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Short filmTranscript
00:00:00most films have been directed by men most of the recognized so-called movie classics were
00:00:27directed by men but for 13 decades and on all six filmmaking continents thousands of women have
00:00:35been directing films to some of the best films what movies did they make what techniques did
00:00:46they use what can we learn about cinema from them let's look at film again through the eyes of the
00:00:55world's women directors let's go on a new road movie through cinema
00:01:02we're three-quarters of the way through our road movie now we looked at how you set up films
00:01:23make imagery and deal with some of the main subjects in life politics home bodies religion
00:01:31and relationships have we had revelations by this stage in the story three-quarters of the way in
00:01:38there should be revelations which begs the question how do good filmmakers do revelations
00:01:46well you've got your diamonds and you've got your pretty clothes and the chauffeur drives your cars
00:02:10you let everybody know but don't play the most obvious type of discovery in film is by camera
00:02:20showing us things 21st century cinematic tv co-creator of the series westworld lisa joy directs the shop
00:02:33we started circular and abstract but then we're off a road movie through an apartment a swoon of stuff
00:02:42furniture and glass good taste and high style a touch of american psycho maybe it's like a tracking shop
00:02:50through the mind of the person who lives here we discover them as we track they're rich and fit and
00:02:56outward designer and maybe designed
00:02:59the old man took her diamonds and tiaras by the score now she gets her kicks in stepney
00:03:12not in knight's bridge anymore so don't play with me cause you're playing with fire
00:03:23then we see who it is
00:03:29we've seen him discovered him this man this robot
00:03:38the next most familiar reveal is the story reveal here's a classic way of doing one
00:03:50a pan around a town square in albania
00:03:53then these three boys watching a gog their pov closer on the square now and a zoom to take us in
00:04:10one of the boys thinks he knows something
00:04:13then a long lens shot of this man who's been a shady character
00:04:22the hero of the film this man in a cap whom we see from behind walks towards the shady character
00:04:29then this freeze and swell of music and close on the boy
00:04:33who had his suspicions the two men didn't speak but they exchanged something
00:04:42a glimpsed moment which reveals that the hero probably isn't a hero after all
00:04:49it's a jump indeed from janvisa keiko's communist era black and white film to this
00:05:01the film seems to close its eyes
00:05:03a young woman with her man
00:05:27she kisses her lover
00:05:33and then this a wound
00:05:44her hand reaching into his
00:05:56the film's title and then we're wide
00:05:59and the blinking makes sense christmas tree lights
00:06:05but is that blood in the kitchen yes and the shock when we realize that he's dead
00:06:12the love scene is also a death scene a woman whose man is dead
00:06:29the love scene is dead
00:06:43jumped to the soviet union decades earlier and we have something similar
00:06:48world war ii
00:06:49that's not true this woman was abducted she's been told that her husband is standing in the town square
00:06:56she has a child by an unknown father
00:06:58such romantic imagery cloudscapes wide screen silver and silhouettes
00:07:15and then the screen shot which reveals that her man is dead like morven callers man is dead
00:07:34and a swell of music and a mother of pearl's sky
00:07:47and the
00:07:49and
00:07:51and
00:07:52From the reveal of death,
00:08:22to the reveal of love.
00:08:25Here, Kenuyo Tanaka uses a curtain to withhold what we want to know.
00:08:31A man can hear a woman's voice behind the curtain.
00:08:34Is it the woman he used to love?
00:08:37Can it be her?
00:08:39The curtain is hiding her, and so is the camera position.
00:08:45Then we cut to her, except it's only her letter, her gloves, her dress, her handbag.
00:08:52Thank you very much.
00:08:56Back on the man again.
00:08:58Was this a reveal?
00:08:59We only saw a bit.
00:09:01Maybe a partial reveal.
00:09:03A love reveal.
00:09:05Way back in Chapter 10, which was about journeys, we saw what happens next.
00:09:20From a curtain, to a door, and another love reveal.
00:09:25One of our touchstone films, Women of Rajan, directed by Olga Preobrazinskaya.
00:09:32Dancer turned educator turned director, who made 15 films.
00:09:37A woman opens a door.
00:09:41Doors reveal things, of course.
00:09:43She ushers in a shy young woman, whose head is bowed, eyes down.
00:09:48A group around a table.
00:09:51A young man at the table has his eyes lowered too.
00:09:55She's being presented to the room.
00:10:00This is a marriage arrangement scene.
00:10:03The young woman is presented, discussed.
00:10:06The young man still averts his eyes.
00:10:30Why should they marry when they don't even know each other?
00:10:33It's all about the lack of eye contact.
00:10:36Then he looks.
00:10:40And what's that smile?
00:10:47And he moves.
00:10:48But the camera doesn't.
00:10:59Then her eyes.
00:11:01Another reveal.
00:11:02Each sees the other.
00:11:04And what the boring grown-ups don't know is that they've already met and are already in love.
00:11:14Praya Brezhinskaya, one of the world's first woman directors, breaks all this into fragments, into a mosaic.
00:11:21fragments into a mosaic plot reveals death reveals love reveals push a bit
00:11:41further and we get something a bit more abstract a God reveal as we saw in
00:11:47chapter 21 on religion Christine has multiple sclerosis and uses a wheelchair
00:11:53unlike prayer Brazinskaya's mosaic style here director Jessica Hausner has just
00:12:01one shot drifting in silent
00:12:03and Christine sits up
00:12:17what a reveal
00:12:31she seems to be cured and she turns in her bed
00:12:36and the quiet slow motion shock of others
00:12:50and the Virgin Mary at the bottom right of the frame
00:12:59and the Holy Mary at the bottom right of the frame
00:13:04So,
00:13:34social reveals, story reveals, love reveals,
00:13:38death reveals, religious reveals.
00:13:41Each happened, each took place.
00:13:44But what about when we are unsure?
00:13:47What if a reveal is partial or questioned?
00:13:54I thought that this actor in the play might have...
00:13:57Sarah Polley's great documentary, Stories We Tell,
00:14:00a film about her family,
00:14:02interviews and 8mm footage, as you'd expect.
00:14:06It's narrated by her father.
00:14:08But about half an hour in,
00:14:10there's the beginning of a question.
00:14:12Is he really her father?
00:14:14That it could be this other guy.
00:14:16And so at some point,
00:14:18because we used to often have dinner together on weekends,
00:14:21probably Johnny started by saying,
00:14:23you don't look much like your father.
00:14:25I think it was Johnny.
00:14:27I want to say it was Johnny.
00:14:29And actually now in retrospect that I know that Johnny
00:14:31was the first of us who knew it must have been Johnny.
00:14:33I stupidly mentioned it to Mark, I thought.
00:14:39Um...
00:14:43My lawyer has said I don't have to talk to you,
00:14:45and so I'm not going to say anything more.
00:14:49I remember Johnny saying that someone thought that your father
00:14:55might be someone that Mum had acted with in a play.
00:14:58And I told them not to say anything to anyone,
00:15:00but then they turned it into a joke.
00:15:02And I did not participate in the joke, did I?
00:15:05I don't think I ever did.
00:15:07I remember we talked about how you didn't look like Dad,
00:15:09and Dad joked about it.
00:15:11I always thought,
00:15:13she does look like me.
00:15:15Got that little straight nose.
00:15:17Yeah, definitely.
00:15:18This is all nonsense, but it's fun.
00:15:20Who do you think your father is this week, Sarah?
00:15:24The joke got bigger and bigger
00:15:26because we'd each compare you with one of these three actors.
00:15:30They all knew of the three actors in question.
00:15:33What a sequence.
00:15:35It ends with her father reading a script
00:15:38written by his daughter, director Polly,
00:15:41which sort of reveals that he's not her father.
00:15:46The sequence is funny, unsure and beautifully edited,
00:15:49like a pinball machine.
00:15:51A reveal about parenthood in the past
00:15:54becomes a second reveal about who said what
00:15:58and who was certain and who wasn't
00:16:00in the present in Polly's film.
00:16:04Two reveals teetering on the edge.
00:16:07Well, it depends on whether he's comfortable, I would think.
00:16:10I mean, it was Jeff Bowes.
00:16:13The thinking was that it was Jeff Bowes.
00:16:15There was, I guess, an actor named Jeff Bowes.
00:16:18Jeff Bowes.
00:16:19That's what the film's going to be like.
00:16:25Jeff Bowes. Jeff Bowes.
00:16:28Our last reveal goes beyond love, death or family
00:16:33and takes us into the realm of myth.
00:16:36Alice Rohvacher's The Wonders tells the story
00:16:39of a family of Italian beekeepers,
00:16:41a camel and a handheld pan left.
00:16:48And the whole family is strangely sleeping outside in the mud.
00:16:52Times are hard, money is tight.
00:16:55It's like they're on a raft in a sea of mud.
00:16:58.
00:17:02.
00:17:07.
00:17:08.
00:17:12.
00:17:13.
00:17:14.
00:17:15.
00:17:19.
00:17:23.
00:17:27What place do you have?
00:17:45I've done it for Cuba.
00:17:47I don't have enough.
00:17:50You know what I thought?
00:17:52That we have to hide something secret in the house.
00:17:59You've also lived on a matonella, right?
00:18:02Yes.
00:18:03And that secret thing, in many years, will they find it.
00:18:13What are you thinking?
00:18:15The daughter whistles, and an opposite hand-held pan write.
00:18:25Is it indeed a banana?
00:18:27A banana!
00:18:29Then, without a cut, left again.
00:18:56The family's gone.
00:18:57The house is closed, abandoned.
00:19:11We've jumped ahead in time.
00:19:13Weeks, months, years.
00:19:16What's revealed here?
00:19:18The decline in rural life in Italy?
00:19:22That everything comes to an end?
00:19:24Uh-huh.
00:19:25The pain comes to an end?
00:19:26Come on.
00:19:27So listen.
00:19:28A little bit.
00:19:29What do you think?
00:19:30We can see that the pain comes to an end.
00:19:31The pain comes to an end?
00:19:32What do you think?
00:19:33What is the pain comes to an end?
00:19:35We are nine hours into our 14-hour
00:20:05story about women filmmakers.
00:20:07We've seen a lot.
00:20:09How women have started films,
00:20:11visualised them,
00:20:12connected them to the big themes in life,
00:20:15played with movie genres and much more.
00:20:17We've travelled miles and seen hundreds of clips.
00:20:22This far into any story,
00:20:25we can maybe start to look backwards,
00:20:27to memory.
00:20:35Cinema is like a time machine.
00:20:41It's great at memory.
00:20:43It has fancy ways of doing so.
00:20:45But let's start with the simpler ways.
00:20:48Petra Costa's award-winning documentary,
00:20:51Elena.
00:20:52Here, her mother's talking about Petra's sister,
00:20:56a simple reminiscence,
00:20:58someone speaking about the past,
00:20:59describing her memories.
00:21:02Her stare,
00:21:03towards the top right of the screen,
00:21:05is so intense
00:21:06that it's like the memory is there,
00:21:09in front of her eyes.
00:21:11Costa's camera films more from the side
00:21:13than we might expect.
00:21:15It doesn't get in her mother's way.
00:21:18The mother's daughter,
00:21:20Petra's sister, Elena,
00:21:21killed herself.
00:21:22I said,
00:21:23I'll come back soon.
00:21:24As soon as it ends,
00:21:24I'll come back.
00:21:25She'll wait.
00:21:26She'll look at the Petra's side.
00:21:29Then I went to the room
00:21:31and she started crying and she started crying.
00:21:32She started crying and she started crying.
00:21:37And I didn't go there.
00:21:39In 10 minutes,
00:21:41she cried.
00:21:42She stopped crying.
00:21:46And at 5am,
00:21:47I went back again.
00:21:49I said,
00:21:50I'll leave the despertador
00:21:52for you to get close to my school,
00:21:53okay?
00:21:56And then I just did it
00:21:57and I continued to sleep.
00:22:10In fiction film,
00:22:12there are many conventional ways
00:22:13to do memory.
00:22:15Here is a rare example
00:22:17of a traditional way
00:22:18of going into the past.
00:22:19A man has come back
00:22:22to the village
00:22:23where he grew up.
00:22:24His fingers run over names
00:22:26on rocks
00:22:26and the past
00:22:27starts to be conjured
00:22:29as if it's a genie
00:22:30and the rocks
00:22:31are of a lamp.
00:22:33The past is soft-edged.
00:22:36We pan around it.
00:22:43Director Maria Plita
00:22:45was Greece's first female filmmaker.
00:22:48This was her second
00:22:50of 21 movies.
00:22:52They brooded
00:22:54with a sense of trauma
00:22:55and had complex designs
00:22:57and editing.
00:23:00Filmmakers eventually tired
00:23:02of the conventional memory dissolve.
00:23:04Here, Mary Lambert
00:23:06tries something more economical
00:23:07or daring.
00:23:10Stephen King's story
00:23:11is about the dead
00:23:12coming back to life,
00:23:13as a kind of metaphor
00:23:14for memory.
00:23:15Well, I feel like
00:23:16I'm going crazy.
00:23:17An elderly man, Judd,
00:23:18starts to tell a story
00:23:20about the past.
00:23:21He looks left
00:23:22and then we track left.
00:23:23It was the rag man
00:23:24who told me about the place.
00:23:26He was half Micmac himself.
00:23:29A focus point,
00:23:29which again feels like
00:23:31a metaphor for remembering.
00:23:33I thought it got caught
00:23:33in barbed wire.
00:23:34And then,
00:23:35out the window,
00:23:36without a cut,
00:23:36we're in the past.
00:23:39Her costume tells us that.
00:23:41Rag man did for me
00:23:42long lens at first.
00:23:44Such lenses often speak
00:23:45of the past.
00:23:47My mother was with me.
00:23:50You still see
00:23:51the barbed wire marks on him?
00:23:53But then shorter lenses.
00:23:56We've made the jump.
00:23:58We're no longer looking
00:23:59at the past.
00:24:00We are in it.
00:24:01And here's the old man,
00:24:03a young boy now.
00:24:05It was never quite the same dog
00:24:07that I knew.
00:24:07When he died peacefully
00:24:11in the night
00:24:11that second time,
00:24:12I buried him up there
00:24:13in the pet cemetery
00:24:13where, as you saw,
00:24:15his bones still lie.
00:24:17Ben doesn't always know
00:24:18why he does things, Lewis.
00:24:21I think I did it
00:24:22because your daughter
00:24:23ain't ready
00:24:23for her favorite pet to die.
00:24:26Maybe with more time,
00:24:28she'll learn
00:24:28what death really is,
00:24:30which is where
00:24:30the pain stops
00:24:32and the good memories begin.
00:24:34Has anyone ever buried
00:24:35a person up there?
00:24:38Christ on his throne, no.
00:24:40Whoever would.
00:24:58Another man remembering,
00:25:00visiting his village
00:25:01after years away.
00:25:03The camera tracks in
00:25:04and the sound
00:25:06of the past
00:25:06comes first.
00:25:12His mother singing.
00:25:14It seems to raise his eyes.
00:25:17Then pictures
00:25:18from the past,
00:25:19no dissolve,
00:25:20no fuzzy edge.
00:25:26Almost no camera moves.
00:25:28A series of painterly images,
00:25:31each a haiku
00:25:31of love or death.
00:25:33while they're
00:25:37on the
00:25:59We can almost guess that the film was directed by Yulia Sontseva,
00:26:03the romantic pictorialist who's featured so often on this road movie.
00:26:13The mother's song was the trigger,
00:26:16the transportation device in Poem of the Sea.
00:26:20The words on the stone were the TARDIS in the Greek film.
00:26:25Often a memory is triggered by seeing something.
00:26:28Very much so in Dorota Kedja Zovska, A Time to Die.
00:26:36Aniela uses binoculars.
00:26:39She sees kids dancing.
00:26:42A long way away.
00:26:45A lifetime away.
00:26:47Closer on her now.
00:26:54Then there's transformation.
00:26:56Her look goes inward, flickering light.
00:27:00Then her own youthful dance, as if reflected in a pond.
00:27:06Memory is light for director Kedja Zovska here.
00:27:10Light from a distant star, perhaps.
00:27:13A life away.
00:27:15A lens away.
00:27:16A life away.
00:27:29A life away.
00:27:33Coming back.
00:27:33A life away.
00:27:34A life away.
00:27:35Maybe that's right.
00:27:37Maybe you'll regret it.
00:27:37Maybe-
00:27:38Having seen aiend.
00:27:39jouerставляe can walk away.
00:27:41Vera Kitalova's film about an ageing man at sea.
00:28:03Wobbly camera work, as if he's on a boat.
00:28:11Then this. He finds an earring. And we cut to his former lovers.
00:28:22The camera work like waves now. His memory comes in waves.
00:28:28We've seen memory triggered by touch, hearing and looking.
00:28:33Here it's by an object from the past. Happier times intrude.
00:28:38They force themselves into his present, into his afternoon.
00:28:59So often in life and movies, memories force their way in, unwanted, uninvited, like shards, flashes.
00:29:08But look at this remarkable scene from Mai Zetterling's loving couples.
00:29:14A woman is running. She's in a hospital, waiting to have a baby.
00:29:24Then a slow dissolve to another run she did, earlier. Where was she headed?
00:29:29Ah, ah-ha. To see her lover. Then slow dissolve back to the hospital, where she's running away.
00:29:47Then the magic begins. In close-up, her past drifts into the present like a fog, and then out again.
00:30:05A sweet of dissolves. No hard intrusion here.
00:30:20No shards of glass until, that is, a glass breaks.
00:30:24Zetterling has used traditional movie memory techniques, but reinvented them, breathed life into them.
00:30:38So far, all our rememberers have been individuals, men and women, thinking back into their pasts.
00:30:45But what if it isn't just an individual recalling?
00:30:53What would that look like?
00:30:55Something like this, perhaps.
00:30:57Director Yulia Santseva again.
00:31:01This crane into sunflowers.
00:31:03It's like arriving in the land of Oz, slo-mo.
00:31:06A time when life was beautiful, idealized.
00:31:10It's not so much a person remembering, but a nation.
00:31:14It's a flashback to an almost mythic Ukraine.
00:31:17The writer, Alexander Dovchenko, was depicting his own childhood, but filtered through the lens of nation.
00:31:31Ukraine was never so Edenic.
00:31:32But it wanted this fable, and perhaps needed this fable.
00:31:37Push this mythic national memory further, and where does it take us from?
00:31:39The writer, Alexander Dovchenko, was depicting his own childhood, but filtered through the lens of nation.
00:31:45Ukraine was never so Edenic.
00:31:48But it wanted this fable, and perhaps needed this fable.
00:31:51Push this mythic national memory further, and where does it take us?
00:32:01Can you guess?
00:32:02To Lenny Riefenstahl's Nazi era, dubious memory cinema.
00:32:24Her subject is the Olympics, and so it's fair to start with the misty classical past where the Olympics started.
00:32:40Greek sculpture, and then its embodiment.
00:32:43A discus thrower in slo-mo, and against the sky.
00:32:55She loves these bodies, of course.
00:32:58But her suggestion is that they are in her culture's memory, its muscle memory.
00:33:03They are her lineage, her ancestors.
00:33:13It's as if she's thinking of the German writer Friedrich Schiller's phrase,
00:33:17The Greeks are what we were.
00:33:19They are what we shall become again.
00:33:24This is something richer.
00:33:26A man is walking through a snowy landscape.
00:33:27A man is walking through a snowy landscape.
00:33:28Do you recognise him?
00:33:29A man is walking through a snowy landscape.
00:33:30Do you recognise him?
00:33:31A man is walking through a snowy landscape.
00:33:32Do you recognise him?
00:33:33A man is walking through a snowy landscape.
00:33:34A man is walking through a snowy landscape.
00:33:39Do you recognise him?
00:33:40If you're a movie fan, maybe yes.
00:33:41This is something richer.
00:33:51A man is walking through a snowy landscape.
00:33:57Do you recognise him?
00:34:04If you're a movie fan, maybe yes.
00:34:06Here's Mei-Ai Niang, who played the lead in one of the greatest African films,
00:34:11Tuki Buki, made in 1973, 40 years earlier.
00:34:16He was so full of life and fun in that film, but he's greying now.
00:34:27Then, in the distance, also in the snow, on a long lens, we see a naked woman.
00:34:36For those who remember the original film, its actress, Maureen Niang, appeared naked too.
00:34:41She was so discrepant and punky.
00:34:44They were in love in a hot climate back then.
00:34:48Now, is there love in a cold climate?
00:34:51What sort of memory is this?
00:34:53The director, Mati Diop, the niece of the Tuki Buki's director, Jibril Diop Mambeti.
00:35:04And this is a documentary.
00:35:05Meye is not playing a new character, or any character, really.
00:35:24And yet, the scene evokes the earlier film.
00:35:27This is a movie memory.
00:35:29You've got to stay in the present, babe.
00:35:59But sometimes it's best to stay in the present.
00:36:06Lisa Johnson's acclaimed film, The Return, about this soldier who has just come back from the war in Iraq.
00:36:13She finds re-entry to her old life hard and has just been to a therapy session.
00:36:19She walks in the distance.
00:36:21The life of the town goes on around her.
00:36:24Many filmmakers would flash back here, to moments from her war experience.
00:36:28But director Johnson resists the temptation.
00:36:33She stays in the here and now.
00:36:35The soldiers' memories are invisible to everyone except her.
00:36:40So we don't get to see them either.
00:36:42The End
00:36:46The End
00:36:47In our last six chapters of this road movie,
00:37:12we'll get to the heart of the matter.
00:37:14We will look at time, inner life.
00:37:17The meaning of life.
00:37:19Love, death, endings and songs.
00:37:24First, time.
00:37:35Look how easy it is to change speed in film.
00:37:41A shot can be an express strain
00:37:44or a heartbeat.
00:37:55A moving moment from one of the first female directors,
00:37:59Alice Guy Blachet.
00:38:01Leaves are falling,
00:38:02but little Trixie tries to tie them back on the branches
00:38:05to reverse time,
00:38:07to stop time,
00:38:09to stop decay.
00:38:11Her sister's dying from tuberculosis.
00:38:14Trixie wants a time machine,
00:38:16but Alice Guy Blachet had one.
00:38:20Cinema.
00:38:20SONG PLAYS
00:38:23SONG PLAYS
00:38:2466 years later,
00:38:29Chantal Ackerman had this scene filmed.
00:38:32It's the opening shot of her movie Rendezvous Dana.
00:38:36A train arrives.
00:38:37We hear footsteps.
00:39:02Commuters.
00:39:03No camera move.
00:39:07No plot, really.
00:39:08Is the space changing here?
00:39:11No.
00:39:12Is the light?
00:39:14No.
00:39:14Is the sound?
00:39:16A bit,
00:39:17but not a lot.
00:39:18What is really changing
00:39:20is the time.
00:39:23For every second the shot runs,
00:39:25everyone in it,
00:39:26everything in it,
00:39:28is a second order.
00:39:30A shot like this
00:39:31is a time image.
00:39:33WHISTLE BLOWS
00:39:35In more story-driven movies,
00:40:01there are moments
00:40:03when we can hear
00:40:04the tick of the clock, too.
00:40:07Hungarian director
00:40:09Eldeko Agnedi's
00:40:10beautiful
00:40:10My 20th Century.
00:40:13Minutes before midnight
00:40:14on the last night of the year,
00:40:16two trains have pulled to a halt.
00:40:21People peer at each other
00:40:23through the frost.
00:40:24A great way of drawing attention
00:40:27to time
00:40:28is to stop action.
00:40:29When nothing happens,
00:40:32we notice time happening.
00:40:34Stillness.
00:40:35The clock.
00:40:37A frozen world
00:40:38in more ways than one.
00:40:39You're aware of time
00:40:59when nothing else is happening.
00:41:00And this opposite moment
00:41:22supports that.
00:41:25When you're doing lots of things,
00:41:27you don't notice time.
00:41:29Fumbelina
00:41:31with a butterfly
00:41:32fade to black.
00:41:38Then there's an insect.
00:41:48Fade to black.
00:41:50Then a bird.
00:41:56Black.
00:41:57She's playing here.
00:42:00Oblivious to time.
00:42:01Absorbed by the fun,
00:42:03the moment,
00:42:03the event.
00:42:05The fades seem to say
00:42:06that time is passing.
00:42:08Such a gently,
00:42:09ambiguous scene.
00:42:10Those last three clips
00:42:36were about real time,
00:42:38so to speak.
00:42:38But let's look next
00:42:40at what could be called
00:42:41life time.
00:42:44How do movies
00:42:45concertina a life
00:42:46into a few hours?
00:42:48Then I believed it
00:42:49wholeheartedly.
00:42:52So whenever I was down...
00:42:53Here's a vivid way
00:42:54that it's often done.
00:42:55The opening of Monster,
00:42:57directed by Patty Jenkins,
00:42:58who also directed Wonder Woman.
00:43:00I thought that all these people
00:43:01just didn't know yet
00:43:02who I was going to be.
00:43:03But one day,
00:43:05they'd all see.
00:43:06I heard that Marilyn Monroe
00:43:08was discovered in a soda shop,
00:43:09and I thought for sure
00:43:10it could be like that.
00:43:12So I started going out real young,
00:43:14and I was always secretly looking
00:43:15for who was going to discover me.
00:43:17Was it this guy?
00:43:19Or maybe this one?
00:43:25As her main character grows up,
00:43:27the image grows too.
00:43:29The past, summarized,
00:43:31telescoped.
00:43:32just enough.
00:43:33They would see me
00:43:34for what I could be,
00:43:36and think I was beautiful.
00:43:40Like a diamond in the rough.
00:43:44They would take me away
00:43:45to my new life
00:43:47and my new world,
00:43:49where everything would be different.
00:43:55Yeah.
00:43:58I lived that way
00:43:59for a long, long time.
00:44:00in my head,
00:44:03dreaming like that.
00:44:04Then a cut to now.
00:44:07But one day,
00:44:07it just stopped.
00:44:20Growing up.
00:44:22So many films try to show it.
00:44:25So many films are about lives
00:44:26and so about time.
00:44:30How to picture a lifetime well.
00:44:35How to move us
00:44:36as life moves us.
00:44:42Hannah Polak
00:44:43manages this brilliantly.
00:44:45This is her documentary
00:44:46about a girl, Eula,
00:44:48who lives on a rubbish dump
00:44:49just 13 miles
00:44:50from the center of Moscow.
00:44:52Polak cuts to birds,
00:44:55to Eula's dreams of flight.
00:44:56It's more a rubbish mountain
00:44:58than a rubbish dump.
00:44:59It's more a rubbish mountain
00:45:01than a rubbish dump.
00:45:02But then other captions.
00:45:2212 years old,
00:45:2413,
00:45:24and then this one.
00:45:26It's all that we've been drinking.
00:45:31Yes.
00:45:32Inside,
00:45:34handheld,
00:45:36Eula's face has rounded
00:45:37since we first met her.
00:45:39Hannah, don't shoot this.
00:45:41Her mother,
00:45:42an alcoholic,
00:45:44is still alive,
00:45:44thank God.
00:45:46What's that?
00:45:47Well, it's not the same
00:45:48as in the store.
00:45:49You know what?
00:45:49It's not the same
00:45:50as in the store.
00:45:51It's not the same
00:45:52as in the store.
00:45:53What's wrong?
00:45:54No.
00:45:56And Misha
00:45:56had a access to
00:45:57that you brought out
00:45:59with the people.
00:46:00No,
00:46:01Misha knew
00:46:02when we had an LGBT
00:46:03to them.
00:46:04She knew
00:46:06how many people
00:46:06Dire's
00:46:07and
00:46:09we took out
00:46:10and brought it
00:46:11Then this, another symbol of flight, and elsewhere, and pan down.
00:46:32Close up a mum. She's still here.
00:46:41She's still here.
00:46:47They're all young.
00:47:01Eula's 21 now.
00:47:03She has an apartment, but had to give the baby away.
00:47:06If I put it, yes.
00:47:08I've been there for five years.
00:47:10I've been running to the gym.
00:47:12I've gone to the gym.
00:47:14Of course, if I put it.
00:47:17If I had a car,
00:47:20and if I could return to that time,
00:47:23when I was 16-17 years old,
00:47:26I'd be back there,
00:47:28I'd take a child,
00:47:30I'd be back to the car,
00:47:32and I'd be back to that time,
00:47:34and I'd be back to that time.
00:47:36Polak has been filming for 11 years.
00:47:40Eula talks about time,
00:47:42one of the few direct interviews in the film.
00:47:46Polak has a time machine,
00:47:48her film camera.
00:47:50In total, she filmed Eula for 14 years.
00:47:54It was a long time machine,
00:47:55the young people.
00:47:56I don't know,
00:47:58young, young, young.
00:48:00Not young people.
00:48:01What did you have felt at that moment?
00:48:03Here's a very different way
00:48:05of showing a girl grow up.
00:48:07Sally Potter's The Gold Digger's static camera.
00:48:09The girl circles an isolated hut, classically framed, discordant oboe.
00:48:21Then the girl has become older.
00:48:23Years have passed, but the shot didn't change, nor did the music or the light.
00:48:28Then slightly wider, and the same girl.
00:48:31No music now.
00:48:33But then the girl's a woman, Julie Christie.
00:48:3920 years and 40 seconds.
00:48:52Potter was using the magic of cinema, its box of tricks.
00:48:56It has many tricks, of course.
00:48:59The opposite to concertina-ing time is stretching it like mozzarella,
00:49:04which is what Antonia Bird does here in her film Ravenous.
00:49:09Robert Carlyle is a cannibal, determined to have his way with Guy Pearce,
00:49:14pumping music and cross-cutting.
00:49:16Then this.
00:49:29Fall, fall, fall.
00:49:33A longer fall than you'd expect.
00:49:36Then all these shots to fall down the tree.
00:49:39Longer than it would really take.
00:49:41Then roll, roll, roll.
00:49:53Again more shots, more seconds than it would really take.
00:49:59Bird and her team stretched time by repetition,
00:50:02changing shot size and multiplying action.
00:50:19The Hudson River, filmed by Marie Mencken, speed it up like this.
00:50:25It's a motorway of sorts.
00:50:28Time flies.
00:50:29Smoke flies.
00:50:30Boats are urgent like dodgems.
00:50:37Then we're looking down on an avenue.
00:50:39New Yorkers scuttle.
00:50:41This trick in cinema's box makes things manic.
00:50:53And it's easy to do this.
00:50:55You film slowly, then project at normal speed.
00:50:59Greek director Maria Pleiter loved the movie Time Machine
00:51:10and loved manipulating time.
00:51:15Her film, The She-Wolf Again.
00:51:18Pan left with an old lady, her moans of sadness.
00:51:21Her moans of sadness.
00:51:29Her friend.
00:51:34Then her close-up, upset.
00:51:43And then cut to the person who's watching all this, this woman.
00:51:47Then we dissolve backwards into the memories of the younger woman,
00:51:51so far so conventional.
00:51:53But then, this strange dissolve within the past,
00:51:57within a piece of action, a time-lapse.
00:52:03Then another dissolve back to this rememberer in the present.
00:52:07But then we cut to the man who is remembering the remembering.
00:52:12A time-lapse within a flashback, within a flashback.
00:52:16MUSIC PLAYS
00:52:17But at least there are story reasons for these time shifts.
00:52:25Earlier in the same film, we get something more abstract.
00:52:28A young man walking down a hill.
00:52:32The camera tilts down to the ground.
00:52:35MUSIC PLAYS
00:52:36Then up again to the sky.
00:52:42MUSIC PLAYS
00:52:43Then five dissolves.
00:52:48MUSIC PLAYS
00:52:48Some of these will be just damages in the film print.
00:53:00We can hear music changes.
00:53:02But the effect is like little moments of time or consciousness
00:53:06overlapping but not flowing.
00:53:08A touch of cubism, perhaps.
00:53:11MUSIC PLAYS
00:53:12It's hard to resist this play with time and mind.
00:53:28In her movie The Future,
00:53:30filmmaker, writer, performer Miranda July can't resist.
00:53:34MUSIC PLAYS
00:53:34Her character is about to tell her boyfriend some bad news.
00:53:39He doesn't want to hear it.
00:53:40Just hold on.
00:53:41Let's see.
00:53:42OK.
00:53:43All right.
00:53:44I don't know what's going on right now.
00:53:47But, um...
00:53:49If you're going to say something really bad,
00:53:52could you just wait a moment?
00:53:54So literally pauses her time.
00:53:57OK, just give me one moment
00:53:58before you say what you're saying.
00:54:00I just want you to know.
00:54:13Thulhuette shot in low light,
00:54:15like a Victorian cutout.
00:54:22And in this frozen time,
00:54:25anything can happen.
00:54:25MUSIC PLAYS
00:54:27The moon can talk to you.
00:54:37You can get advice from it.
00:54:40So here we are.
00:54:45What's your plan for the long run?
00:54:50I think I can just switch back again
00:54:53when this one gets tired.
00:54:55But you can't just keep switching hands forever.
00:55:00When will he unfreeze her?
00:55:04July is kooky kind of movie time.
00:55:14MUSIC PLAYS
00:55:15We've looked at real time in cinema
00:55:16and lifetime and movie magic time,
00:55:19but beyond these things,
00:55:22there's a kind of mythic time.
00:55:23And we see it here.
00:55:27Sally Potter's adaptation of Virginia Woolf's Orlando.
00:55:32We're in the 1750s,
00:55:34but then a war plane which is impossible.
00:55:41And suddenly, we're in the UK in the Blitz,
00:55:46the 1940s.
00:55:47Nearly 200 years in a single cut.
00:55:50Orlando is a time shifter,
00:55:53a gender shifter,
00:55:55a Doctor Who,
00:55:56the fog of war,
00:55:58tracking right.
00:55:59wheat影 of war.
00:56:02A similarouse city .
00:56:07ян.
00:56:08Outro
00:56:09But recently,
00:56:10actually,
00:56:11a researcher did some more
00:56:12movies under the sun.
00:56:13And I didn't talk a lot about it,
00:56:14but it was still funny to see her.
00:56:14A dead man-
00:56:16an airwaves
00:56:17sort of a lifestyle tragedy and
00:56:18a normal life of the threatened
00:56:18started to blame.
00:56:19She was a steal of the
00:56:20and it didn't cover her.
00:56:21So let me save myself
00:56:22and sacrifice some son.
00:56:23Because I know
00:56:23that it was so terrible.
00:56:24I was a real boy.
00:56:24It wasn't older than that apply for
00:56:25that if it was reformed the
00:56:25statement.
00:56:26it was stupid to see her.
00:56:26a being a hard dele.
00:56:27And then, with a thud, we're in the chrome and glass of the 1980s,
00:56:48another 40 years and a cut.
00:56:51It's really very good.
00:56:54Orlando has hardly aged, but history has come on in leaps and bounds.
00:56:59I think it'll sell.
00:57:01Woolf's novel was begging for cinema.
00:57:04You know, increase the love interest, give it a happy ending.
00:57:09By the way, how long did this draft take you?
00:57:24Our last clip is one of our technically simplest, but one of our best.
00:57:31A girl, a lollipop.
00:57:34Why is she looking over her shoulder?
00:57:36Her friend, simple reverse angle shots.
00:57:40She's been told that she'll become a woman today, that when it's midday,
00:57:55when a stick no longer casts a shadow, her girlhood will end.
00:58:14Her little sundial.
00:58:21A tiny thing speaks of massive change for her life.
00:58:26Director Maggio Meskini gets such alive performances.
00:58:31But then the person she's been looking for over her shoulder.
00:58:41Her mum.
00:58:44The lollipop.
00:58:49A stick.
00:58:54And now a shadow.
00:59:13Hassan, hold on first.
00:59:15Take a second.
00:59:16Take a second.
00:59:21Take a second.
00:59:31Three objects.
00:59:32Time.
00:59:33And the blast of a boat horn.
00:59:36Take a second.
00:59:48ORCHESTRA PLAYS
01:00:18ORCHESTRA PLAYS
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