�200:00:38,013 --> 00:00:40,015It was proclaimed a miracle...

300:00:42,024 --> 00:00:45,019It is silent planets.

400:00:47,018 --> 00:00:51,020Planets on which life expectancyis measured in seconds.

500:00:53,018 --> 00:00:56,023It is legendary quadrupeds

600:00:57,002 --> 00:01:01,000and images whose shelf life...

700:01:01,004 --> 00:01:03,023is uncertain.

800:01:06,015 --> 00:01:09,017How long does it last?

900:01:10,017 --> 00:01:17,005I mean, this unionbetween the salt crystals, the nitrate.

1000:01:17,009 --> 00:01:21,024And this supple, perforated surface:how long does that last?

1100:01:27,015 --> 00:01:32,010How long does an image last?

1200:01:43,016 --> 00:01:49,005I said to a friend: Look.Look closely. It's very quick.

1300:01:50,013 --> 00:01:52,007Hold the thief.

1400:01:54,001 --> 00:01:55,008Did you see?

1500:01:55,012 --> 00:01:59,004In just a few seconds,a world crumbles.

1600:01:59,008 --> 00:02:02,007Yes, he said. All right.

1700:02:04,006 --> 00:02:07,010And then, twenty years later...

1800:02:06,007 --> 00:02:10,001My radio... Hold the thief.

1900:02:12,001 --> 00:02:14,007Did you see?

2000:02:17,006 --> 00:02:22,001It gets under his skin,this image, does it not?

2100:02:23,014 --> 00:02:28,018And suddenly he said: I'm not surewhere you're going with this.

2200:02:28,022 --> 00:02:32,023You're talking about time,about images. Is that it?

2300:02:45,010 --> 00:02:49,018Yes. Images, time...

2400:02:49,022 --> 00:02:51,012Nitrate.

2500:02:51,016 --> 00:02:56,003Also known as infernal stoneor lunar caustic.

2600:02:57,000 --> 00:02:59,004Nitrate.

2700:02:59,008 --> 00:03:03,005And then he cut me off and said:

2800:03:05,014 --> 00:03:08,012Stop your cinema!

2900:03:11,014 --> 00:03:13,023I will not!

3000:03:18,020 --> 00:03:21,010Nitrate ArchipelagoNotes for a film library

3100:04:22,021 --> 00:04:26,008ITS FIRST FLOWER

3200:04:56,022 --> 00:05:00,013This morning, a message in my inbox.

3300:05:00,017 --> 00:05:04,012My friend said: This is for you.

3400:05:07,014 --> 00:05:11,005There, in front of me,was a strange thing

3500:05:13,007 --> 00:05:15,004I researched and researched

3600:05:15,008 --> 00:05:19,018And I discovered it wasa cross section of a brain

3700:05:19,022 --> 00:05:23,006A network of neurons

3800:05:23,010 --> 00:05:27,008That a 19th century scientisthad rendered visible

3900:05:27,012 --> 00:05:30,013using silver nitrate.

4000:05:33,002 --> 00:05:35,010And, almost mechanically

4100:05:35,014 --> 00:05:38,007I thought of that filmin which a character

4200:05:38,011 --> 00:05:40,020Possessed by demons,cannot stop moving

43

00:05:40,024 --> 00:05:43,002From start to finish.

4400:06:12,002 --> 00:06:16,000Then he ends up in a doctors' office.

4500:06:17,003 --> 00:06:20,014There, for the first time we could see

4600:06:20,018 --> 00:06:24,010what is not usually visibleto the naked eye

4700:06:24,014 --> 00:06:27,002made possible by nitrate.

4800:06:28,016 --> 00:06:31,016Then the story ends reasonably happily.

4900:06:33,019 --> 00:06:35,012The film, by the way, was called

5000:06:35,016 --> 00:06:39,002"A spider on the brain".

5100:06:41,016 --> 00:06:45,006Come on, Croquette. Come on.

5200:06:45,010 --> 00:06:47,015Don't be afraid.

5300:06:57,006 --> 00:06:59,001Come on.

5400:07:05,024 --> 00:07:08,008Nitrate...

5500:07:11,005 --> 00:07:13,005The image...

5600:07:17,011 --> 00:07:21,001And so I set to workpreparing my recipe.

5700:07:24,001 --> 00:07:29,000Where did this certainty come from

that, originally, film

5800:07:29,004 --> 00:07:33,024before a layer of nitratemade it light sensitive.

5900:07:35,015 --> 00:07:37,018That this film

6000:07:37,022 --> 00:07:44,003got its suppleness and resiliencefrom animal-based gelatines?

6100:07:45,019 --> 00:07:47,015I can't remember.

6200:07:56,003 --> 00:07:58,008No, it's not for you.

6300:08:06,000 --> 00:08:08,000But the idea pleased me.

6400:08:08,004 --> 00:08:14,006The idea that filmhas an animal ingredient.

6500:08:16,019 --> 00:08:18,004To think

6600:08:18,008 --> 00:08:19,017that cinema

6700:08:19,021 --> 00:08:22,007is cookery

6800:08:22,011 --> 00:08:24,019at least sixteen frames a second.

6900:08:25,015 --> 00:08:27,008That it lasts a certain time

7000:08:27,012 --> 00:08:29,006that it has a smell.

7100:08:29,010 --> 00:08:32,012I mean

I like the idea that each photogram

7200:08:32,016 --> 00:08:36,021still has a whiff of the bestial.

7300:08:56,000 --> 00:09:00,002The smell, there, in a box.

7400:09:00,021 --> 00:09:03,015The other day, Marianne,at the film library

7500:09:03,019 --> 00:09:07,011showed me an acidified reel

7600:09:07,015 --> 00:09:10,018afflicted by vinegar syndrome.

7700:09:10,022 --> 00:09:12,002Unusable.

7800:09:13,020 --> 00:09:14,020Fused.

7900:09:14,024 --> 00:09:17,014With a powerful smell.

8000:09:17,018 --> 00:09:22,019As if this decay awakened the animal.

8100:09:22,023 --> 00:09:24,019Ferocious!

8200:09:27,004 --> 00:09:28,022I said "ferocious"

8300:09:29,001 --> 00:09:30,009and suddenly...

8400:09:31,021 --> 00:09:34,001At the end of that word...

8500:09:35,016 --> 00:09:39,016an image of Anna Magnani appeared.

86

00:09:39,020 --> 00:09:43,018Speak to me. Say anything.

8700:09:43,022 --> 00:09:49,004All I need is to hear your voice,and I feel better.

8800:09:49,008 --> 00:09:50,024I close my eyes.

8900:09:51,003 --> 00:09:53,018I remember restingmy head on your shoulder

9000:09:53,022 --> 00:09:56,015and my ear against your chest.And you talked.

9100:09:56,019 --> 00:10:01,005I could hear your voice like I can now.

9200:10:02,013 --> 00:10:03,020No.

9300:10:03,024 --> 00:10:08,004Not ferocious.That isn't the right word.

9400:10:09,003 --> 00:10:11,014Cruel, more like.

9500:10:13,020 --> 00:10:16,004Irreversible.

9600:10:18,014 --> 00:10:22,013Irreversible and dizzying

9700:10:23,014 --> 00:10:26,024like any crank of the handle.

9800:10:29,021 --> 00:10:33,005Incidentally,Antoine Lumière, the father

9900:10:33,009 --> 00:10:37,001suggested to his two sonsthat they call their invention

10000:10:37,005 --> 00:10:39,018"DOMITOR"

10100:10:39,022 --> 00:10:42,023Dominator?

10200:10:43,014 --> 00:10:50,000But Louis and Augusteopted for "Cinématographe".

10300:10:54,003 --> 00:10:57,011And nothing more was heardabout the father

10400:10:57,015 --> 00:11:00,005who was a photographer, incidentally.

10500:11:00,009 --> 00:11:02,013Perhaps he too

10600:11:02,017 --> 00:11:05,013sat, henceforth, in a room

10700:11:05,017 --> 00:11:09,001practising disappearing.

10800:11:17,001 --> 00:11:19,003Playing at it.

10900:11:19,007 --> 00:11:23,008Playing at disappearing for a while.

11000:11:37,008 --> 00:11:41,012Playing at disappearing for a while

11100:11:41,016 --> 00:11:44,008for the price of a ticket

11200:11:45,006 --> 00:11:47,007and stopping, or not

11300:11:47,011 --> 00:11:49,017at La Ciotat station.

114

00:11:50,023 --> 00:11:52,023Or elsewhere.

11500:12:16,012 --> 00:12:20,004And having the certaintythat it's starting again.

11600:12:21,012 --> 00:12:22,022There...

11700:12:25,008 --> 00:12:28,007where the stitches need no needles.

11800:12:33,021 --> 00:12:39,004And finally seeing, up close,tiny tremors

11900:12:44,009 --> 00:12:47,009and imminent explosions.

12000:13:32,016 --> 00:13:34,024But, above all, I like that idea,

12100:13:35,003 --> 00:13:36,022the idea of a new century

12200:13:37,001 --> 00:13:39,021in mourning for the previous one.

12300:13:40,023 --> 00:13:43,001Everything overflows,everything escapes.

12400:13:47,004 --> 00:13:49,021And filming and keeping that

12500:13:50,000 --> 00:13:52,009and whatever may arise.

12600:14:16,009 --> 00:14:18,000No.

12700:14:20,012 --> 00:14:22,005The thing is, I like the idea

12800:14:22,009 --> 00:14:25,008

that at some pointyou were able to stop,

12900:14:26,020 --> 00:14:30,018and choose an image of yourself

13000:14:30,022 --> 00:14:33,007of a possible world.

13100:14:34,016 --> 00:14:38,006I like the idea cinemahas made that possible.

13200:14:58,021 --> 00:15:01,021Here, I've broken itinto little bits for you.

13300:15:11,012 --> 00:15:15,009Recently I remembered a short text

13400:15:15,013 --> 00:15:18,022about windows and shutters.

13500:15:19,001 --> 00:15:21,006I think it was Kafka.

13600:15:21,021 --> 00:15:24,008He said: It goes too fast...

13700:15:24,012 --> 00:15:28,020cinema perturbs our vision.

13800:15:28,024 --> 00:15:33,001It's as if our consciencewore a uniform.

13900:15:35,010 --> 00:15:39,016Films are iron shutters...

14000:15:39,020 --> 00:15:42,020Yes. That's what he said to a friend.

14100:15:45,020 --> 00:15:48,020The invisible shutter.

14200:15:52,021 --> 00:15:55,001

Windows...

14300:15:56,004 --> 00:15:59,022Windows that contain whole lands.

14400:16:02,008 --> 00:16:05,015And if not lands, then a promise.

14500:16:45,020 --> 00:16:47,015And in other instances...

14600:16:47,019 --> 00:16:50,014windows without outlines.

14700:17:25,022 --> 00:17:27,016Windows...

14800:17:27,020 --> 00:17:29,014Shutters...

14900:17:29,018 --> 00:17:32,007A film library.

15000:17:32,011 --> 00:17:35,004There, said Gabrielle Claes,the director

15100:17:35,008 --> 00:17:37,016one hundred thousand copies

15200:17:37,020 --> 00:17:40,007slightly fewer, of films

15300:17:40,011 --> 00:17:44,008films that have beenreceived, deposited, inherited,

15400:17:44,012 --> 00:17:49,012bought, exchanged,forgotten, restored...

15500:17:49,016 --> 00:17:52,003showed daily.

15600:17:55,017 --> 00:17:57,020A film library where he comes

15700:17:57,024 --> 00:18:00,016three times a week.

15800:18:00,020 --> 00:18:03,000Or every other day.

15900:18:03,004 --> 00:18:06,006Where he comes to see,without preconceptions.

16000:18:06,010 --> 00:18:10,006Where he comes to see everything,or nearly everything.

16100:18:14,016 --> 00:18:18,008It is a film library where,like this character

16200:18:18,012 --> 00:18:21,005I come to sit

16300:18:21,009 --> 00:18:23,019and it comes to me.

16400:18:55,003 --> 00:18:58,018You enter the film libraryby hurtling down a few steps

16500:19:01,004 --> 00:19:03,019and it isn't a necropolis.

16600:19:06,024 --> 00:19:08,017Just a little lower down

16700:19:10,019 --> 00:19:13,024the silence is like a temple.

16800:19:17,001 --> 00:19:19,022It is a film library where,Hadelin said,

16900:19:20,001 --> 00:19:21,022Hadelin Trinon, yes...

17000:19:22,020 --> 00:19:27,020

Where, from time to time,I used to bump into the director

17100:19:27,024 --> 00:19:33,000a man with a shy, feline smile,sometimes malicious,

17200:19:33,004 --> 00:19:36,006often with a scarfwrapped around his neck.

17300:19:39,001 --> 00:19:41,006His name was Ledoux,

17400:19:41,010 --> 00:19:43,024Jacques Ledoux.

17500:19:44,003 --> 00:19:47,002And, Hadelin said, this man

17600:19:47,006 --> 00:19:52,011jumped off a train, probably onegoing from Malines to Auschwitz

17700:19:54,019 --> 00:19:58,013and, unseen, in the midst of a war,he moved location

17800:19:58,017 --> 00:20:04,022clinging like a leech toa flammable copy of a mythical film.

17900:20:08,019 --> 00:20:12,021I like that story.Or legend, it doesn't matter.

18000:20:16,021 --> 00:20:18,004I also like to think

18100:20:18,008 --> 00:20:24,003that, just like the scientisthe played in that Chris Marker film

18200:20:24,007 --> 00:20:28,010Jacques Ledoux conducted,here at the film library

183

00:20:28,014 --> 00:20:31,005experiments in time.

18400:21:25,002 --> 00:21:28,023He often arrived at the film library

18500:21:29,002 --> 00:21:32,005a few minutes before the screening

18600:21:32,009 --> 00:21:34,010as did I.

18700:21:45,007 --> 00:21:49,012Here, I am unconfined.

18800:21:53,003 --> 00:21:54,012Here...

18900:21:54,016 --> 00:21:56,007still...

19000:21:56,011 --> 00:21:59,002and every day, relentlessly.

19100:22:01,012 --> 00:22:04,004Sometimes less shy.

19200:22:06,017 --> 00:22:08,024Here, I dodge.

19300:22:25,004 --> 00:22:26,005Here...

19400:22:27,008 --> 00:22:29,023Here, my home.

19500:22:36,017 --> 00:22:40,015Here, everything vanishes.

19600:22:43,009 --> 00:22:46,001Here... absence.

19700:22:52,017 --> 00:22:56,009Here, neither alone nor accompanied.

198

00:23:04,004 --> 00:23:06,014Here, believe... yes.

19900:23:06,018 --> 00:23:08,018Nothing but that.

20000:23:15,021 --> 00:23:19,020And have doubtsand then believe again...

20100:23:19,024 --> 00:23:21,010No.

20200:23:21,021 --> 00:23:23,009Here, the screen...

20300:23:23,013 --> 00:23:25,023sublime pretext.

20400:23:26,015 --> 00:23:28,000Here, every evening...

20500:23:28,004 --> 00:23:29,015every evening

20600:23:29,019 --> 00:23:32,022believe in an imminent encounter.

20700:23:51,013 --> 00:23:52,020But nothing.

20800:23:52,024 --> 00:23:55,011Here, bodies are still diaphanous.

20900:23:58,007 --> 00:24:00,000And there is no encounter.

21000:24:24,020 --> 00:24:26,005Here...

21100:24:26,009 --> 00:24:30,011Here, to see is to touch.

21200:24:30,015 --> 00:24:35,011Without effortor disappointment or hurt.

21300:24:51,007 --> 00:24:54,009The sun! The sun!

21400:25:28,017 --> 00:25:32,011Jump on! Why don't you want to come?

21500:25:32,015 --> 00:25:35,007So that's it. You like older men.

21600:25:35,011 --> 00:25:38,010With big, fat bellies.

21700:25:38,014 --> 00:25:40,006Whore!

21800:26:08,006 --> 00:26:10,000I saw that friend again.

21900:26:10,004 --> 00:26:11,022We did not talk about time

22000:26:12,001 --> 00:26:13,010or images

22100:26:13,014 --> 00:26:15,017or cinema.

22200:26:15,021 --> 00:26:17,021Well, just a little.

22300:26:20,004 --> 00:26:23,017I found myself thinkingof a bit in one of Olivier's films

22400:26:23,021 --> 00:26:26,013when a characterwas talking about trains.

22500:26:28,018 --> 00:26:33,022He said: I'm filming with due attention

22600:26:34,020 --> 00:26:38,005and later it was about women.

227

00:26:41,011 --> 00:26:45,010I'm filming the countrysideand stations with due attention.

22800:26:46,013 --> 00:26:49,020It seemed reasonableto bend to that convention.

22900:26:50,019 --> 00:26:54,014People have always filmed trainsbefore filming women.

23000:26:59,005 --> 00:27:02,018No doubt you think I'm tryingin vain to regain lost time.

23100:27:04,009 --> 00:27:09,001But I know that trainscan still lead me to fiction.

23200:27:09,019 --> 00:27:12,019That is, to women.

23300:29:18,010 --> 00:29:20,023Fiction.

23400:29:21,017 --> 00:29:24,003Women.

23500:29:30,009 --> 00:29:32,016Every evening

23600:29:32,020 --> 00:29:34,021or almost...

23700:29:35,000 --> 00:29:38,015Like an obsessionwelded to the very screen

23800:29:38,019 --> 00:29:43,015and the nagging certaintythat nothing can tame that obsession.

23900:29:43,019 --> 00:29:47,014Will Fantômas never fall in love?

24000:30:26,015 --> 00:30:29,016

Why persistin pursuing an impossible love?

24100:30:37,008 --> 00:30:39,012A crime has been committed.

24200:31:03,018 --> 00:31:05,021A clue?

24300:31:18,000 --> 00:31:19,016Strange.

24400:31:19,020 --> 00:31:24,019Yes, it's strange this monk-like work.

24500:31:24,023 --> 00:31:27,018This meticulous maintenance of a world

24600:31:27,022 --> 00:31:31,019so that it better suitsmy expectations.

24700:31:33,006 --> 00:31:35,003It's strange...

24800:31:35,007 --> 00:31:38,001inhabiting the images.

24900:31:39,010 --> 00:31:41,013Stop! said the friend.

25000:31:59,019 --> 00:32:03,011Stop this game with the before...

25100:32:05,001 --> 00:32:07,001and after.

25200:33:05,023 --> 00:33:13,003Look. There... It's like a new image.

25300:33:13,007 --> 00:33:16,004It's the here and now.

25400:33:18,019 --> 00:33:20,016I was thinking only of him.

25500:33:20,020 --> 00:33:25,005Of the face of that peasant, Kmyr.

25600:33:26,009 --> 00:33:30,014Kmyr, weary and fed upof not finding happiness,

25700:33:30,018 --> 00:33:33,024was preparing his own funeral.

25800:33:35,011 --> 00:33:38,024WHO GAVE YOU PERMISSIONTO DIE ON YOUR OWN?

25900:33:41,003 --> 00:33:46,010Suddenly, the world dashedto his bedside to forbid him.

26000:33:54,024 --> 00:34:00,019"We forbid you to die,"they cried, all of them.

26100:34:00,023 --> 00:34:03,003Yes. Forbid.

26200:34:03,015 --> 00:34:05,009I forbid you to die.

26300:34:05,013 --> 00:34:08,005Don't die, I said.

26400:34:09,007 --> 00:34:12,016Don't die, I said to my mother.

26500:34:19,019 --> 00:34:24,016I forbid you to die, Frau Emmi.

26600:34:29,005 --> 00:34:31,005Don't die.

26700:34:43,023 --> 00:34:46,002Don't die.

26800:34:48,001 --> 00:34:49,011Good morning.

26900:35:01,009 --> 00:35:03,000Don't die, no.

27000:35:14,020 --> 00:35:17,016Your jokes are strange, Mum.

27100:35:17,020 --> 00:35:21,016It's not a joke. It's true.

27200:35:21,020 --> 00:35:23,001I'm in love.

27300:35:34,010 --> 00:35:36,010Don't die.

27400:35:38,017 --> 00:35:41,006Don't die, Ali.

27500:37:35,014 --> 00:37:41,018Here, protected from fire, is wherethe films are kept before projection.

27600:37:41,022 --> 00:37:46,022But after they've been in use fora few years, it is their time to die.

27700:37:47,001 --> 00:37:50,012They are taken outand transported to the guillotine.

27800:37:50,016 --> 00:37:52,015It's not just a lack of space

27900:37:52,019 --> 00:38:00,006they are destroyed so that theywill not compete with new releases.

28000:38:03,013 --> 00:38:06,018A notary certifiesthe identity of the film.

28100:38:06,022 --> 00:38:12,014Then the reels are chopped upwith an axe to make them unusable.

28200:38:22,023 --> 00:38:25,013

But not everything has disappeared.

28300:38:26,003 --> 00:38:29,017We looked for it there.Not for very long.

28400:38:32,004 --> 00:38:35,024Then Francis held the cansin front of my eyes.

28500:38:37,022 --> 00:38:43,009I wanted to see this firstso-called "Western" again.

28600:38:44,019 --> 00:38:49,000Particularly to see the closing shotof the crook on the run.

28700:38:52,019 --> 00:38:55,010And the crook had disappeared.

28800:38:55,014 --> 00:38:57,015No shot!

28900:39:08,003 --> 00:39:10,003I found the vestiges of it, at home

29000:39:10,007 --> 00:39:15,014and the crook shot at me, joyously.As he had been doing for a century.

29100:39:18,001 --> 00:39:20,020But, there again, it was incomplete.

29200:39:25,007 --> 00:39:26,009And now...

29300:39:26,022 --> 00:39:29,003Now I have him.

29400:39:30,005 --> 00:39:31,011I have him, the crook.

29500:39:31,015 --> 00:39:37,010Next to Bressonand Ioselliani and Imamura,

29600:39:37,014 --> 00:39:40,002Russ Meyer and Ferreri,

29700:39:40,006 --> 00:39:41,016and Shindo, yes.

29800:39:43,010 --> 00:39:45,022I have him cornered.

29900:39:51,013 --> 00:39:56,000But they are not very reliable,these copies. Unpredictable.

30000:39:56,022 --> 00:40:02,022Sometimes, for one and the same film,one is longer than another.

30100:40:04,018 --> 00:40:09,017Sometimes, you have to imaginethe original intensity of a colour...

30200:40:16,002 --> 00:40:19,000and search for it,

30300:40:19,004 --> 00:40:21,009redo it, redevelop it,

30400:40:21,013 --> 00:40:23,018withdraw it.

30500:40:26,011 --> 00:40:31,00080% of films madebefore the 1930s are gone:

30600:40:31,004 --> 00:40:35,024destroyed, lost, burned, decomposed.

30700:40:37,003 --> 00:40:38,018Forgotten.

30800:40:39,023 --> 00:40:44,005Here, enormous fridgesslow down the decomposition.

30900:40:46,004 --> 00:40:50,023Marianne told me it could

last a few centuries...

31000:40:51,002 --> 00:40:53,023A little more, a little less...

31100:40:54,002 --> 00:40:56,005Four hundred years?

31200:40:57,013 --> 00:40:59,019But not everything is here.

31300:40:59,023 --> 00:41:06,006There are certain copies I haven't seenat the Royal Brussels film library.

31400:41:06,023 --> 00:41:10,018Not this naughty film, anyway.

31500:41:16,004 --> 00:41:17,017Nor the sound versions

31600:41:17,021 --> 00:41:20,012of some "silent" films.

31700:41:30,008 --> 00:41:35,024Here, in the little theatre, the volumeis rigorously lowered on those copies.

31800:41:58,004 --> 00:42:02,007It is trains that do notstop at La Ciotat station.

31900:42:02,011 --> 00:42:04,011Nor anywhere else.

32000:42:05,016 --> 00:42:09,000It is fictions, trainsthat call to mind faces.

32100:42:13,002 --> 00:42:15,023And those facescall to mind others.

32200:42:22,008 --> 00:42:28,001She had been given first aid bya passenger, a doctor, a married man.

32300:42:29,020 --> 00:42:34,016He had been her teacher.

32400:42:42,011 --> 00:42:48,023In both cases,it was an emotional shock.

32500:43:22,007 --> 00:43:25,009He had hidden his passion for herfor years.

32600:43:26,015 --> 00:43:29,010Then saw this woman again, by chance

32700:43:29,014 --> 00:43:34,002one night, in a hotel... chance.

32800:43:37,023 --> 00:43:42,004And her beauty, as it ever was...

32900:43:42,008 --> 00:43:45,022Then, suddenly a dizzying truth.

33000:43:46,001 --> 00:43:51,019Don't look, Govert.You know my face is a trap.

33100:43:54,006 --> 00:43:57,015But perhaps you willgo on looking, Govert.

33200:46:32,005 --> 00:46:34,012Only slow motion filming

33300:46:34,016 --> 00:46:38,024can capture this admirabledeconstruction of movement.

33400:47:58,016 --> 00:48:01,023A native of the Bahamas,a first rate swimmer,

33500:48:02,002 --> 00:48:05,018will bring the heavy lead weightback to the surface.

336

00:49:18,023 --> 00:49:22,019It is fictions and trains.

33700:49:25,024 --> 00:49:28,011It is one history.

33800:49:55,016 --> 00:49:57,011It is faces...

33900:49:59,004 --> 00:50:01,017A here and now.

34000:50:01,021 --> 00:50:03,015It is faces...

34100:50:09,011 --> 00:50:13,003Faces, stories.

34200:50:34,005 --> 00:50:35,009Histories...

34300:50:35,013 --> 00:50:37,005a face.

34400:50:37,009 --> 00:50:38,019A negative,

34500:50:38,023 --> 00:50:40,006its proof.

34600:50:40,019 --> 00:50:41,024One copy,

34700:50:42,003 --> 00:50:44,005its double.

34800:51:22,014 --> 00:51:23,023It is faces...

34900:51:24,002 --> 00:51:26,014a history.

35000:51:29,008 --> 00:51:32,022Nameless faces hardly visible.

351

00:51:33,021 --> 00:51:36,020And minuscule barriers.

35200:51:39,002 --> 00:51:42,014It is an obstinacy that confines loss.

35300:54:12,009 --> 00:54:14,018It is faces, yes...

35400:54:14,022 --> 00:54:16,024stripped of their names

35500:54:17,016 --> 00:54:20,020relayed by other faces.

35600:54:26,001 --> 00:54:28,012And for one brief moment, yes...

35700:54:30,000 --> 00:54:32,020everything is in the here and now.

35800:54:53,017 --> 00:54:55,004Everything

35900:54:55,008 --> 00:54:58,011in a fragment, just one.

36000:54:58,015 --> 00:55:01,006And every detailis on the brink of the abyss

36100:55:01,010 --> 00:55:04,019and this comes back, endlessly.

36200:55:07,010 --> 00:55:09,010The image.

36300:55:29,013 --> 00:55:30,017A

36400:55:33,001 --> 00:55:36,001D

36500:55:38,009 --> 00:55:41,008A

36600:55:43,016 --> 00:55:44,016M

36700:55:44,020 --> 00:55:46,017A D-A-M

36800:55:49,008 --> 00:55:53,006AN IDEA

36900:55:53,010 --> 00:55:56,009Yes? Let's go, Ledoux.

37000:56:23,020 --> 00:56:26,011I saw that friend again.

37100:56:27,019 --> 00:56:30,000A slice of humanityhas passed through here

37200:56:30,004 --> 00:56:32,004I said to him.

37300:56:33,019 --> 00:56:35,006And now,

37400:56:35,010 --> 00:56:36,021my very intimate screen

37500:56:37,000 --> 00:56:39,006is getting a facelift.

37600:56:40,021 --> 00:56:44,017I can no longer see wherethe old projection room was,

37700:56:44,021 --> 00:56:48,005nor the locationof my favourite seat.

37800:56:48,020 --> 00:56:51,020So be it, he says.

37900:56:53,023 --> 00:56:56,005No, look.

380

00:57:00,008 --> 00:57:01,015Keep looking.

38100:57:06,001 --> 00:57:08,007Any second now.

38200:57:13,004 --> 00:57:17,006On this anthracite coloured seat...

38300:57:20,018 --> 00:57:22,022The here and now.

38400:57:24,001 --> 00:57:26,016Yes. Let's call it that.

38501:00:16,017 --> 01:00:20,011Subtitles: Katherine HodkinsonBroadcast Text International