19.160
OK.

00:33:25.640 --> 00:33:31.160
EDDIE SAETA AND DOBLE BANDA
PRESENT

00:33:31.280 --> 00:33:35.440
A FILM PRODUCED BY:

00:33:35.560 --> 00:33:36.920
I'm going to have lunch.

00:33:37.560 --> 00:33:39.160
Because this is no good.

00:33:39.280 --> 00:33:43.320
You hide away
and I always find you in this little nook.

00:33:43.440 --> 00:33:46.200
But not today.
So there you are.

00:33:49.240 --> 00:33:51.000
Let's see if they're here.

00:33:51.880 --> 00:33:53.520
But no, they aren't here.

00:33:54.400 --> 00:33:57.080
What rascals!
They're hiding right inside.

00:33:57.200 --> 00:33:58.600
This is no good.

00:33:59.560 --> 00:34:03.440
Let's see.
Here they are, the rascals!

00:34:03.560 --> 00:34:04.560
Here you are!

00:34:04.680 --> 00:34:06.000
IN COOPERATION WITH

00:35:27.080 --> 00:35:28.880
The water's lovely!
Come here.

00:35:37.560 --> 00:35:39.120
Poor thing!

00:35:39.840 --> 00:35:41.280
You'll like it afterwards.

00:35:45.280 --> 00:35:47.280
He didn't get so upset today.

00:35:50.640 --> 00:35:52.360
There we are. Let's see now.

00:35:53.640 --> 00:35:55.360
A little soap.

00:36:16.200 --> 00:36:17.320
You're not in shot.

00:36:19.240 --> 00:36:21.000
We can't see you over there.

00:36:22.760 --> 00:36:24.840
And from there
we can see you.

00:36:26.680 --> 00:36:27.920
Now we can.

00:36:32.200 --> 00:36:33.840
-I'm coming here.
-OK.

00:36:34.400 --> 00:36:35.400
There.

00:36:35.520 --> 00:36:37.920
I was filming you both before.

00:36:39.040 --> 00:36:40.680
But the battery ran out

00:36:41.200 --> 00:36:43.040
and I don't think it recorded.

00:36:43.280 --> 00:36:44.480
Well, I'm glad.

00:37:51.680 --> 00:37:57.480
SINCE A GROUP OF YOUNGSTERS,
COMING OUT OF CECC 22 YEARS AGO,
DECIDED TO MAKE CINEMA,

00:37:58.640 --> 00:38:02.360
EACH PROJECT HAS BEEN HARDER
THAN THE PREVIOUS.

00:38:03.760 --> 00:38:10.960
PERHAPS DUE TO THIS, THE CLEARING OUT OF
EDDIE SAETA MOVES ME.

00:39:47.040 --> 00:39:49.320
I’d lie on the bed,
but without any blankets

00:39:49.400 --> 00:39:51.600
to feel the cold he felt.

00:39:51.720 --> 00:39:53.920
That was love back then.

00:39:54.320 --> 00:39:55.240
Not like love today.

00:39:55.320 --> 00:39:58.240
One day, my bones doctor,

00:39:58.400 --> 00:40:00.840
because he always
accompanies me, she said:

00:40:00.880 --> 00:40:02.560
“it’s so nice your husband

00:40:02.560 --> 00:40:03.880
always comes along,

00:40:04.000 --> 00:40:06.440
even though you’re both getting old,

00:40:06.560 --> 00:40:08.560
but he always comes.”

00:41:25.000 --> 00:41:29.200
By the way, this is the American poster
for Uncle Boonmee.

00:41:29.320 --> 00:41:31.320
It's really nice, very different.

00:41:31.640 --> 00:41:34.360
-The Palme d'Or in Cannes.
-Yes.

00:41:35.400 --> 00:41:39.360
Speaking with Simon Field and Apichatpong,

00:41:39.480 --> 00:41:45.160
when I met them, I had the chance
to get involved in this lucky project.

00:41:46.960 --> 00:41:50.400
I was saying, another symbol
of globalization is that palm tree.

00:41:50.520 --> 00:41:53.600
When the red palm weevil arrived,

00:41:53.720 --> 00:41:56.400
from who knows where,
Indonesia I imagine,

00:41:56.520 --> 00:41:59.440
and it ate it,
it ate the heart of the palm tree.

00:41:59.560 --> 00:42:02.040
But we're going to save this one.

00:42:02.160 --> 00:42:05.160
It got infected from the one
at the end of the passage.

00:42:05.280 --> 00:42:07.680
-Those insects got into it...
-And they kill it.

00:42:07.800 --> 00:42:10.440
-They burrow inside.
-And the leaves fall off.

00:42:10.560 --> 00:42:13.520
Exactly. They eat out the heart.

00:42:13.640 --> 00:42:15.800
They say if you stand underneath,

00:42:15.920 --> 00:42:19.160
if you can't hear the sound,
the heart has been eaten away.

00:42:19.280 --> 00:42:21.400
Because they work at night.

00:42:21.520 --> 00:42:27.840
So what we did, we got a treatment,
which goes in through that tube,

00:42:27.960 --> 00:42:30.680
and now luckily I can see
new leaves are sprouting.

00:42:30.800 --> 00:42:33.880
So maybe next spring
the palm tree will be back.

00:42:34.000 --> 00:42:37.760
I was lucky not to chop it down
or remove it.

00:42:39.920 --> 00:42:44.520
All this will still be here
but not in our surroundings,

00:42:44.640 --> 00:42:48.040
which is sad,
because we'll miss it.

00:42:48.160 --> 00:42:50.160
Like my dog,
I brought him every day.

00:42:50.280 --> 00:42:53.840
Now, in a small office,
it's not acceptable.

00:42:53.960 --> 00:42:57.600
But we'll have to do things
differently for the moment.

00:42:57.720 --> 00:42:59.560
Something will come up.

00:42:59.680 --> 00:43:04.160
It's interesting that the palm tree
is a bit like a metaphor.

00:43:04.280 --> 00:43:07.320
Yes, the palm tree got sick,

00:43:07.440 --> 00:43:10.920
curiously, at the same time
as our society did,

00:43:11.040 --> 00:43:14.920
although due to external causes.
Well, both cases were.

00:43:15.200 --> 00:43:19.760
The palm tree didn't want to get sick,
it was an external pest.

00:43:19.880 --> 00:43:25.240
And the company didn't want to fold,
an external pest crushed us.

00:43:25.360 --> 00:43:28.240
So, yes, it's a metaphor.
You're right.

00:43:28.360 --> 00:43:30.400
It's a symbol
of what's happening to us.

00:43:30.520 --> 00:43:35.000
I hope it's also a metaphor
that it's growing new leaves.

00:43:35.960 --> 00:43:37.560
-I'm sure it is.
-It's nice.

00:43:42.440 --> 00:43:43.560
It's good.

00:43:45.000 --> 00:43:46.320
Well.

00:44:14.320 --> 00:44:18.120
CLIMATE CHANGE AND RESPONSIBILITY

00:44:40.400 --> 00:44:43.080
EDDIE SAETA HAS BEEN CLEARED OUT.

00:44:45.600 --> 00:44:48.280
IT MIGHT NOT BE LONG FOR DOBLE BANDA.

00:44:51.080 --> 00:44:54.520
LUIS AND I CONTINUE ON OUR WAY.

00:44:57.280 --> 00:45:01.640
STELLA CADENTE AND FUENTE ÁLAMO
ACCOMPANY US.

00:45:04.400 --> 00:45:07.360
BOTH FILMS WILL BE PART
OF A RETROSPECTIVE

00:45:07.480 --> 00:45:10.360
AT THE LIMA INDEPENDIENTE FESTIVAL.

00:45:16.920 --> 00:45:18.760
IN PERU, WE ARE JOINED ON OUR TRAVELS

00:45:18.880 --> 00:45:21.240
BY ALONSO IZAGUIRRE,
DIRECTOR OF THE FESTIVAL,

00:45:21.360 --> 00:45:23.280
AND PEDRO COSTA,
PORTUGUESE FILMMAKER.

00:45:50.240 --> 00:45:52.120
LUIS IS NOT A FOOTBALL FAN

00:45:52.240 --> 00:45:55.600
BUT HAS JUST ASKED ABOUT A RESULT
IN THE COPA AMÉRICA

00:45:57.040 --> 00:46:00.200
SPECIFICALLY, URUGUAY
AGAINST PARAGUAY.

00:46:03.120 --> 00:46:05.920
I asked about it
because I have friends in Uruguay.

00:46:06.040 --> 00:46:07.800
So it was to find out...

00:46:08.120 --> 00:46:09.520
...whether they'd be happy.

00:46:09.640 --> 00:46:11.880
Mariana Secco, Carlos Ameglio...

00:46:13.000 --> 00:46:14.200
Epstein...

00:46:15.040 --> 00:46:18.120
Federico Beiró,
they're all Uruguayans.

00:46:19.480 --> 00:46:20.920
So...

00:46:28.520 --> 00:46:32.200
One of the actors
in El muerto y ser feliz is Uruguayan.

00:46:32.320 --> 00:46:33.560
-Oh really?
-Yes.

00:46:34.880 --> 00:46:38.320
He's the curator
of the Montevideo cinematheque.

00:46:39.160 --> 00:46:42.800
He's the one with the gun
and the coke bottle lenses,

00:46:42.920 --> 00:46:45.240
-who's also in the water.
-OK.

00:46:45.360 --> 00:46:46.520
That one.

00:47:05.320 --> 00:47:08.920
At that moment, Érica realises
they should not have stopped here.

00:47:09.840 --> 00:47:13.400
Because her happy memory
of swimming here as a girl,

00:47:13.600 --> 00:47:14.840
has let her down today.

00:47:15.880 --> 00:47:19.040
So they leave the province
of Santiago del Estero quickly,

00:47:19.160 --> 00:47:21.280
across the fields, like thieves.

00:47:21.720 --> 00:47:23.240
Érica fleeing from a memory

00:47:23.440 --> 00:47:26.760
and Santos from the man
with small eyes and thick glasses

00:47:26.960 --> 00:47:29.400
who hired him to do a job
he hasn't done.

00:47:48.760 --> 00:47:50.640
After Paris, where are you going?

00:47:50.760 --> 00:47:53.960
Three days in Barcelona, at home,

00:47:54.560 --> 00:47:56.560
to change clothes, packing...

00:47:56.960 --> 00:48:01.440
Then to Karlovy Vary,
for the 50th anniversary of the festival.

00:48:01.560 --> 00:48:05.120
They've invited various people
who have links to it.

00:48:05.720 --> 00:48:10.720
And from there,
I connect directly to Greece,

00:48:11.280 --> 00:48:14.800
for a festival
on a tiny island, Siros.

00:48:16.200 --> 00:48:20.000
Then back to Barcelona
and I have 15 days to rest.

00:48:38.320 --> 00:48:41.760
Have you thought of retiring,
giving up producing?

00:48:41.880 --> 00:48:45.200
Well, I am giving up producing.

00:48:45.720 --> 00:48:48.600
I don't produce for other people,
maybe for myself.

00:48:48.720 --> 00:48:51.640
It's more laid back,
every two years or so.

00:48:52.680 --> 00:48:54.640
Yes, I'm giving up producing,

00:48:54.760 --> 00:48:59.000
but I'm still curating
what we've done over the years.

00:48:59.240 --> 00:49:03.600
34 films that may still
have some kind of life.

00:49:04.000 --> 00:49:07.240
Then there are retrospectives,
like yours.

00:49:07.360 --> 00:49:10.600
In some sense,
there is activity.

00:49:11.760 --> 00:49:15.920
By retiring, do you mean
having nothing to do with film?

00:49:16.040 --> 00:49:17.960
-Impossible.
-Right?

00:49:19.320 --> 00:49:20.800
It's inside you.

00:49:21.000 --> 00:49:25.840
Was the difficulty with Eddie Saeta
a big blow, emotionally?

00:49:26.160 --> 00:49:28.320
At first it was hard.

00:49:28.440 --> 00:49:31.640
Pablo knows that,
he recorded that moment.

00:49:31.800 --> 00:49:34.240
Then... what can I say?

00:49:34.360 --> 00:49:36.840
You adapt to what life throws at you.

00:49:36.960 --> 00:49:38.640
Everything always changes.

00:50:48.800 --> 00:50:50.480
It's strange, isn't it?

00:50:51.440 --> 00:50:53.440
He looks a bit sinister,

00:50:53.560 --> 00:50:57.960
but his films, aesthetically,
are extremely sophisticated.

00:50:58.840 --> 00:51:00.880
This particular one,
well, you'll see.

00:51:01.000 --> 00:51:06.320
The red shirt with ruffles
that the black guy wears.

00:51:06.440 --> 00:51:08.520
The film is a reduction.

00:51:08.640 --> 00:51:10.480
It's all about finding the essence.

00:51:10.600 --> 00:51:13.520
Like American B movies of the 40s.

00:51:13.640 --> 00:51:16.600
Since there was no money
for big productions,

00:51:16.720 --> 00:51:21.160
it was a kind of concentration,
the light coming through the window

00:51:21.280 --> 00:51:23.240
of the detective's office...

00:51:23.360 --> 00:51:28.840
It's that kind of dynamic
applied to the continuity of his work,

00:51:28.960 --> 00:51:30.960
with the theme of colonialism.

00:51:31.200 --> 00:51:35.280
You'll see, it's like
an America B-movie thriller.

00:51:36.000 --> 00:51:39.040
Full of colour, but also
with staircases going up,

00:51:39.160 --> 00:51:41.840
elevators,
very enclosed spaces.

00:51:51.920 --> 00:51:55.640
I MET PEDRO COSTA TWO DAYS
BEFORE FILMING AT THIS LOCATION.

00:51:59.400 --> 00:52:02.080
LUIS TALKED TO ME
ABOUT HIS FILM CAVALHO DINEIRO,

00:52:02.200 --> 00:52:05.040
ALSO SELECTED FOR
THE LIMA INDEPENDIENTE FESTIVAL.

00:52:16.560 --> 00:52:18.360
Look, what a strange bird.

00:52:19.200 --> 00:52:22.520
It looks like an owl.

00:52:24.160 --> 00:52:26.000
-What's that in Portuguese?
-"Mocho".

00:52:26.440 --> 00:52:27.760
"Mocho", "coruja".

00:52:27.880 --> 00:52:30.240
Ah, "mussol" in Catalan.

00:52:33.560 --> 00:52:35.240
Wow, another one.

00:52:35.640 --> 00:52:36.840
Strange day, isn't it?

00:52:36.960 --> 00:52:39.840
They're nocturnal, too.
Let's go and see.

00:52:40.320 --> 00:52:43.400
Well, this place is always nocturnal.

00:52:47.440 --> 00:52:48.560
"Mussol".

00:52:49.240 --> 00:52:50.320
It's pretty.

00:52:51.440 --> 00:52:53.480
No. It's off.

00:52:56.800 --> 00:52:58.440
"Coruja"...

00:53:12.080 --> 00:53:14.200
I'm tired of waiting.

00:53:22.880 --> 00:53:25.040
These things take time, Mar.

00:53:25.320 --> 00:53:26.920
You have to prepare for them.

00:53:38.680 --> 00:53:40.000
Love.

00:53:40.760 --> 00:53:41.760
Yes.

00:53:42.840 --> 00:53:44.040
Of course.

00:53:47.760 --> 00:53:48.760
Let's see...

00:53:49.840 --> 00:53:52.480
-...if you can do it.
-Yes, perfect.

00:53:52.680 --> 00:53:53.640
Great.

00:53:55.120 --> 00:53:58.360
-I see you're using that tripod.
-Of course!

00:53:58.720 --> 00:53:59.840
-Is it handy?
-Sure,

00:53:59.960 --> 00:54:04.680
because now I have to film
at a very low speed.

00:54:05.000 --> 00:54:06.000
And otherwise...

00:54:07.480 --> 00:54:08.760
-It's moves.
-Of course.

00:54:09.520 --> 00:54:11.840
Careful, Lisa.

00:54:11.960 --> 00:54:13.120
Let's go.

00:54:13.240 --> 00:54:15.520
Let's go, they'll bother her.

00:54:17.080 --> 00:54:18.800
-Come on.
-Have a nice walk.

00:54:18.920 --> 00:54:20.800
-See you later.
-Have fun.

00:54:20.920 --> 00:54:22.000
Thanks.

00:54:22.680 --> 00:54:25.120
-Peluda, come on.
-Come on.

00:54:25.560 --> 00:54:26.640
Peluda.

00:54:26.920 --> 00:54:28.760
Peluda!

00:55:22.040 --> 00:55:23.080
Ready...

00:55:24.200 --> 00:55:25.360
Rolling.

00:55:25.600 --> 00:55:26.760
Silence!

00:55:27.520 --> 00:55:29.080
Action!

00:55:38.320 --> 00:55:40.920
-Look out, Aitor.
-You can come.

00:55:59.200 --> 00:56:00.840
I sent it to Gemma!

00:56:02.120 --> 00:56:04.240
Well, she took another one

00:56:05.480 --> 00:56:07.040
She took Enric's.

00:56:07.880 --> 00:56:12.320
What now? The one time
I sent her a love letter.

00:56:12.560 --> 00:56:14.280
You went and took it.

00:56:22.640 --> 00:56:28.200
'CINEMA EN CURS' INVITES US TO THINK THAT
THERE ARE INFINITE GAZES.

00:57:03.120 --> 00:57:04.920
Who is filming who?

00:57:05.560 --> 00:57:07.680
-What's that?
-Who is filming who?

00:57:08.280 --> 00:57:10.120
-Here and now?
-Yes.

00:57:12.240 --> 00:57:13.240
Well.

00:57:13.480 --> 00:57:16.520
A man films another man.

00:57:16.760 --> 00:57:19.760
Who is filming another man
who is filming.

00:57:20.080 --> 00:57:21.640
Who started it?

00:57:22.480 --> 00:57:24.240
What is the origin?

00:58:10.480 --> 00:58:13.280
We probably go to another world.

00:58:14.320 --> 00:58:16.680
But to be born in another world,

00:58:17.880 --> 00:58:20.880
someone has to have
sexual relations.

00:58:22.480 --> 00:58:27.600
They imagined it was the sun
that coupled with the earth.

00:58:28.080 --> 00:58:30.280
The earth becomes pregnant.

00:58:30.480 --> 00:58:34.760
They place the bodies
in a fetal position, head down.

00:58:36.240 --> 00:58:41.920
They simulate rebirth in another world,
through the earth's vagina.

00:58:42.400 --> 00:58:45.760
And the body was in here?

00:58:45.880 --> 00:58:50.520
Exactly. This is a stylised representation
of the earth's uterus.

00:58:50.800 --> 00:58:54.040
-OK.
-According to Dr. Manuel Chávez Ballón,

00:58:54.160 --> 00:58:58.240
all vertical shapes,
like the sun's rays at noon,

00:58:58.360 --> 00:58:59.960
or when it rains,

00:59:00.760 --> 00:59:04.480
are masculine forms.
Verticality is masculine.

00:59:04.880 --> 00:59:07.520
But when we walk through the countryside,

00:59:07.640 --> 00:59:12.200
all the plants, the horizon,
is like a woman who shelters us.

00:59:12.400 --> 00:59:15.840
In this account,
horizontality is feminine.

00:59:16.480 --> 00:59:19.120
Now,
according to Dr. Manuel Chávez Ballón,

00:59:19.240 --> 00:59:23.360
these vertical, circular shapes,

00:59:23.480 --> 00:59:25.360
are phallic shapes.

00:59:26.080 --> 00:59:28.760
The same shapes that we find here,

00:59:28.880 --> 00:59:32.840
we find on the other side,
as feminine shapes.

00:59:33.200 --> 00:59:38.400
But this has an almost
pyramidal shape, too.

00:59:38.520 --> 00:59:43.000
The Egyptians buried their dead
under pyramids to preserve them.

00:59:43.120 --> 00:59:46.040
The Egyptians were around
for thousands of years.

00:59:46.160 --> 00:59:49.000
The Incas, only 94.

00:59:49.320 --> 00:59:52.880
The Egyptians were concerned
with the immortality of the soul.

00:59:53.120 --> 00:59:57.760
The Incas were concerned
with giving the best to the poor

00:59:57.880 --> 01:00:01.000
and eliminating poverty
and suffering in their country.

01:00:01.160 --> 01:00:03.320
But I mean the triangle,

01:00:03.440 --> 01:00:06.400
-this purpose of this structure is...
-Of course.

01:00:31.000 --> 01:00:33.280
Years ago,
there were cinemas in Cusco.

01:00:33.400 --> 01:00:35.160
-Not any more?
-It was so nice!

01:00:35.280 --> 01:00:37.880
I saw Jurassic Park,

01:00:38.000 --> 01:00:44.760
El Zorro with Antonio Banderas,
premiered at Cine Victoria.

01:00:45.160 --> 01:00:48.160
Then I saw Jurassic Park
in the Ollanta theatre.

01:00:48.280 --> 01:00:53.040
I think in '92 or '93.

01:00:53.560 --> 01:00:55.760
Movies with Van Damme, Chuck Norris...

01:00:55.880 --> 01:00:58.160
You only saw American movies.

01:00:58.280 --> 01:01:00.480
-It was what they showed.
-There weren't any others.

01:01:00.600 --> 01:01:03.920
Towards the end of Cusco's cinemas,

01:01:04.040 --> 01:01:06.360
they showed Indian films.

01:01:06.480 --> 01:01:09.160
Ah, Bollywood, musicals.

01:01:09.280 --> 01:01:11.400
No, dramas.

01:01:11.800 --> 01:01:15.000
And the cinemas shut down.

01:01:15.520 --> 01:01:16.760
It used to be so nice.

01:01:16.880 --> 01:01:20.680
We make films
for cinemas that have shut down.

01:01:20.800 --> 01:01:23.680
Because you don't see them in cinemas,
you see them elsewhere.

01:01:24.080 --> 01:01:25.480
More in festivals,

01:01:25.600 --> 01:01:27.480
-in cinematheques...
-Exactly.

01:01:27.600 --> 01:01:33.320
There are film festivals,
and those films are never that popular.

01:01:33.440 --> 01:01:36.280
They're shown at festivals,
and people go to see them.

01:01:36.400 --> 01:01:38.440
-Right, film buffs.
-Exactly.

01:01:44.960 --> 01:01:49.600
IN THE PROCESS OF MAKING “UNCERTAIN JOURNEY”,

01:01:53.000 --> 01:02:01.240
THE LIMA INDEPENDENT FILM FESTIVAL
TURNED OFF THE LIGHTS AFTER ITS 8TH EDITION.

01:02:52.240 --> 01:02:54.920
CINEMA AS MEMORY

01:02:56.680 --> 01:02:59.440
SO AS NOT TO FORGET

01:03:01.240 --> 01:03:04.400
SPACES

01:03:06.120 --> 01:03:08.800
PEOPLE.

01:03:23.960 --> 01:03:26.440
A DAY IN THE COUNTRYSIDE

01:04:38.320 --> 01:04:42.520
On the thorny path...

01:04:42.640 --> 01:04:47.120
I go looking for new paths.

01:04:49.480 --> 01:04:53.640
On the thorny path...

01:04:53.760 --> 01:04:57.760
I go looking for new paths.

01:05:01.000 --> 01:05:04.960
On the unknown path...

01:05:05.200 --> 01:05:09.200
I leave behind a lost love.

01:05:12.800 --> 01:05:16.600
On the unknown path...

01:05:18.160 --> 01:05:21.600
I leave behind a lost love.

01:05:28.280 --> 01:05:33.160
And the love I had...

01:05:35.400 --> 01:05:39.080
got tangled on a branch.

01:05:40.600 --> 01:05:45.120
And the love I had...

01:05:46.600 --> 01:05:50.160
was left on a branch.

01:05:52.520 --> 01:05:56.080
A strong wind blew...

01:05:56.920 --> 01:06:00.760
It carried away branch and all.

01:06:03.000 --> 01:06:06.360
A strong wind blew...

01:06:07.440 --> 01:06:10.720
It carried away branch and all.

01:06:17.680 --> 01:06:21.960
Little white dove, take me in your arms...

01:06:23.160 --> 01:06:27.480
before I go far from your side.

01:06:28.600 --> 01:06:32.680
Come, country girl,
take me in your arms...

01:06:33.080 --> 01:06:37.680
before I go away to distant lands.

01:07:36.880 --> 01:07:41.440
I ALWAYS COME BACK TO LAS PARIDERAS.

01:09:01.120 --> 01:09:10.040
SINCE I WAS A KID, I REMEMBER PEDRO
TAKING CARE OF “LAS PARIDERAS”.

01:09:13.400 --> 01:09:15.440
I don't believe it!

01:09:37.000 --> 01:09:39.680
PEDRO IS, TOGETHER WITH MY FATHER,

01:09:39.680 --> 01:09:45.640
THE PERSON WHO BRINGS ME CLOSER TO
MY GRANDPARENTS, PEPE AND MARÍA.

01:11:41.040 --> 01:11:43.800
This was a field.

01:11:44.040 --> 01:11:48.560
There were no vines or anything,
just cereals.

01:11:49.240 --> 01:11:52.520
My mother, your grandmother,
inherited it.

01:11:53.600 --> 01:11:55.120
I was just a boy.

01:11:55.240 --> 01:11:58.720
And Pedro was even younger
because I'm two or three years older.

01:11:59.040 --> 01:12:01.800
-Four.
-I'm four years older.

01:12:01.920 --> 01:12:04.920
I'll be 61...

01:12:05.840 --> 01:12:07.720
You, 61? What?

01:12:07.840 --> 01:12:09.760
-I mean, 66.
-Ah.

01:12:12.520 --> 01:12:14.760
-In the old days...
-I'll be 70.

01:12:15.200 --> 01:12:18.040
this was a "paridera",
a shed where livestock gave birth.

01:12:18.160 --> 01:12:20.320
Yes, that's why it's called
"Las Parideras".

01:12:20.800 --> 01:12:24.120
And your grandfather, in 1945,

01:12:24.560 --> 01:12:29.520
because he was interested
in agriculture, and fields and so on,

01:12:29.640 --> 01:12:32.920
he started to do a bit of farming.

01:12:34.240 --> 01:12:39.080
So in 1945, he planted this vineyard.

01:12:39.760 --> 01:12:42.360
-Before that, in this field...
-Without a house or anything.

01:12:43.560 --> 01:12:45.760
A "casuto".
He started building a "casuto",

01:12:45.880 --> 01:12:50.120
where the chimney is,
in the house you're staying in.

01:12:50.960 --> 01:12:53.600
That was the first "casuto".

01:12:54.680 --> 01:12:55.880
Then...

01:12:57.040 --> 01:12:58.800
Pedro's grandfather...

01:12:58.920 --> 01:13:01.400
Pedro's grandfather, "el Pericón",

01:13:01.840 --> 01:13:04.000
was the one who sometimes worked,

01:13:04.120 --> 01:13:07.520
not permanently, but something,
with my father.

01:13:08.680 --> 01:13:11.280
He came here too,

01:13:11.400 --> 01:13:15.720
and your grandfather and I
sometimes came from the village,

01:13:16.320 --> 01:13:18.600
occasionally on foot,

01:13:18.720 --> 01:13:22.000
I would be 6, 7, 8 years old.

01:13:22.120 --> 01:13:23.840
We came up here from the village.

01:13:24.120 --> 01:13:26.520
At other times we had a carriage,

01:13:26.640 --> 01:13:29.840
and we came up in the carriage,
with the horse and so on.

01:13:30.520 --> 01:13:34.160
Sometimes we stayed overnight.

01:13:34.280 --> 01:13:37.480
We'd stay overnight.
Pedro's grandfather,

01:13:38.680 --> 01:13:43.280
my father and I,
in the "casuto" that was already built.

01:13:43.400 --> 01:13:50.000
With the donkey, or the horse,
depending on when it was.

01:14:12.600 --> 01:14:16.680
Do you remember when
we pitched tents here with the kids?

01:14:16.800 --> 01:14:17.880
Yes.

01:14:18.280 --> 01:14:20.120
-Years ago.
-Yes.

01:14:27.720 --> 01:14:30.480
I'll put it upside down
so it doesn't get bird droppings on it.

01:14:30.600 --> 01:14:32.720
Otherwise we won't be able to sit down.

01:14:37.960 --> 01:14:40.480
-Look how the water's coming down.
-Yes.

01:15:00.080 --> 01:15:06.040
In summer, grandfather
hardly let us work on the vineyard.

01:15:06.160 --> 01:15:08.360
We always had to be here,

01:15:08.480 --> 01:15:11.400
doing the edges,
always doing something.

01:15:11.520 --> 01:15:13.560
One had to be with him.

01:15:16.960 --> 01:15:18.000
Yes.

01:15:21.160 --> 01:15:23.120
Pour out some water.

01:15:48.480 --> 01:15:49.560
Look.

01:15:50.560 --> 01:15:52.240
Shall we have a walk?

01:15:52.840 --> 01:15:54.240
-Yes?
-Yes.

01:16:33.920 --> 01:16:35.000
Look!

01:16:36.240 --> 01:16:37.600
A tomato!

01:16:41.520 --> 01:16:42.840
Leave it on the ground.

01:16:49.840 --> 01:16:51.440
Put it in the basket.

01:16:55.000 --> 01:16:56.240
That's right.

01:16:57.240 --> 01:16:59.800
Good. Look, another one!

01:17:01.040 --> 01:17:02.360
Yes, put it here.

01:17:03.400 --> 01:17:05.240
-Very good.
-This one's for daddy.

01:18:00.000 --> 01:18:05.760
WHEN I FILMED MY FIRST IMAGES,
THE IDEA OF DEATH WAS NOT IN ME.

01:18:09.600 --> 01:18:14.520
A LONG TIME HAS GONE BY SINCE THEN.

01:18:17.960 --> 01:18:23.960
I LIKE THE IDEA OF DEATH
AS A REAFFIRMATION OF LIFE.

01:18:27.080 --> 01:18:31.480
AND THE CINEMA THAT
CONNECTS US TO LIFE.

01:18:38.480 --> 01:18:39.480
Really?

01:18:40.080 --> 01:18:41.080
What?

01:18:42.520 --> 01:18:44.720
What? You two?

01:18:45.840 --> 01:18:48.520
I like that kind of man.

01:18:50.240 --> 01:18:51.240
You're joking.

01:18:53.200 --> 01:18:54.200
He's very handsome.

01:18:55.240 --> 01:18:57.880
He has character, and he's calm.

01:18:59.200 --> 01:19:00.920
His mind is empty.

01:19:03.640 --> 01:19:06.720
The more you criticise him,
the more suspicious you look.

01:19:06.960 --> 01:19:08.280
What do you mean?

01:19:08.600 --> 01:19:12.000
-Very suspicious, smiling like that.
-I am not.

01:19:13.160 --> 01:19:14.560
Honestly, I'm not.

01:19:16.680 --> 01:19:18.960
But you've been together.

01:19:19.440 --> 01:19:20.440
On a bicycle...

01:19:21.440 --> 01:19:23.280
riding together.

01:19:23.480 --> 01:19:24.840
-No!
-No?

01:19:27.720 --> 01:19:29.200
How far did you go?

01:19:30.240 --> 01:19:31.680
On the bicycle, obviously.

01:19:33.480 --> 01:19:34.400
How suspicious...

01:19:34.680 --> 01:19:37.200
-You're blushing!
-No!

01:19:45.000 --> 01:19:46.960
He's so handsome, look.

01:20:41.040 --> 01:20:42.160
Luis.

01:20:43.120 --> 01:20:44.840
In this one they're...

01:20:45.480 --> 01:20:47.880
...with Gloria, in...

01:20:48.720 --> 01:20:51.160
...in the Ciutadella Park.

01:20:54.200 --> 01:20:59.000
This is Yolanda's...
first communion.

01:21:00.240 --> 01:21:02.400
Get a different album,
a nicer one.

01:21:02.520 --> 01:21:04.880
-This is the wedding...
-They're filming.

01:21:05.000 --> 01:21:10.680
Gloria's wedding,
which was in Arenys.

01:21:12.480 --> 01:21:14.000
Shall I shout at him?

01:21:14.120 --> 01:21:16.280
For the story.

01:21:18.040 --> 01:21:19.480
-Father!
-What?

01:21:19.600 --> 01:21:24.000
Put that one away, get the red one,
it's nicer than that one.

01:21:24.240 --> 01:21:25.560
See? I have to shout.

01:21:25.680 --> 01:21:27.760
Just a moment, here I go.

01:22:00.280 --> 01:22:01.400
Luis?

01:22:01.520 --> 01:22:04.840
-Hi, Celsa.
-Hi, how did it go?

01:22:04.960 --> 01:22:08.960
Good, we're in the car with Pablo
heading for Gijón.

01:22:09.560 --> 01:22:10.600
Great.

01:22:10.720 --> 01:22:13.400
Tomorrow, after the masterclass,

01:22:13.520 --> 01:22:16.360
he wants to interview
me and Apichatpong.

01:22:16.480 --> 01:22:18.480
So we were looking for a place.

01:22:18.640 --> 01:22:20.600
I thought of somewhere that's nice,

01:22:20.920 --> 01:22:25.720
that hotel in a little square
where I stayed during Liverpool.

01:22:26.040 --> 01:22:29.360
It's a hotel that's all white,
I don't remember the name.

01:22:29.480 --> 01:22:32.600
-Hotel Asturias, in that square...
-Yes.

01:22:33.000 --> 01:22:35.240
-Afterwards...
-Yes, in the town hall square.

01:22:35.360 --> 01:22:38.840
-The town hall square, the Asturias.
-Yes.

01:22:38.960 --> 01:22:41.960
I'll tell him to go there
tomorrow morning, if he wants,

01:22:42.080 --> 01:22:44.240
to ask permission to film there.

01:22:44.360 --> 01:22:48.920
-That won't be a problem, will it?
-I don't think so, but we could call,

01:22:49.040 --> 01:22:51.840
to say a young guy is coming
to look round tomorrow,

01:22:51.960 --> 01:22:56.040
so when they see him they know
he's part of the festival.

01:22:56.160 --> 01:22:59.680
OK, and when the conference is over
we'll go there, because it's a nice place,

01:22:59.800 --> 01:23:02.280
it has big windows,
it's near the sea.

01:23:02.400 --> 01:23:03.800
-Of course.
-Great, then that's that.

01:23:03.920 --> 01:23:05.680
You mean downstairs in the café.

01:23:05.800 --> 01:23:07.880
Yes. The café in the Asturias.

01:23:08.000 --> 01:23:11.000
Great. Is it a problem
if there are people around?

01:23:11.120 --> 01:23:12.160
No.

01:23:12.800 --> 01:23:14.920
-Great.
-OK, then that's that.

01:23:15.600 --> 01:23:16.720
No problem.

01:23:16.920 --> 01:23:19.960
Well, if I don't see you tonight,
I'll see you tomorrow.

01:23:21.080 --> 01:23:24.280
-See you tomorrow.
-OK, thank you Celsa.

01:23:24.720 --> 01:23:27.400
-Don't mention it. Ciao, Luis.
-Ciao.

01:26:21.520 --> 01:26:23.280
I miss my father.

01:26:23.720 --> 01:26:24.760
Really?

01:26:25.720 --> 01:26:27.000
Back then,

01:26:27.560 --> 01:26:30.640
the army sent him into the jungle
to hunt people.

01:26:32.880 --> 01:26:34.760
But he hunted animals.

01:26:35.680 --> 01:26:40.400
He stayed there until
he could talk to the animals.

01:26:47.240 --> 01:26:49.960
Did he visit you after his death?

01:26:50.960 --> 01:26:53.680
No, when he died, he disappeared.

01:26:56.640 --> 01:26:59.480
He didn't turn into a ghost.

01:27:10.200 --> 01:27:14.480
-You have dog drool on your hands.
-Eat.

01:30:06.680 --> 01:30:11.160
I hope I don't get stuck here,
because it's as if all this didn't exist.

01:30:11.280 --> 01:30:12.720
It's the past.

01:30:16.720 --> 01:30:18.520
I've found...

01:30:20.040 --> 01:30:21.320
All kinds of things.

01:30:22.120 --> 01:30:25.640
A photo of a hotel
in Sète, in France,

01:30:25.760 --> 01:30:27.680
which brings back good memories,

01:30:27.800 --> 01:30:30.720
"Le Grand Hotel", beside the canal.

01:30:33.160 --> 01:30:38.400
I'm sure it's changed a lot,
I don't even know if it's still there.

01:30:38.520 --> 01:30:41.800
This must be from the sixties,
it looks like a Truffaut film.

01:30:43.600 --> 01:30:47.360
Then this is Rossy de Palma
at an advertising shoot.

01:30:48.080 --> 01:30:50.400
An ad for sanitary pads, Evax.

01:30:50.960 --> 01:30:52.680
Advertising is such a distant memory...

01:30:52.800 --> 01:30:56.240
I don't where this is,
I guess Menorca.

01:30:57.720 --> 01:31:01.080
Either Menorca or Asturias
and I'm smoking a joint.

01:31:02.440 --> 01:31:04.480
This is me with my little brother, Víctor.

01:31:04.600 --> 01:31:07.200
Always screaming,
he's not even one here.

01:31:15.400 --> 01:31:19.680
Dancing to a hand organ
in Castelldefels, when we were small

01:31:19.960 --> 01:31:22.760
My parents,
and me dancing with my sister.

01:31:22.880 --> 01:31:26.920
This is me with my brother and sister,
fiddling with my willy on Palm Sunday.

01:31:27.040 --> 01:31:29.960
A habit I had when I was young,
which my mother put a stop to.

01:31:30.320 --> 01:31:31.560
And my mother.

01:31:32.040 --> 01:31:34.160
My mother,
looking very beautiful here.

01:31:39.120 --> 01:31:41.440
Well, that's the end of the story.

01:31:42.280 --> 01:31:43.560
That's enough.

01:31:44.960 --> 01:31:46.320
Goodness me.

01:32:22.240 --> 01:32:23.520
Call it, it's a penalty!

01:32:25.720 --> 01:32:27.200
-Run!
-Pass, pass!

01:32:33.560 --> 01:32:35.120
It was hard work.

01:32:35.240 --> 01:32:39.920
Even though you helped me,
and the village got behind the project.

01:32:40.040 --> 01:32:44.080
Even though the people in the film
put so much energy into it.

01:32:44.200 --> 01:32:50.080
And the crew worked so hard
and were so enthusiastic too.

01:32:50.200 --> 01:32:54.480
Even so, with all those people
helping to make the film,

01:32:54.600 --> 01:32:57.800
-it was a 5- or 6-year process.
-Of course.

01:32:57.920 --> 01:33:01.120
From '96 or '95,
when I started writing the script.

01:33:01.240 --> 01:33:03.240
And the premiere was in 2001.

01:33:03.360 --> 01:33:06.880
Although in '98 it had already been shot,
edited, and the sound was done.

01:33:07.160 --> 01:33:08.880
But we had a lot of difficulties,

01:33:09.000 --> 01:33:13.440
getting a producer to take an interest
in Fuente Álamo.

01:33:13.560 --> 01:33:15.600
So that it could be...

01:33:15.720 --> 01:33:19.320
We might not have reached Miñarro
if it hadn't been for Gloria.

01:33:19.440 --> 01:33:23.000
We couldn't have done it
only with Luis either.

01:33:23.120 --> 01:33:26.960
No, because he wasn't well known
at that time.

01:33:27.160 --> 01:33:31.840
Though if he had been well known,
maybe you wouldn't have dared...

01:33:32.360 --> 01:33:35.160
The point is, we were lucky to find Luis.

01:33:35.280 --> 01:33:37.280
But what I was saying is this,

01:33:37.400 --> 01:33:41.240
that in fact, the disillusionment
comes from a whole process,

01:33:41.480 --> 01:33:45.440
which makes doing what you love
really very difficult.

01:33:45.560 --> 01:33:47.520
-Of course.
-In certain specific cases.

01:33:47.640 --> 01:33:50.560
If you love doing something else,
well, I don't know.

01:33:50.680 --> 01:33:54.040
-If you like what's in fashion.
-Right.

01:33:54.560 --> 01:33:55.760
-No, no.
-And I wouldn't say...

01:33:55.880 --> 01:33:57.760
In any case, this disillusionment...

01:33:57.880 --> 01:34:01.320
I think everyone
has to go through it for themselves.

01:34:01.440 --> 01:34:04.600
It's not because
we made things easy for you,

01:34:04.720 --> 01:34:07.880
or because you had a happy childhood,
that you felt disillusioned.

01:34:08.000 --> 01:34:13.320
This disillusionment,
of facing your own reality,

01:34:13.440 --> 01:34:16.760
your own desires,
as against what reality offers you,

01:34:16.920 --> 01:34:20.760
this is something everyone
has to deal with by themselves, always.

01:34:21.240 --> 01:34:25.600
And reality doesn't make things
easy for you.

01:34:25.720 --> 01:34:28.200
Even if it looks like that
from the outside.

01:34:28.320 --> 01:34:30.920
From the outside it might look
as if your childhood,

01:34:31.040 --> 01:34:33.560
now, at a distance,
you see it as having been happy,

01:34:33.680 --> 01:34:38.080
I know that you went through
a lot of difficult times.

01:34:38.400 --> 01:34:43.200
When your granny said "Poor Pau",
it wasn't totally unfounded.

01:34:43.320 --> 01:34:47.320
It was because she saw
that you were unhappy sometimes.

01:34:48.000 --> 01:34:51.040
But if what you remember
is the good parts,

01:34:51.160 --> 01:34:54.720
it's also because the good parts
were extremely important.

01:34:56.400 --> 01:35:01.200
I think everyone has to go through
their own disillusionment.

01:35:01.320 --> 01:35:06.400
To face your own life
and the fact things aren't easy.

01:35:07.000 --> 01:35:09.640
You could even say
that is a good thing,

01:35:10.200 --> 01:35:15.520
because difficulties
help you to improve,

01:35:15.640 --> 01:35:18.760
to see things from another point of view,

01:35:19.080 --> 01:35:21.600
to try to search.

01:35:22.000 --> 01:35:24.600
Difficulties make you
go out and search,

01:35:24.720 --> 01:35:27.760
and I think searching is important.

01:39:21.160 --> 01:39:27.640
TO MY AUNT MARIBEL,
WHO GAVE ME SO MUCH LOVE.

01:39:27.920 --> 01:39:35.760
TO MY DAUGHTER ALICIA, WITH SO MANY PEOPLE
AND PLACES TO DISCOVER.

01:39:48.320 --> 01:39:52.000
But to do the clapperboard,
you need to be closer to the sofa.

01:39:55.280 --> 01:39:58.120
Yes, and do the clapperboard.
More over there.

01:40:00.920 --> 01:40:02.320
There, for example.

01:40:09.320 --> 01:40:10.360
That's it.

01:40:12.480 --> 01:40:13.280
That's it.