I don't belong anywhere 2015

Nederlandse Cinema

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Transcript

00:00:28Oh

00:00:30Oh

00:01:18Je pense que le mot carrière n'est pas adéquat à ma vie

00:01:25Parce que quand tu as une carrière, tu as un plan

00:01:29Et que j'ai toujours fait que ce qui me plaisait et que ce qui m'intéressait

00:01:39Et je me disais qu'à partir du moment où ça m'intéresse, je vois pas pourquoi ça intéresserait pas

00:01:45les autres

00:01:47Et moi je sentais que c'était à New York que ça se passait

00:02:03Je vais pas vous raconter combien de fois j'ai déménagé

00:02:06Mais avec mes petits sacs en papier

00:02:10Avec mes affaires, j'avais des sacs en papier, mais c'était moins terrible que les valises

00:02:16Mais j'ai trouvé un boulot

00:02:18Et j'étais caissière dans un cinéma pornopédé

00:02:28J'ai fait comme ça, je donnais un billet à une personne, un demi-billet à l'autre personne

00:02:36Et j'avais mes poches remplies d'argent

00:02:40Mais comme ça

00:02:42Alors, avec ça, j'ai fait hôtel Monterrey, la chambre

00:03:07J'avais 21 ans, donc j'étais très perméable

00:03:11J'ai dû voir un monde qui m'a absolument fascinée

00:03:14Le monde du cinéma expérimental

00:03:17Le monde de la nouvelle danse

00:03:20Le monde du nouveau théâtre

00:03:22Et ce monde m'a accueilli

00:03:24Vous dire que j'avais montré Soutemaville à Jonas Mekas

00:03:29Et qu'il avait beaucoup aimé

00:03:33Ça a été un monde qui m'a complètement ouvert la tête

00:03:41Une toute petite chambre blanche

00:03:45Au ras du sol

00:03:48Et droite comme un couloir

00:03:53Où je reste immobile

00:03:57Attentive

00:03:59Et couchée sur mon matelas

00:04:16J'ai peint les meubles en bleu le premier jour

00:04:21Je voulais faire

00:04:23Je tue l'aile

00:04:24Qui était un texte que j'avais écrit à Paris

00:04:26Déjà quand j'avais 18 ans

00:04:30Le jour où j'ai décidé de faire Je tue l'aile

00:04:32Je voulais le faire en 16 mm

00:04:34Je rentre chez Auditelle

00:04:36Et dans le couloir

00:04:37Il y avait des boîtes pleines de poussière

00:04:40Des grosses boîtes comme ça

00:04:43J'ouvre et c'était des boîtes de 300 mètres

00:04:48En noir et blanc

00:04:50De pellicules 35

00:04:54Et je les ai toutes prises

00:04:56Et j'ai marché sur le boulevard avenue du Maine

00:05:00Comme ça

00:05:01Et toutes ces boîtes c'était lourd

00:05:03Je les ai cachées sous mon lit

00:05:05J'avais très très peur

00:05:07Que la police vienne

00:05:09Mais personne ne s'occupait de ces boîtes

00:05:12Ça devait certainement être déjà de la pellicule périmée

00:05:15Et avec ça j'ai fait Je tue l'aile

00:05:45Paris, brussels, israël, whatever

00:05:50I'm a nomadic person

00:05:52Yeah, that's nice

00:05:57Ce qui s'est passé avec News from all

00:06:00C'est que donc

00:06:02Comme j'écrivais à ma mère

00:06:04Et qu'elle m'écrivait

00:06:06C'était le genre

00:06:06Est-ce que tu as des chaussures

00:06:09Est-ce que tu n'as pas froid

00:06:12Elle m'envoyait 20 dollars

00:06:14Et j'ai gardé toutes les lettres

00:06:16Et quand j'ai fait l'hôtel Monterrey

00:06:22Je suis rentré en Belgique

00:06:24Pour faire le montage

00:06:27Et puis je suis revenu ici

00:06:30Et quand j'étais dans l'avion

00:06:34Et que j'allais atterrir à New York

00:06:36Et je voyais déjà New York

00:06:39Et cette immensité

00:06:42Et ces lettres qui parlaient

00:06:45De maladie

00:06:48De ma petite soeur

00:06:52Qui avait réussi ou pas ses examens

00:06:55De mon père qui était inquiet

00:06:56Pour les affaires et tout ça

00:06:58De cette toute petite vie

00:07:02Que tout le monde a

00:07:04Et je voyais New York

00:07:05Et en une seconde

00:07:07J'ai eu l'idée que je devais faire un film sur New York

00:07:11Et mettre les lettres

00:07:14En voix off

00:07:16Et on commence doucement

00:07:18Je lis moi

00:07:21Les lettres que ma mère m'avait envoyées

00:07:23Mais parfois

00:07:24Il y avait tellement de bruit

00:07:26Que ça couvrait

00:07:27Et de toute façon

00:07:28Qu'est-ce que ça couvrait ?

00:07:30Que ma soeur avait réussi ses études

00:07:32Ou pas réussi ses études

00:07:33Ça couvrait le monde quotidien

00:07:36Que tout le monde connaissait

00:07:38Donc après

00:07:39Quand tout d'un coup

00:07:39La voix réapparaissait

00:07:41Il n'y avait pas de manque

00:07:58Ma très chauve petite fille

00:08:00J'ai bien reçu ta lettre

00:08:01Et je m'empresse de te répondre

00:08:03Je suis bien contente

00:08:04Que tu aies reçu les 20 dollars

00:08:05Mais j'ai aussi envoyé un chèque de 100 dollars

00:08:07Et j'espère que tu l'as reçu

00:08:08Je l'ai envoyé dans une lettre

00:08:10Et la nouvelle adresse

00:08:10J'espère que tu l'as reçu

00:08:12Je t'enverrai chaque fois quelque chose

00:08:14Car Marielle ne me part pas encore

00:08:15Sans l'essai

00:08:16Je lui téléphoner

00:08:17Elle a travaillé

00:08:17Dans la faveur de mes chèques

00:08:18Je t'enverrai

00:08:19C'est tranquille

00:08:20Je t'enverrai chaque fois

00:08:21Je suis contente

00:08:24Que tu sois bien

00:08:24Et que tout va bien

00:08:25Tu nous as tranquillisé

00:08:27Ta lettre m'a fait du bien

00:08:28C'est moi

00:08:28Je trouve que ça dure si longtemps

00:08:29Pour ton argent

00:08:30J'espère que tu t'en sors

00:08:31Dès que j'ai des nouvelles

00:08:32Je t'envoie encore quelque chose

00:08:34Mais j'ai toujours peur

00:08:35Que la lettre s'égare

00:08:36Si Colette vient chez toi

00:08:37Elle pourra peut-être passer à Bruxelles

00:08:38Alors je lui donnerai encore quelque chose

00:08:41Figure-toi que nous remettons

00:08:42Le magasin de tournée

00:08:43Ça ne rapportait rien

00:08:44Et on avait du travail

00:08:45Je devais courir chaque fois

00:08:46Je n'en pouvais plus

00:08:47Maintenant nous liquidons

00:08:48J'espère qu'on en sortira quelque chose

00:08:50Pour le moment

00:08:51Je ne me sens pas très bien

00:08:52C'est le mauvais moment pour moi

00:08:53Pendant l'été

00:08:54Je suis fatiguée

00:08:55Je n'ai pas de force

00:08:56Peut-être je partirai quelques jours

00:08:57Pour me reposer pendant les vacances

00:08:59Lily a reçu ta lettre

00:09:00Et elle te remercie

00:09:01Elle te répondra bientôt

00:09:02As-tu écrit à Sonia

00:09:04Et à Aida

00:09:04Ma petite chérie

00:09:05Je t'embrasse mille fois

00:09:06Et papa

00:09:06Et Sylviane aussi

00:09:07Ainsi que la famille au complet

00:09:09Écris-moi vite mon amour

00:09:10La maman qui t'aime

00:09:11Pense à toi

00:09:14Ce sont des lettres d'amour

00:09:16Mais dans le plat

00:09:20Dans la platitude

00:09:21Et c'est ça qui est beau

00:09:24En fait déjà là

00:09:27Je me suis rendu compte

00:09:29Qu'au fond ma mère

00:09:33Était le centre de mon œuvre

00:09:41Parce que maintenant

00:09:42Que ma mère n'est plus là

00:09:49Il n'y a plus personne quoi

00:09:52Et c'est pour ça que maintenant

00:09:54J'ai peur

00:09:55Tu comprends ?

00:09:56Parce que je me dis que maintenant

00:09:57Que ma mère n'est plus là

00:09:59Est-ce que j'aurais encore

00:10:01Quelque chose à dire ?

00:10:03Hein chérie ?

00:10:04Ouais

00:10:05Mon amour

00:10:08Ouais

00:10:09J'ai envie de te serrer

00:10:12Dans mes bras

00:10:17Mais tu sais quoi

00:10:18Je vais venir

00:10:20La troisième semaine de septembre

00:10:23La première ?

00:10:25La troisième mamie

00:10:26La troisième ?

00:10:28Ouais

00:10:28Très bien

00:10:29Bon je t'embrasse mamie cœur

00:10:31A aussi ma chérie

00:10:33A tout de suite

00:10:34Bisous

00:10:36Bisous

00:10:36Au chérie

00:10:37Au revoir maman

00:10:38Au revoir

00:10:39Au revoir mamie cœur

00:10:46A rabbi

00:10:47Always passed through a village

00:10:49To get to the forest

00:10:50And there

00:10:52At the foot of a tree

00:10:53And it was always the same one

00:10:55He began to pray

00:10:57And God hurt him

00:10:59His son too

00:11:00Always passed through the same village

00:11:02To get to the forest

00:11:04But he could not remember

00:11:05Where the tree was

00:11:06So

00:11:07He prayed at the foot of any old tree

00:11:10And God hurt him

00:11:12His grandson

00:11:14Did not know where the tree was

00:11:16Nor the forest

00:11:17So

00:11:18He went to pray in the village

00:11:20And God hurt him

00:11:22His great grandson

00:11:24Did not know where the tree was

00:11:26Nor the forest

00:11:27Not even the village

00:11:29But he still knew the words of the prayer

00:11:31So

00:11:32He prayed in his house

00:11:34And God hurt him

00:11:37His great grandson

00:11:38Did not know where the tree

00:11:40Nor the forest

00:11:42Nor the village were

00:11:43Not even the words of the prayer

00:11:45But he still knew the story

00:11:48So he told it to his children

00:11:51And God hurt him

00:11:56My own story

00:11:58Is full of missing links

00:12:00Full of blanks

00:12:02And I do not even have a child

00:12:04And I do not even have a child

00:12:32Sin

00:12:32Those who ev против the forest

00:12:33LADO

00:12:33S.O.O.O.O.O.O.O.O.O.O.O.O обс

00:12:54He's born in Brussels

00:12:55in 1950. My parents had immigrated to Poland, and it was half of the century, and it was

00:13:07also five years after the 1940s-1945. And from my mother, few have survived. And my mother

00:13:29has survived, otherwise I wouldn't be there. She has survived in a strange way, I think.

00:13:42A lot of things I have done are, I believe, liées to what happened. She never talked about it.

00:13:54And I wrote a moment where I spoke for her, and then sometimes I told myself that I spoke

00:14:04against her.

00:14:28.

00:14:29.

00:14:30.

00:14:50I don't know if he would send a film like Jeanne Hillman to the face

00:14:58She was so generous because it is true that she recognized herself

00:15:07and all my aunts and many people from this generation, many people from this world, women

00:15:17and it was a world of enfermment, of repetition

00:15:28we want to know what we do at midnight, we want to know what we do at midnight

00:15:32noon, we want to know what we do at midnight, we want to know what we will do

00:15:36the next week, and finally I don't know how she understood it, I don't know how she felt it,

00:15:47because it was also without doubt to the face of women of this generation

00:15:53coming from this world, a sort of mirror that was not necessarily something that would make

00:16:02fun. I just learned, I had never seen it, but someone told me last week,

00:16:26while she had never told me, that my mother took the piano courses in the camp.

00:16:33And then, I arrived and I made Jeanne Dillman, and I showed something that I feel

00:16:42of her and of her tante, and something that doesn't leave any place to her piano, and

00:16:50there was no place to her, by the way, that repetition, the obsidian side, the

00:16:58closure, the rooms, the kitchen.

00:17:16The first film that I made, for example, Saut de ma ville, was a world, it was almost

00:17:21in a kitchen, but it was the destruction of the world.

00:17:27That was, by the way, my mother, my tante, my tante, my tante, she had shown me.

00:17:42Thank you very much.

00:18:16I don't know.

00:18:49I don't know.

00:19:14I don't know.

00:19:52I don't know.

00:20:18When we made Last Days, in particular, we were inspired by Jean Dielman.

00:20:23I don't know.

00:20:24I don't know.

00:20:25I don't know.

00:20:26I don't know.

00:20:38I don't know.

00:20:41I don't know.

00:20:52I don't know.

00:20:55I don't know.

00:20:58I don't know.

00:21:10I don't know.

00:21:19Harris re-watched Jean Dielman, and we were working in a house, so he was very much taken

00:21:28with the cinemagraphic aspects of the way Chantal Ackerman positioned the camera and

00:21:39looked at characters. She seemed to be looking at architecturally, and there were specific

00:21:48angles that she was shooting. They would be looking directly parallel to the wall. There

00:21:54wasn't any sideways shots. And in that cinematography, we started to think of our film in that way,

00:22:05in sort of like an architectural representation of the room and the characters. We usually

00:22:13put the camera like 36 inches or 38 inches up, and whenever a character was in a particular

00:22:21room, the camera would be in the same place. And it was pretty much, that was the main inspiration.

00:22:38So yeah.

00:23:09Tell us what happened.

00:23:39Tell us what happened.

00:23:41Yes.

00:23:41We waited a little bit.

00:23:43Then we stopped.

00:23:44We said something less strong.

00:23:46The plans were fade.

00:23:49There was no tension.

00:24:21It's something.

00:24:23Rhythmically, at the level of color.

00:24:25This one, for example, we started with a really violent and threatening thing.

00:24:29Then there was a old man in a park in Brussels, in a false light.

00:24:34Well, this one, we took about 30 seconds.

00:24:39Yes, maybe more.

00:24:40Plus.

00:24:41After that, the man didn't exist.

00:24:44Why?

00:24:45It's impossible to say.

00:24:47I've seen where they've mentioned real time in talking about Chantal, but I think that

00:24:55she sort of rejects real time.

00:24:59She calls it her time or my time, which I guess is true.

00:25:06But just by not worrying about time, you all of a sudden enter into this other realm of against

00:25:20cinema time.

00:25:21I always say that people come out of a film and when the film is good, they say that

00:25:27we didn't feel the time going.

00:25:28Okay?

00:25:30And what I want is that people feel the time going.

00:25:35So I wouldn't have stolen these two hours.

00:25:38They've lived them.

00:25:40While they didn't feel the time going.

00:25:43It's like if we had stolen them two hours of their lives.

00:25:55You'll have to forget it.

00:25:58You'll have to forget it.

00:26:03You'll have to forget it.

00:26:16...

00:26:30Bye.

00:26:31Bye.

00:26:36Bye.

00:28:50You leave it, you sort of leave editing out of it.

00:29:37J'espère que le spectateur va se sentir libre de sentir par rapport à ce film.

00:29:46Et pas que de comprendre.

00:29:48Dans le cinéma que je fais, ça passe.

00:29:53C'est les deux que j'essaye.

00:29:56Que ça va de là à là.

00:29:59Et pas que, je sais pas.

00:30:20J'étais dans un appartement à Rome.

00:30:24Je travaillais sur un film de Mario Monicelli.

00:30:28Et nous étions en tournage.

00:30:30Elle est rentrée, je sais pas qui lui est au vert.

00:30:32Elle est rentrée, moi j'étais dans cette loggia en haut.

00:30:35Et je l'ai vue, il me semble que je l'ai vue arriver comme ça dans la pièce en

00:30:38bas.

00:30:39Comment elle est, Chantal ?

00:30:42Et puis, elle a commencé à parler tout de suite.

00:30:45Je sais plus exactement ce qu'elle a dit.

00:30:48Elle m'a dit, à peu près, à peu près.

00:30:53Je crois que vous n'êtes pas le personnage pour mon film.

00:30:57Vous êtes trop jolie.

00:31:00Je pense pas une seconde, mais bon.

00:31:03Vous n'êtes pas le personnage, patati patata, etc.

00:31:06Je trouvais qu'elle était d'une sincérité absolument incroyable.

00:31:12Et moi, elle m'a plu tout de suite.

00:31:13Et puis, elle est revenue vers moi quand j'étais à Paris.

00:31:19Et c'est là où elle m'a dit,

00:31:22oui, c'est vous, on va travailler ensemble.

00:31:25Je dis, bon, alors oui, bon, alors d'accord.

00:31:27Allons-y.

00:31:30Ma mère m'a téléphoné.

00:31:32Comment c'est-elle que je suis ici ?

00:31:34Je suis désolé, je ne sais pas.

00:31:37Ah bon.

00:31:39C'est vous qui venez présenter le film ce soir au Roxy ?

00:31:42Oui.

00:31:44C'est vous la réalisatrice.

00:31:46On dit comme cela, n'est-ce pas ?

00:31:48Cela doit être passionnant comme métier.

00:31:51Est-ce qu'il y a le téléphone dans la chambre ?

00:31:53Oui, bien sûr.

00:31:57Mais son cinéma, c'est elle.

00:31:59Elle, c'est son cinéma.

00:32:00Et les gens qui sont avec elle aussi.

00:32:03Tout ça, ça fait partie...

00:32:04C'est un peu le rôle de Chantal ?

00:32:06Oui, c'est Chantal.

00:32:08C'est elle, c'est Chantal.

00:32:14On sent qu'il faudrait arriver à ce que ce soit elle qui parle.

00:32:25Il n'y a pas de direction d'acteur, d'une certaine façon.

00:32:28Mais elle sait tellement ce qu'elle veut.

00:32:31C'est vous êtes surcadré.

00:32:35Moi, j'ai presque envie de dire que j'y allais et puis qu'elle me disait, alors on refait,

00:32:40on refait.

00:32:42C'est elle qui décidera d'une façon ultra précise si c'est juste ou pas, parce qu'on ne

00:32:51saura pas forcément nous.

00:32:53Elle fait tout, du début, du bas jusqu'en haut.

00:32:57Le bruit des chaussures, la hauteur du talon.

00:33:00Monsieur Hitchcock, quand il parlait de la hauteur des talons ou de la couleur de la chaussure,

00:33:05je ne sais plus quelle comédienne...

00:33:07Bon, quand il lui disait qu'avec son tailleur gris qu'il fallait mettre des chaussures noires et qu'elle

00:33:11voulait des chaussures blanches,

00:33:13ça, on peut comprendre.

00:33:14Mais quand Chantal, elle dit le bruit du talon, la hauteur du talon et la largeur du talon,

00:33:20qui correspondaient à un bruit très précis,

00:33:23des claquements de talons, des bruits de portes, des bruits de gardes, etc.

00:33:27C'est Chantal.

00:33:28C'est Chantal.

00:33:29C'est Chantal.

00:33:42C'est Chantal.

00:34:08J'étais tellement contente de travailler avec elle.

00:34:12Elle m'apprenait tellement, puis ça allait tellement dans le sens où j'aimais.

00:34:17Elle avait... je trouve comme elle travaillait sur la féminité, sur le corps, sur...

00:34:22J'adorais ça.

00:34:24Je me rendais compte que j'étais avec quelqu'un qui m'emmenait vers quelque chose que je savais qui

00:34:31était pour moi.

00:34:34Je cherchais quelque chose avec moi-même.

00:34:36Je ne sais pas quoi, parce que j'étais toute jeune.

00:34:39Et finalement, j'ai trouvé cette voie en rencontrant Chantal, en travaillant avec Chantal.

00:34:46Alors qu'avant, je n'aurais pas été... j'aurais pu partir...

00:34:54Ça m'a tenue, ça m'a donné un corps.

00:34:57Chut.

00:34:58Chut.

00:34:59Chut.

00:35:00Chut.

00:35:01Chut.

00:35:03Chut.

00:35:04Chut.

00:35:06Chut.

00:35:07Chut.

00:35:08Chut.

00:35:09Chut.

00:35:10Chut.

00:35:22Chut.

00:35:23Chut.

00:35:31Chut.

00:35:35Chut.

00:35:37Chut.

00:35:38Chut.

00:35:40I am certain that it has influenced me in the way I turn, face and right.

00:35:48And that is related to the fact that I was born in Brussels and that I saw these things like

00:35:53that.

00:35:54When I look for something and I say that for me, it's just an ambiance,

00:35:59I don't think about the moment, but five years after I look at the film, I say,

00:36:03I don't know why I look for this, because it reminds me of my childhood or adolescence.

00:36:46I think that in Brussels there is this contrast with sometimes this lourdeur, sometimes this sadness, and sometimes a joyous

00:36:55foes.

00:37:16I turned all night to Brussels because it was really in the bruxellian places that I wanted to see.

00:37:24I wanted to do it with many people that I knew, many friends as actors.

00:37:31I never wondered why nor how, it never appeared to me that I could do it elsewhere, because of course

00:37:39you can do it everywhere.

00:37:43But for me it was a night to Brussels.

00:37:46In these years, in the 80's years, there were still these lourdes where people drink beer, sometimes all alone,

00:37:56where they spend their day all alone to drink a beer.

00:38:00And I, as a young girl, it had struck me.

00:38:03It wasn't part of my world, but it was part of a certain Brussels,

00:38:08that as I didn't go to school,

00:38:13at the age of 16, I went to the city,

00:38:15I learned to know.

00:38:17I had in my notes notes, just two phrases, two phrases there, two phrases there.

00:38:23It was every time there were little bits of things,

00:38:30little bits of sequences.

00:38:33And when I turned my carnet,

00:38:36I thought, what would be great,

00:38:38it would be a fragmentary film,

00:38:42which has a lot to do with love.

00:38:44Oh, wow.

00:38:44In my cœur, for a fall,

00:38:47For a me, to fain.

00:38:52You let it go,

00:38:54Oh, oh, oh, oh, oh, I didn't fall in.

00:38:57You don't have to be the best.

00:39:01You don't have to be the best.

00:39:05And you're a friend of mine.

00:39:11In the valley,

00:40:42Yes, but in the meantime, it was...

00:40:47It's what I say a little bit in the rendezvous of Anna.

00:40:50Bon, Anna, elle est là, toute seule, pour une nuit, pour montrer ses films.

00:40:56Elle rencontre quelqu'un, ils vont dans une chambre ensemble.

00:41:00Et puis, tout d'un coup, elle dit, mais on ne s'aime pas.

00:41:02Et elle ne veut plus lui.

00:41:06On rencontre une femme.

00:41:08On la raccompagne.

00:41:13On a l'impression que va se passer quelque chose de beau.

00:41:17On a de l'espoir tout d'un coup.

00:41:20Elle dit, rhabillez-vous.

00:41:23Et on se retrouve seul.

00:41:28Est-ce que c'est toujours comme ça, dans la vie ?

00:41:32Non.

00:41:33Il ne faut pas dire ça.

00:41:35Je me fais raccompagner souvent.

00:41:37Mais je ne dis pas, rhabillez-vous.

00:41:40Et cela se passe.

00:41:43Mais je ne me dis pas, ce sera beau.

00:41:46Je crois que je ne me dis rien.

00:41:51Et de toute façon, demain, il faut que je m'en aille.

00:42:03Vous savez, Inrich,

00:42:06pendant longtemps, j'ai cru que quand on me prenait la main, ça voulait dire je t'aime.

00:42:10Alors je me laissais prendre la main, le reste.

00:42:17Le soir, on a présenté le film de Chantal,

00:42:20les rendez-vous d'Anna.

00:42:21Je me souviens que Delphine était venue avec Chantal.

00:42:23Et que Delphine m'avait dit,

00:42:26Aurore, tu ne dois pas aller regarder le film.

00:42:29J'ai dit, mais pourquoi ?

00:42:30J'ai dit, mais je suis forte.

00:42:31Moi, je peux voir le film.

00:42:33Je peux voir ce que nous avons fait ensemble.

00:42:35J'ai dit, mais non, non, non, non, non, non, non, non, non, non, non.

00:42:38Moi, j'y vais.

00:42:41Bon, je suis allée.

00:42:43La salle était pleine.

00:42:45Les gens sifflaient.

00:42:48Et puis à la fin, je me souviens d'un journaliste

00:42:51qu'on connaissait bien avec Chantal.

00:42:53Il est obligé de me couvrir de son trench coat

00:42:56pour sortir parce que les gens m'attaquaient.

00:42:59Les films de Chantal, à cette époque-là,

00:43:03ce n'était pas facile du tout.

00:43:23Les films de Chantal, à cette époque-là,

00:43:46She told me, tomorrow, you have to turn on.

00:43:48At this time, the people couldn't see films like that.

00:44:00The people had even more trouble to see films like that.

00:44:06But I think that Chantal's films, you know, will always stand on their own as the things

00:44:12that they are, you know, the sort of works that they are, which are valuable.

00:44:17And I think that, you know, the young filmmakers will, you know, find them and popularize them,

00:44:25I think.

00:44:27I hope.

00:44:33I hope that people come to see their films.

00:44:40For example, the film that I've been doing now, if I have one room, even if I don't have

00:44:54a habit of seeing them and so I know that they can't do a coup d'entrée.

00:44:59But there are films where you tell me, yes, they have a potential.

00:45:21What happens is that when you do everything, how to say, punching, etc.

00:45:29To make the entrance, that's another thing.

00:45:31Because I made the film exactly like I wanted to do.

00:45:36I didn't make a concession in the film.

00:45:41This bridge just gave me the blues.

00:45:44What a pity, I like it.

00:45:46Good for you.

00:45:47And for you, what's good?

00:45:48I also think that if it wasn't signed by Chantal Ackermann, but I don't know, Sylvie Prout,

00:45:56there would be a lot more people who would come.

00:45:59Because the people...

00:46:01My audience would say, it's not a film by Chantal Ackermann.

00:46:05And the other audience would not come.

00:46:07You see?

00:46:07So I was being told, I felt on both sides.

00:46:11And one ...

00:46:12and two.

00:46:13And two.

00:46:14And two.

00:46:16Featrice.

00:46:17Et two.

00:46:18And two.

00:46:18And three.

00:46:21And three.

00:46:22Featrice.

00:46:25Featrice.

00:46:27The, and three.

00:46:33Featrice.

00:46:33I was wondering that Juliet Binoche asked me about to tour with her.

00:46:37And as I knew she wanted to do a career in America,

00:46:41so I was kind of a bit nervous,

00:46:43I said, we're going to turn it here.

00:46:46So what do we need to do?

00:46:48We're going to exchange an apartment New York.

00:46:53We're going to exchange an apartment

00:46:56between Juliette, who lives in the bordel,

00:46:58and a psychoanalyst,

00:47:03and we're going to exchange an ancient language,

00:47:06that's to say,

00:47:09brokenness, obsessive,

00:47:10and then,

00:47:12and then,

00:47:13it was so easy to write,

00:47:16it was incredible.

00:47:22And then, we asked William Hurt,

00:47:25as we could join,

00:47:27by Sandrine Bonner,

00:47:28the two excited.

00:47:29Yes, but Doctor, you don't realize how stupid I sound.

00:47:35Yeah, good question.

00:48:00With a poulet, and he invented so many things that the scene lasted 7 minutes.

00:48:07I said, William, listen, it's great like a pro, but it's a comedy, it's very written,

00:48:16and everything I want to be like in the writing, not more.

00:48:21So he said, what does it mean that I have to do only what is written and only that?

00:48:30I said, yes.

00:48:31So he said, it means that I am very happy on this film.

00:48:39I said, listen, I prefer you to be happy like me.

00:48:45Silence of course on the table.

00:48:48I said, William, I have to go to the door.

00:48:52The door must open and you will receive a point.

00:48:55I said, yes, that's it.

00:48:57With which foot I lift?

00:48:59The foot right or the foot left?

00:49:03I said, as you want.

00:49:05I said, William, you have to tell me which foot?

00:49:08He said, with the foot right.

00:49:10No, that doesn't work.

00:49:12He said, I already calculated the number of steps I will do with the foot right.

00:49:16I said, with the foot left.

00:49:19He had a tension for a week.

00:49:23But he said, he did what I wanted.

00:49:26And I don't know if it was to see if I was going to take it,

00:49:32if I had enough force to take it against him,

00:49:35and that, of course, he could trust me,

00:49:38because everything was in the balance of force.

00:49:41Or it was simply that he wanted to impose.

00:49:43But in any case,

00:49:45after, he was like an animal.

00:49:47Oh, we're going to take advantage of it!

00:49:52Oh, no, no, no!

00:49:53Yes, yes, yes!

00:49:55Yes, yes, yes, yes!

00:49:57Puls up!

00:49:57Help me!

00:49:58Oh, no!

00:50:01Oh...

00:50:02Thank you!

00:50:02Je crois que Compton,

00:50:03il a un problème.

00:50:04Compton, il n'a pas de problème.

00:50:07No, mais je m'inquiète quand il est en fait.

00:50:08Oh...

00:50:09En fait,

00:50:09ils sont pas mauvais.

00:50:10Du fait le mieux.

00:50:16Hello, my friend.

00:50:20Hello, my friend.

00:50:24How are you?

00:50:25Yes, how are you?

00:50:26When I came to Brussels, and I realized there was no Brussels for me almost.

00:50:33Oh, I cried all day yesterday.

00:50:37Shit!

00:50:38You know, I've never had so bad...

00:50:41...au cœur.

00:51:11...

00:51:13...

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00:51:54The camera begins to be carried out and it makes a lot of noise and all of a sudden she

00:52:02takes a table and then we see an enormous amount of table and all of that.

00:52:06And then there is her mother who passes and we don't understand how things do and all of a sudden

00:52:11there is a plan.

00:52:12And we don't know how she did it, we don't know.

00:52:16We just know that it's there, it's out of there.

00:52:34I always say that a good fiction film, there is a documentary in it and that a good documentary, there

00:52:41is a fiction in it.

00:52:42Just because of the cadre. As you cadre, it's fiction.

00:52:48When I did it there, because I didn't want to do this film.

00:52:54Because the producer said, Chantal, you're going to do a film in Israel.

00:52:59And I said, Chantal, Israel, it's a little hard.

00:53:04But I was in an apartment, and all of a sudden I took my camera and I saw a plan.

00:53:09So I said, it's not Chantal Israel, it's Chantal who film.

00:53:12If my father is a descendant of Rabbi Debels, then I also try to see if I feel it.

00:53:19Yes, yes, I feel it.

00:53:21No, now no longer.

00:53:23What is it to feel that? I don't know.

00:53:27In fact, I realize that I know more words in Hebrew than I thought.

00:53:30I remember Raloutzim, it means pioneer.

00:53:34Raloutzot, pioneer.

00:53:36Ravirim, camarade.

00:53:37Ravirod, camarade, also.

00:53:39Ramouda, Motec, sherry.

00:53:41Minion, Maim, Yam.

00:53:43Oh, Mère.

00:53:44Imam, Mère.

00:53:45Kova.

00:53:45Chapeau.

00:53:47On phone.

00:53:48I almost got to have a conversation in Hebrew.

00:53:51I mix with Russian, then they say plenty of words.

00:53:54I don't know.

00:53:54So I say,

00:53:56I don't speak Hebrew.

00:53:59If I was born here, my mother would let me play in the street with the other children.

00:54:04At Bruxelles, she didn't want.

00:54:07She was afraid.

00:54:08Here, she would let me stay.

00:54:10And I wouldn't have stayed for hours to look at the window

00:54:12the other children playing ballon or the marelle.

00:54:15In looking at the window, I'd be re-plied on myself.

00:54:19Here, I'd be able to cry.

00:54:22Here, the child is king, like in America.

00:54:24Now, I've taken the habit of looking at the window,

00:54:27I look and I'm re-plied on myself.

00:54:41Hey, ma Zepo.

00:54:49One woman from a museum is Communist Party.

00:54:57She told me that she had influenced people with artists.

00:55:01is that you wouldn't want to do an installation?

00:55:03I had no idea that I would influence the artists.

00:55:07And as I wanted to do already 20 years

00:55:09a film on Europe of the East,

00:55:10I thought, she would pay this film.

00:55:14So I said, yes, I would like to do something on Europe of the East.

00:55:35Who's the music of the East?

00:55:42Can you hear me?

00:55:51Can you hear me?

00:55:57Can you hear me?

00:56:09Oh

00:56:32so it's like that it's like it's like it's like it's like it's like it's like there are people who

00:56:35said but what is this new video artist they didn't make a relationship between me Chantal

00:56:41Ackerman and Leph because this video has been in the whole world this installation

00:56:48d'est au bord de la fiction there are 24 screens who go by three and the 25th

00:56:55on the same screen it's the one you see in the dark separated from the other by the earth

00:57:00sitting in a calm

00:57:05and it's like this is the final film and the ravai which I'm ready to meet the taille

00:57:14you will never be an idol or an image of what is above the sky or below the earth or

00:57:22in the

00:57:23eaux below the earth you will never be able to do it you will never be able to love them

00:57:30because I am eternal God your God I am a evil God who follows the crimes of fathers

00:57:37on children until the third and fourth generation for those who offend me

00:57:50and when I do a documentary I want to go without idea without nothing to know and just being there

00:57:57and being like an

00:57:58sponge when I ask what do you want to do I always say I don't know and it's true

00:58:04if we go without idea there is something else that happens which is more subtly, less black and black, more

00:58:13open on the world

00:58:15and also more in the vocation

00:58:17let's get started

00:58:27let's say

00:58:28sit

00:59:30...le four crématoire, en gros.

00:59:32Enfin, pour parler un peu...

00:59:39...de manière rapide.

00:59:41Et puis, si je fais un film dans le sud des États-Unis

00:59:44et que je montre trois arbres l'un à côté de l'autre,

00:59:48on ne peut pas s'empêcher pour moi

00:59:49de penser qu'un jour, il y a peut-être eu des Noirs

00:59:52qui ont été pendus à ces arbres,

00:59:55qui ont été brûlés.

00:59:58Donc, avec ma manière de faire,

01:00:02j'espère qu'on sentira quelque chose.

01:00:07Et que, par l'évocation,

01:00:11il y a quelque chose qui, dans le corps de l'autre, va se passer.

01:00:30Dans le sud, on a filmé une route

01:00:32en travelling arrière pendant sept à huit minutes.

01:00:37C'était une route où il y a eu un type qui a été déchiqueté en mille morceaux

01:00:42derrière un pique-au-cruc.

01:00:45C'était trois blancs suprémacistes qui l'avaient attachés là.

01:00:51Il y a eu, bon, son crâne par ici, ses jambes par là, peu importe.

01:00:57Et nous, on a juste filmé très, très lentement cette route.

01:01:00Et sur cette route, il y avait des ronds encore inscrits par la police.

01:01:04Et il y a quelque chose qui se passe alors dans son propre corps

01:01:07en tant que spectateur.

01:01:10Par l'évocation et par la durée.

01:01:12Et pas en montrant la chose telle qu'elle.

01:01:54Sous-titrage Société Radio-Canada

01:02:16Parce qu'on a tout vu.

01:02:17Il n'y a rien de neuf sous le soleil, comme on dit dans l'Ecclésiaste.

01:02:22Et c'est aussi pour ça que je pense qu'à partir du moment

01:02:26où il y a eu des camps de concentration,

01:02:27il y a eu des choses qu'on ne pouvait plus montrer

01:02:32et qui étaient immontrables.

01:02:35Et qu'il y a eu une bascule, je pense, dans notre civilisation européenne,

01:02:43et qu'elle ne sera plus jamais la même après ça.

01:02:47Et que si je pense que si je fume comme ça, c'est aussi lié à ça.

01:02:52Parce qu'il y a des choses qu'on ne montre pas.

01:02:54Parce qu'il y a des choses qu'on ne montre pas.

01:03:37Parce qu'il y a des choses qu'on ne montre pas.

01:04:20Musique

01:04:50Musique

01:04:52Musique

01:04:53Musique

01:05:22Musique

01:05:23Musique

01:05:25Musique

01:05:27Musique

01:05:28Musique

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