- Hello, Attilio. - Hello.
A BRIGHTER TOMORROW
- Do not say anything, please. - Did they tell you tonight, for sure?
Yes, absolutely.
Dear comrades and friends.
Today is a great celebration for our neighborhood.
Finally, we have the light.
So, as you know, the protagonist of the movie is Ennio.
Editor of L'Unità, newspaper of the Italian Communist Party.
Vera is a seamstress
and she is a passionate and generous communist militant.
Why were there communists in Italy?
No, excuse me, didn't the communists only live in Russia?
I thought that being a communist in Italy was just a figure of speech.
"Communist!"
Of course there were communists.
The PCI sections in those years
were a point of reference in every neighborhood.
The PCI was a community with two million members.
So there were two million Russians who had come to Italy?
Ah... mules!
But no. Why?
Definitely not mules.
So two million Russians came to Italy?
Russians? Two million Italians.
Members of the Italian Communist Party.
Can I continue? Is it clear?
Clear?
We're in '56.
A workers' revolt has erupted in Budapest.
Students against the Stalinist regime in Hungary.
Fighting for freedom.
The insurgents are toppling the statues of the regime.
And it was during those days of regained freedom in Hungary
the Hungarian circus Budavari arrives in Rome.
Attention, attention.
Ladies and gentlemen, the Budavari circus has arrived.
Horses, tigers, lions
trapeze artists, fierce animals.
The Budavari Circus has been invited
by the section of the Italian Communist Party in Quarticciolo.
Welcome, good morning.
- Hello. Hello. - Good morning. Welcome.
Good morning. I am Ennio Mastrogiovanni.
I am the secretary of the Antonio Gramsci section of the Communist Party.
- And this is comrade Vera Novelli. - Vera, nice to meet you.
- A pleasure to meet you. - Welcome.
- Thank you. - The children, the little ones.
- The children... couldn't wait. - Children, huh.
And how long did it take you to get here?
- Six days. - Six days...!
- Long. - A bit long.
What joy. What joy.
- The original mineral waters from '56. - Yes.
Meo, Orianna...
Fontepatri, Madonna della Mercede...
- Aurora... - Acqua Rosa.
- There isn't any. - We'll make it ourselves.
With a face like Rosa Luxemburg's. And speaking of that.
I don't want Stalin.
In the sections of the PCI, they kept Stalin's portrait for a long time.
In the PCI sections.
But this is a scene from my movie.
And me, Stalin, who was a dictator, I don't want to see him.
Scratch!
I've been waiting for Giovanni to change for years.
And instead, nothing, it never happens.
- Maybe it's me who should change. - What would you like to change?
I never manage to react.
Arguing makes me feel bad, I don't like it.
Even when I feel anger towards Giovanni
I can never express it.
Now that the new movie starts
I can come here at most once a week.
- Just when we are dealing with... - No, I'm sorry.
But I can't leave the set.
To come here, I would have to make up excuses with Giovanni, and I don't want to.
Ah, so your husband still doesn't know that you come here?
No. I know it's stupid.
But I can't talk to him about it.
I haven't told anyone. I don't know why.
It's none of his business, I prefer it this way.
Good, good, good.
The gelato is in the freezer, the cream is in the fridge.
And what if for once we watched another movie? The Chase.
The Chase? It's a beautiful movie.
That scene where Marlon Brando
is lying on his desk.
Swollen...
Beaten to a pulp, then...
Falls down to the ground, like a sack of potatoes...
- Dad? - But a ritual is a ritual.
It must always be the same, otherwise everything goes wrong.
Help me.
We're watching Lola, with Anouk Aimée.
Let's eat ginger-cinnamon ice cream
round and nice hazelnut meringue
pistachio from Bronte.
Then I make a movie once every five years.
What does it cost you to see Lola once every five years?
And anyway, it's not good
that I make a movie every five years.
We need to speed up, we need to tighten our grip.
- Yes. - What's happening?
- I think she got engaged. - Ah.
- And maybe you know... - I don't know anything else.
Shall we start? I don't know if I can watch the whole movie.
- I have an appointment. - What, can't you see it all?
Are you kidding? This ritual also includes you.
When can I hear something?
You haven't started shooting yet and you already want to hear the music?
What if I don't like it later? Huh?
I knew I shouldn't have said yes to you.
Why do we always end up arguing with you?
But I'm so charming.
We're starting!
Tell me, what's happening?
Is there a problem? What did you say to them?
There you are. Your mother is producing another director's film.
You want to leave.
My actress showed up wearing mules, which I hate.
It's not okay like this, it's all different.
The ice cream is melting.
Listen, since everything is different, I'll go.
Bye, Dad. I'm sorry.
Enough, my movie will fail.
And I'm going to bed.
With ice cream.
Ladies and gentlemen, welcome to the Budavari circus.
Get ready to witness incredible acts.
Here is Eva and her aerial hoop.
Anyeska and Veronika
with our magnificent horses of the Puszta.
Our very funny and entertaining clowns.
Zsolt, the fire eater.
Krisztian, the strongest man in the world.
Before the show starts
I want to salute our comrades fighting in Hungary.
And thank the Antonio Gramsci section
and the entire Italian Communist Party
in particular its secretary, comrade Togliatti.
Thank you for inviting us as a sign of brotherly friendship
between our peoples.
Silence, please.
The flying angels are getting ready for their act.
It's the first shot, but I can already see the whole movie.
Frame after frame.
- Beautiful. - Let's hope so. Enough.
- Enough. Enough. - No. No, Giovanni.
How was it?
I've wanted to work with Giovanni for years.
It is the most important project of my life.
- No... - Yes.
- How was it, good? - Giovanni?
Togliatti would like a close-up.
- Do we do it later? - No.
How come?
I don't want to do the close-up of Togliatti.
- I did everything to produce this film. - Really?
What if I had sold my Modiglianis to make this film? Or my villa by the sea?
- No... - Who can say?
You can say!
Are we done? Can I get down?
You can get down in a moment.
We're going to do another twenty great takes!
Hooray!
- Good evening. - What's going on?
- Do you have a television? - No, that's Mallìa, upstairs.
The Soviet tanks have arrived in Budapest.
The spectacle of the city, after 100 hours of furious battles.
It makes an impression.
Some neighborhoods where the battle was fought more fiercely
are a heap of ruins.
The chilling images come back to mind
of cities devastated by air bombings
during the war.
I can't believe that the invaders are communists like us.
What will happen now? What will we do?
Let's wait to see what position the Party takes.
Let's wait.
What are we doing?
Why do we always go in circles?
Why we are doing an inspection?
In every film I make.
I have to shoot at least one scene
in the Mazzini neighborhood.
What do you say, it reminds you a bit of Budapest in the 1950s, right?
- Yes. Yes. - A little bit. A little bit.
The artists of your circus are the partisans of art.
Their resistance is moving.
Your circus is a metaphor for today's cinema.
Suspended on his trapeze, in the air
without knowing what will happen.
Your film is a subversive film.
Pierre, don't exaggerate, come on.
Yes, subversive.
Cut!
Wonderful!
You were great.
Paola?
I need to say something...
This director made his debut with a film
that was called Ogres.
It got reviews that were... Paola?
very positive.
What is the movie about?
You told me it was a story with a Shakespearean theme.
Yes, it's a father-son conflict.
The father wants to save him from a criminal life.
He wants a different life for him. Instead, his son...
It's the first time Paola is producing a film that's not mine.
What do you think about this?
- How do you see it? - Well, how jealous I am of you.
- He's jealous. - Thirty years together,
thirteen movies together.
I have three divorces and four families.
- Forty years together. - Yes, yes.
- Do you want to meet the Korean producers? - The Korean producers?
Giovanni! I am so happy that you came to visit me.
Look. How was it? Huh?
Excellent.
The first take is always the best.
Do you agree?
I am Giuseppe.
I want to show you the scene on the monitor.
Come, come.
Come on, Giovanni, come on, come on.
- What were you saying earlier? - The Korean co-producers.
I wanted you to meet them.
Let's talk about everything, politics, cinema, work.
We have always been like this, we have always talked about everything.
Everything but the two of us.
We never talk about how we're doing.
Yes, and as for your sexual relationship...
- Do you think... - No, I've told him many times.
I don't want to talk about sex. I don't feel like it.
So among you, the passion...
You know very well why I'm here.
I want to leave Giovanni, but I'm not capable, I can't do it.
It's never the right time.
He has started shooting the new film.
He always has other concerns.
With Giovanni, it's never the right time.
I'm sorry, what does it mean that familiarization has failed?
Well, there have been some misunderstandings among the elephants.
The two German elephants and the two French ones didn't get along.
- They cannot work together. - So what?
And so there are only the two Germans left, if that's okay with you.
- Do you have to have four? - I would like four.
Mom. Huh?
I would like to make a movie.
Fifty years of a couple's life.
With so many beautiful Italian songs.
They know each other, they love each other.
They argue, they have children.
Time passes, and so do many Italian songs.
- Nice. - Yes.
Did you answer Vanity Fair about that thing?
Which thing?
Don't you recall, they want to know what you think about the bear M49,
the one called Papillon.
The bear escaped from the reservation for the third time.
It is now on the run in the woods of Trentino.
Sorry, I need to get ready for today's scene.
Feeling like I'm always stuck at the starting point.
And close the door to leave the world outside the room.
Considering that you're the reason why I live.
This is or isn't.
Love.
Searching for a balance that disappears every time we talk.
And pretend to be happy about a life that isn't like we want.
And then let nostalgia pass by itself.
And hold your hands and tell you.
Again.
They are just words.
They are just words, our words are just words.
Hoping that tomorrow arrives quickly
and let every thought disappear.
Letting the passage of time make everything a little clearer.
Because our life, in the end, is nothing more than.
An eternal moment. A moment
between you and me.
They are just words.
Our words are just words.
They're just words, words, words, words.
Lights!
It changed forever every part of me.
You're tired of it all I don't know what to say.
We can't find a reason even to argue.
Stop, don't move.
What is she doing with that tape? Why is she keeping so close to him?
Oh no, stop.
There's no need to be so seductive.
You're just taking his measurements.
It's a technical gesture without any other intentions.
But in my opinion, in the scene there is much more than is written
in the screenplay.
They are implied, but they're there.
Come on! What do you say?
- But... - What are these?
What are they doing here?
- Diego. - Yes?
Headphones in the 1950s
an electric toothbrush,
a massager, maybe for the neck?
- I didn't put them there. - They were there.
On that furniture.
With such nonsense, I have to throw away the whole scene.
Are you shooting the children dissolved in acid today?
Children dissolved in acid? What is happening today?
Do we want to concentrate?
No, I can't continue making a film every five years.
I have to hurry.
We're already writing the script
for The Swimmer, based on the story by Cheever.
A man who one day swims back home,
crossing various pools.
Did you read the scene we wrote yesterday?
The one with the villa of the friends.
I read it, it's not good. Too didactic.
Let's rewrite it.
We can do that at the Casalpalocco swimming pool.
Then you go to the Rose Pool, in the EUR district, not far away.
How many laps did I do?
I don't know, we didn't count them.
Can we read you the list of all the swimming pools you cross?
We were thinking of setting the lover's pool on the rooftop of a hotel.
From there, you go to where you meet the nudist couple.
I don't like it.
The movie shouldn't be a journey into space.
It must be a journey through time.
What does 'through time' mean? In the future?
But is it a utopian or dystopian future?
No, I should have made The Swimmer 40 years ago
when I was lean, when I was fit.
But is the address correct?
Sure, Guattani Street 17.
Did Emma at least tell you her boyfriend's surname?
- Oh no, no. - Don't mention it.
Emma? But here is only the Polish embassy.
- I'll open it right away. - What does 'open it right away' mean?
She said, 'I'll open it for you right away.'
But how did you come up with the idea of making a film about '56?
I'm very passionate about it.
It reminds me of my family's story.
But here in Italy...
I wonder if anyone is interested.
But maybe you don't think about the audience while making a film.
No, I don't think about it.
I mean, hold on: I like to say that I don't think about it
but I don't know if it's true.
- Do we want to go to dinner? - Shouldn't we wait for your son?
I have no children.
Beautiful, very beautiful.
Within this music, there is the spirit of revolution
but also a certain lightness and the poetry of the circus.
Emma, your music is perfect for this film.
So you have already heard the music of my film?
- Yes, of course. - And I haven't.
No, no...
- I only heard a little bit. - Don't worry.
Come on, maybe it's like...
There is a certain curiosity between two people.
They are so different, it will be a passing thing.
I don't think so, they're really in love.
Clearly, they are truly in love.
What is the most beautiful day of the week for you?
Sometimes I spend Sundays full of worries for my family.
When there are no worries, that is a beautiful day.
Do you read?
I often try, but I fall asleep.
Why did you decide to get the Party card now?
- What do you expect from the Party? - We live in a shack with five people.
We don't have electricity or running water.
I want a fairer world.
Do you think you can make a difference as a citizen?
Yes, like all the workers.
Because I produce, thus I am indispensable.
What do you think of those who are in power today?
They are people who came out of fascism and the book Cuore.
Rhetorical principles and niceties.
The person in the world today that you admire the most?
Einstein, but now he's dead.
Charlot is still around, he never disappoints.
- The person you loved the most? - My mother.
What do you think is the worst misfortune that can happen to a man?
- Physically, losing... - Dad, Dad.
- Vincenzo, what's happening? - The circus is over.
FREEDOM FOR HUNGARY
STRIKE
Dear audience, a moment of calm, please.
I'm really sorry, but all the shows are cancelled.
As a sign of solidarity with our young people
who in Budapest are risking their lives against the Soviet dictatorship.
We won't return to Hungary until it becomes a free country.
We will help you. The whole neighborhood will help you.
We will open our homes to you, you can count on us.
We have all seen the pictures of tanks
on the streets of Budapest and the dead along the streets.
We are shocked by the violence of Soviet repression.
We know which side to stand on.
The Italian Communist Party will not leave you alone.
We Italian communists are different from the Soviets.
We are a completely different story.
Cut, cut!
- Heresy. - Ah yes, sorry.
I know, I know. 'We are a heresy.'
"We Italians are a heresy
compared to other Communist Parties."
If you change one word, just one word.
Then it also changes the meaning of the film, right?
Yes, but I'm used to doing it differently.
For me, acting is like free jazz.
The script is a standard on which the actor must then improvise.
Think of Cassavetes
think about the work he did with Gena Rowlands, with Peter Falk.
- What's wrong? - Nothing. Nothing.
- What are you hiding? - Nothing.
What do you have there? Let me see.
Ah, a pizza box, a charger from '56.
It's an electronic cigarette.
I swear I didn't put them there, I don't know how it happened.
They appeared suddenly, like this.
You put the objects there, but you don't realize it.
Are you tired?
Do you need a break?
Are you thinking about it? Promise me you'll do that.
Huh? Come on.
Cassavetes. With all the affection, esteem and respect.
Was he also handsome? Okay.
Cassavetes was also a handsome man.
But, as far as improvisation is concerned
with this film we are at the extreme opposite
compared to Cassavetes.
Do we understand each other?
We understand each other. Lights!
She must always voice her opinion on everything.
She's exhausting.
What do you say, can I restart the movie with another actress?
And reshoot everything. We have done it before.
You can't do it again. No, not this time.
She's complicated but gives you so much.
But she has to obey.
And she should no longer show up on set with mules, I hate it.
And you know that, but you didn't say anything.
- Why do you think I should have... - If the foot is covered in front
it should be covered in the back too. I don't see the toes?
Well, I don't want to see her heel either.
- So what about clogs? - Forget about the Dutch clogs!
There's a whole different story there, the 1970s, feminism...
Mules are like slippers
they are not shoes
but a worldview. A tragic worldview.
Anthony Hopkins in The Father
walks around the house in his pajamas.
But while he walks, we don't hear the awful sound
of slippers. No!
He goes around in his pajamas, walking and we hear "stoc!".
"Stoc!"
In pajamas, but with shoes on.
The only exception we can make for slippers are.
Aretha Franklin in The Blues Brothers.
Music!
Shall we go and get an ice cream?
- No, I can't. - Why?
It's the last day of shooting. There is a toast.
- A toast. - Yeah.
Don't skimp on the blood.
Up there too, very important. Nice and shiny.
Let's take a look at the profile.
Alright, you stay like that, perfect. The gun.
Okay, come on, if this goes well it's the last take.
- Lights! - Camera!
81 - 5 - third.
- We're filming. - Action!
- Die, scoundrel! - No, no, no, excuse me!
This scene as it is cannot be filmed at all.
You cannot do it.
Giovanni, what are you doing?
No, darling, the problem we need to address
is indeed aesthetic, but above all ethical.
The scene you're shooting is hurting cinema, don't you see?
It hurts people, and the soul.
It hurts you when you're shooting it and us who are watching it.
No, Giovanni, please, this is the last scene.
The last shot. Let me do it, please.
Then we can talk about it later?
Okay, but we need to delve into this issue for a moment.
Yes, well...
Giuseppe, can we move?
No, don't move.
Stay like this.
In position.
Because we really have to talk about this frame,
about this image, so flat and worn out.
But this shot is a metaphor for the world.
But what a metaphor. This is an execution.
- There's one guy killing another. - But don't focus on the gun.
- Well... - There's tension between them,
as if it were a love story.
They need each other like two lovers.
The fact is that with this movie
I'm done with neorealism forever.
No, the fact is that you actually like violence.
You are fascinated.
Yes, but even in Greek tragedies there is violence.
Aeschylus, Sophocles, and then Dostoevsky, Shakespeare.
Yes, but Shakespeare was Shakespeare.
My way of describing the world is to blind evil by illuminating it.
But what does it mean?
Paola, how is it possible? Where did you find him?
Paola.
- But why does he behave like that? - I don't know.
Yes, there is a man pointing a gun at another.
Violence doesn't inspire me at all, absolutely not.
Yes, but there must have been a movie
with violent scenes that you liked?
Well, I think of one, for example, it's Apocalypse Now.
Apocalypse Now?
Even in my movie, at a certain point, there are two helicopters, I swear.
It touched me, it moved me.
Because it is a violence transfigured in language.
It's the language that transforms it into something sublime.
And I believe this is called art. This, this is the art.
Oh! And this was the opinion of...
Goodbye, Giovanni.
Goodbye, thank you
to Renzo Piano, world-renowned architect.
And now I want to introduce you
to a friend of mine, a mathematician, Chiara Valerio.
Hello.
She'll tell us about this image.
Well, it's the geometry of the wolf and the lamb.
The wolf is standing above, the lamb below.
The attacker is getting higher and higher.
From a geometric point of view, since we are looking from a seated position,
we are exactly in the middle of this diagonal.
So we must make a choice between who offends and who is offended.
But there really isn't any choice to make, because one shouldn't aim
at the head of anyone!
Croissants!
- Do you want a croissant? - No, thank you.
Croissants!
- Guys, a croissant? - Do you have cream donuts?
No, only croissants, I'm sorry.
Giovanni, look. If I ask you
what is Sacred Love? It's this.
No, wrong, it's this.
The artist must be counter intuitive.
Where is the unusual aspect? Where's the inspiration?
- There's no inspiration. - And there's none
because it's a scene seen a thousand times,
a hackneyed representation. Look at this detail.
Look at this Titian painting, these two small bunnies
are a symbol of fertility.
This is art!
Paola, the director of photography has changed the lights.
We can shoot it during the day.
- Just one take and we're done. - Yes, I know, it's not that...
Giovanni, aren't you tired?
I'll have someone take you, there's a production car
that could drive you home.
Everyone has been under a spell for years.
Everyone. Directors, producers, screenwriters...
Ensnared by a spell.
Then, one morning you will wake up and suddenly
you will start crying
because you will realize what you've done.
And that day, we will call you.
No, please, no. No.
In A Short Film About Killing by Kieslowski.
There is a boy who kills a taxi driver.
The effort it requires,
the time it takes to kill him...
First, from behind, trying to strangle him with a rope.
Rope! Rope! But he doesn't die.
Then the boy picks up an iron rod
and beats him.
But the taxi driver doesn't die, he loses his dentures.
He's covered in blood, and looks at the boy,
but he doesn't want to be watched.
So he goes to the trunk, takes a blanket
and he puts it over the taxi driver's face.
He pulls him out of the car,
takes a huge stone and hits him with it.
And the man... finally dies.
It is a scene that lasts more than seven minutes.
And you can't wait for it to be over.
You would like to escape.
It's a scene that turns you against violence.
It's something that would never cross your mind to imitate.
Instead this violence here,
it's entertainment.
It's, you might say, adrenaline.
It's violence that has no weight, do you see?
No. I can't explain myself.
- Now I'm calling Martin Scorsese... - No!
And he'll tell me
how his way of narrating violence has changed
from Taxi Driver until today.
Hello Ma... An answering machine!
Giovanni, stop it. Stop it, please.
Please. Let's get ready.
Eight hours have you been holding us hostage for the sake of consistency.
Not only about consistency, but also about principle.
In life, you have to have two or three principles, right?
Oh yeah? And what is the principle you come here for?
You want to destroy my work and everyone's work? You want to punish me?
Not at all, I do it to protect you.
In this movie, there's only room for evil.
And you too are responsible for this.
Giovanni, but it's a job.
Everyone makes films like this and everyone watches them.
Yes, but you are not like everyone else.
You weren't before.
- Come on, let's start. - Can I?
- Lights! - The pillow.
- 81 - 5 - fourth. - Camera! We're filming.
Action!
Die, you scoundrel!
And we have finished the movie!
A round of applause for our magnificent actors.
- How long have you been here? - A little bit.
Giovanni, for a few months now I've been seeing an analyst.
An analyst... a psychoanalyst?
- Yes. - You've never told me anything.
I'm going there because I'm not well with you anymore.
I think we should break up.
I'm going there to get help.
Help in what way?
Help to leave you.
- Yes? - Yes.
With you, I always fear making mistakes, fear your judgment.
Being with you has become increasingly difficult.
You are too tiring.
Maybe you're right when you say I've become like everyone else.
I have disappointed you, but it's okay like this.
No, never mind what I said earlier.
Sorry, come on.
Can't we go back to how we were yesterday?
Before all that discussion. Please.
Mauro, is everything okay? Is the "Acqua Rosa" in position?
- Yes. - Elena, are we ready?
Simon a.
Hey, could you do me a favor? Could you call my wife?
- Thank you. - We are ready to shoot.
Ready! Here we go.
Lights!
- Camera! - 49 - 3 - take one.
Higher... good!
So?
Action!
The other day at the circus, you weren't supposed to speak on behalf of the Party.
Your protagonism is harmful and creates confusion.
Many of my comrades think like me.
And it is only our section that is opposing the Soviet Union.
And you'll see that the whole Party will follow us.
No, Vera, it is not possible to be a communist
if you are against the Soviet Union.
As Togliatti says: "There are moments in history
where one must take sides."
I understand, this is what Togliatti says.
But you, what do you really think?
Vera, we have educated our people
and considered the Soviet Union as the beacon of socialism.
You don't have courage, Ennio. You have to take risks.
The two of us have always had the same ideals.
The two of us...
Help. Cut!
Cut...
What are you doing? What are you up to?
There is no kiss here.
- But we look at each other in a special way. - How?
We are in love, we must kiss.
Between us there is a love story, this is a love scene.
But it's not a love scene.
This is a scene where you talk about politics, political choices.
This is the important thing.
But who cares about politics.
- This is a movie about love. Isn't it? - It could be.
- Silvio, are you joining us too? - Well, why exclude him?
Giovanni, you are making a romantic film.
A pessimistic movie about love. You're not aware of it, but it is.
- Giovanni? - What?
- Did they tell you tomorrow at 9:30? - Yes, have a nice evening.
Same to you.
We didn't really argue.
She told me these things, but I didn't understand well.
Why, I had just woken up. I had only slept for two hours.
Did you not hear from her today?
No, Dad, I told you. We spoke yesterday.
- Don't worry, she will call you. - I thought I would find her here.
But am I really annoying, like Mom says? Huh?
It feels like walking on a tightrope.
- With the fear of falling down. - Exactly.
Can I sleep here tonight, on the couch? Is it okay with you or are you busy?
- Okay. - I have everything:
Statins for cholesterol,
sleeping pills, antidepressants.
Do you have a face cream?
No, I don't have that. Excuse me, do you take antidepressants?
How do you manage without face cream?
- Do you take antidepressants? - Of course.
- Since when? - For decades.
- I didn't know. - You don't tell your children this.
I've been taking them for a long time, I'm addicted
to antidepressants and sleeping pills.
How is it going with Jerzy?
- Are you still together? No? - Of course.
- How does it come to your mind? - Like this. Heh heh.
And far away.
Far in time.
A little nothing.
Through the eyes of another.
Will do it.
Rethinking in my eyes.
My eyes that loved you so much.
And far away.
Far in the world.
With a smile.
On the lips of another.
You will find.
My shyness.
For which you were teasing me a little...
- Did you like it? - Yes.
I don't know, these characters are so bourgeois...
Their existential problems, their boredom,
their hopeless sadness...
Come on. Just stop talking nonsense.
Now you have to kiss her.
Kiss her. You are in love.
Come closer.
More.
Finally, you managed to make the film with the songs.
- Are you happy? - Yes.
But I don't know how to end it.
How beautiful.
You chose this song. Do you remember?
I remember.
- I remember, I remember. - Good morning.
How did you sleep?
- How did I sleep? - Do you want some coffee?
Yes. Is there something to eat as well?
- Biscuits. - Biscuits...
I really didn't expect it from me.
I started speaking without thinking too much.
And then it was simple, I told him everything.
Do you mind if we record our sessions?
Because I don't trust my memory anymore.
- No, I would prefer not to. - Okay.
Then I left and I spent the night just...
- What's happening? - There's a ringing cellphone.
And it's not mine.
I don't understand, no one has this number.
Hi, Matteo.
What's going on?
My nephew is at school, he's doing his Greek homework.
He took refuge in the bathroom.
Tell me. "Oi epibouleumenoi"?
I don't know. Wait a moment.
- Did you attend a classical high school? - No.
Look, Matteo, I'll call you in...
How much longer?
- Five minutes. - I'll call you back in five minutes.
Goodbye.
Sorry about that. You were saying, you left and then?
And I spent the whole night alone, without even hearing from Giovanni.
- It's the first time in forty years. - And how did it go?
I slept all night without ever waking up. I was very tired.
I'm afraid Giovanni will fall apart.
He can't be alone, he never has been.
I haven't been alone for a long time either, but I want to give it a try.
But I'm scared.
The two German elephants were held up by the Swiss customs
for a week.
Now they are returning to Hamburg, so there are no more.
- The French ones? - They tour Morocco for three years.
There is a man in Spain who rides a motorcycle.
There are Bulgarian poodles that are very talented.
What can I do with poodles?
What's going on?
- Is there a problem? - No.
Il Resto del Carlino was looking for you for that thing about Gianni Morandi.
- What thing? - That they were attacked by wild boars,
- and he ended up in the hospital. - Ah, poor thing.
- And what should I do? - They would like a statement from you.
- "Come on, Gianni!" - Come on, Gianni?
All right, I'll think about it. Paola, I wanted to talk to you.
Five minutes. Please go to makeup.
What's the progress with the actors? I'll be there soon.
- All right. - I'm coming.
Paola, I don't understand what's happening.
Maybe the other day I went too far.
But not even coming home last night, come on...
No, Giovanni, it's not that I haven't returned home.
I left you. We broke up.
What, did we break up? I don't agree.
Why do you want to make such a decision right now?
Why... Who is it?
Who is it?
Don't worry, it's me.
But I didn't hear anything.
Hello, Pierre.
A temporary situation.
In my hotel there is an Indian wedding that has been going on for a week.
There are dances, parties, fireworks
and Shakira came to dance. Impossible to sleep!
- I'm sorry to hear. - I have great news for all of us.
- Yes? - Yes.
Our Netflix appointment is confirmed.
Netflìx, I mean Netflix?
- Paola, what is this stuff? - I don't know anything about it.
They are interested.
They are really interested in you, in your film.
With them on board, you can have everything you want,
tanks, lions, elephants, everything!
But there's no need. There's no need for Netflix.
But I said I don't know anything about it.
Everything is organized, everything is fine.
No, Pierre, there is no need. Thank you.
- This is for the 93rd. - Yes.
"Soviet troops intervene in Hungary.
To put an end"... But that's a very long title.
- I know. - We wanted to show Silvio to you.
Yes, okay.
Can I have a moment?
- I wanted to do... - No! No!
Here. Please do a patch.
Then it's more realistic, right?
More lived-in. Arianna?
"Soviet troops intervene in Hungary
to put an end to the anarchy and the white terror".
- That's too long a title. - But it's the true title of that day.
It doesn't matter if it's the real one.
Did Paola come today? Did you hear from her?
- Did you hear from her? - No.
Too long. Mom, give me a hand.
- Eh? - Nothing, I was just calling for my Mom.
She died twelve years ago.
Edoardo.
They are waiting for the photos to layout. Are they ready?
Yes, I'll be right there.
- These are the best ones. - Okay.
Excuse me, Edoardo, can we speak for a moment?
Please close the door.
You and your assistant...
- Cesare. - Yes, Cesare.
This thing is not good.
Your lifestyle, your lack of modesty.
It's not good. I don't like it at all,
- you are attracting too much attention. - My private life,
don't worry about it. Just worry about me.
No.
Once you join the Communist Party you are no longer private citizens.
As communists, we must be unassailable in public.
Your behavior can be used against us
from our political opponents.
Freedom for Hungary. Tanks out of Budapest.
Free Budapest.
We have the signatures of many comrades.
We want the Party to condemn the intervention of the Soviet Union.
And you to support the Hungarian revolution.
You can't pretend anymore, Ennio.
What do we do, reopen the first page and publish the letter?
No, it doesn't seem appropriate. The newspaper is closed.
Let's go to print like this.
Cut! Good.
But let's make it more intense.
Less linear, less simple.
- Let's make... - You're mistaken...
Pierre. What's going on?
Nothing serious, don't worry.
Can I take my things?
A misunderstanding, a story about money they didn't quite understand.
Some nonsense.
- You look beautiful together. - Thank you.
Remember what I told you.
You must go to Netflix.
The only way to save the film.
- Yes. Goodbye, Pierre. - Goodbye. Goodbye everyone.
St. Michael Had a Rooster by the Taviani brothers
was a beautiful political film, but also poetic.
It ended with the protagonist's suicide.
Just like my movie.
St. Michael Had a Rooster.
Yes, you need to be more ambitious.
Our products are seen in 190 countries.
190 countries.
In this film, what is the path of the protagonist?
What is his storyline, how does he change?
Well, in life, no one ever really changes.
It's something you only see in movies.
Our products are seen in 190 countries.
- We already said that. - Unfortunately, this screenplay...
- It's a slow burner that doesn't explode. - No?
No. Puff!
The audience decides whether to watch a movie within the first two minutes.
We must reach the triggering event first, which is now at minute...?
Seven.
While the first turning point comes at minute...?
- 62. - Too late.
So 35?
Twelve?
Fourteen?
117.
391?
- Two. - Two is too early.
Anyway, there's a big problem.
This film is missing a what the fuck moment.
Anyway, our two leads are exceptional actors.
Yes.
Look, let's not talk about actors, in Italy you don't have a star system.
While our products are seen in 190 countries.
190 countries.
What the fuck!
I'm sorry, but the only thing left to do now is to suspend filming.
Pierre Cambou had committed to paying the suppliers.
And now the money is gone.
Actually, there has never been any.
I'm really sorry, I don't know what to say.
Arianna has calculated that there are...
Besides scene 87, there are still some shots left
all the final scenes, it's two weeks of shooting.
And what do we do with the circus costumes?
Do we return them all to the tailor's or do we continue to pay the rent?
I don't know, let's wait for a few days. One week.
We gave up our tour to make the movie.
The animals are nervous, they are hungry.
Until you pay, they won't bring us food.
And we need at least fifty kilos of meat per day.
Paola, I can't live without you.
For forty years we've been doing everything together.
Work, life...
And now, why suddenly this decision?
I need you.
No, Giovanni, you don't need me.
It's something else: I serve you.
It has always been like this.
And until recently, I was fine with it.
I'm sorry, I can't follow you anymore.
- And about the movie... - Giovanni.
- What's wrong? - Rocco and Flavia are leaving us.
Yes, I'm sorry.
They offered us an American series and that's 34 weeks of work.
And in this situation we don't feel like refusing.
Of course.
- Congratulations. Goodbye. - Thank you. Goodbye.
Bye.
What were you saying about the movie?
I don't know, there is something in this story that scares me.
I'm afraid of a character like that, in which you have put so much of yourself.
And in the end, he even goes as far as suicide.
And why have you never told me this about the movie?
For how long have you been thinking this?
Remember.
The violets blossomed.
To the sound of the words we said.
We will never leave each other.
Never land.
I would like to tell you now.
The same things.
But suddenly, my love.
The roses wither...
- Wait, where are you going? - You make me feel like a crazy person
who overestimates our relationship.
With you, everything is exhausting, everything is impossible.
You told me, "I fear I'm dragging you into a black hole."
And here we are.
I'm always trying to enter your life
and you keep sending me away all the time.
Is it possible that there is never anything nice in your life?
You only talk about your unhappiness.
You always erase all the beautiful things you feel.
What are you afraid of?
We're not stupid if we're happy.
We're not weak if we're affectionate.
You don't say anything.
Nothing.
You only say "I don't know, I'm sorry".
Can you say anything else besides "I'm sorry"?
And I hope you're sorry about it.
But do you realize that you don't know anything?
Why don't you take me into your arms?
It makes me sick not feeling well with you.
I'm doing my very best, but it's not enough.
It's never enough with you.
I wanted to be indispensable to you.
And instead you do nothing with me.
Do you want to show me you're better off alone?
Do you want to be alone? Just be!
In fact...
We were worried. We called you, you didn't answer.
Yes, I'm sorry, I apologize for this whole situation.
Actually, I'm embarrassed.
What does Paola say? When are we starting?
- Shall we start shooting again? - I don't know, I hope so.
Paola is not here, she had a commitment.
- We missed the movie. - Really?
This week, we continued to talk about it.
We saw each other every day.
Your movie made us passionate about politics again.
- Nice. - We've been asking ourselves questions
about the choice my character makes.
I don't think you have the courage to follow your comrades.
You know you've failed us so you kill yourself out of cowardice.
But no, I no longer recognize myself in the Party's choices.
But I keep defending it. Then, when I can't take it anymore
instead of leaving the Party, I kill myself.
- Is mine a heroic gesture? - Heroic...
In fact, a strong gesture.
Explain why Ennio kills himself.
I don't know, because actually first
the final scene came to my mind
and then I wrote the rest of the film.
I expected it from you sooner or later
to make a movie that ended with the protagonist's suicide.
It's really you.
Excuse me, I need to make a phone call.
Yes, tell me.
- How are you? - Good, yourself?
Well. Listen, those things you said the other day about the movie.
About the protagonist, who even scares you...
They made an impression on me.
Yes, on me too, but differently, I think.
But where are you now? I don't even know where you are anymore.
Did you reconsider about us two? Did you change your mind?
No, Giovanni, I haven't changed my mind.
But I must talk to you about something.
- Sure, tell me. - It's better if we meet.
Is tomorrow morning at 11 okay?
But no. We've already talked about it.
The two of you don't have to kiss.
Because you embody two positions...
Different policies.
I don't understand why Paola and I broke up.
I have no idea.
Ah. Well...
There's a beautiful light here.
- How long have you had this house... - I rented it five months ago.
Five months ago?
But how long since you decided to leave me?
For a while, but then I couldn't handle it.
It's beautiful, this lamp.
I brought things little by little,
but I could never make up my mind to move in.
But is there anyone?
As if Koreans would care about this movie.
This movie doesn't interest anyone.
We have to hope it interests them.
If they don't put in the money, we can't start again.
Yes. But I don't understand,
what do you want to do now?
So, are you going to live here?
Or is it a period of time when you need...
Here we are.
- We finished reading. - Yes.
We wanted to congratulate.
We would be truly honored to participate in this film.
The script was really appreciated.
Especially the ending, so dramatic, without hope.
It's a movie about the death of art.
About the death of communism.
The death of love and morality.
It's truly a movie about the end of everything.
Sure.
Giovanni.
- Giovanni, we're ready. - I'm coming.
I'm coming.
We're coming.
I've met the Korean producers, they're nice.
Very.
Giovanni, I'm glad we start again.
Me too.
The issue of November 5th.
"Crush the Hungarian counter-revolution."
Okay. I'm coming.
Giovanni, excuse me, does this work for Silvio?
- Of course. I'm coming. - Okay. Thanks.
Our Korean friends are enthusiastic.
We took a whole tour of the set.
Oh, great.
- It's all very beautiful. - Yes, also very expensive.
They would like to make a toast, it's a tradition.
- A toast? - Ready!
Well, but the movie is almost over, shall we make a toast?
You did it with Pierre, do it with them too.
The toast with Pierre didn't bring much luck.
It's soju, a typical Korean liquor.
Take it with both hands, you must drink it all, all in one gulp.
Yes.
And we shout "Geonbae!"
Geonbae!
- Have a good trip. - Thank you.
Goodbye.
"Crush the Hungarian counter-revolution."
Here is my Party card.
Look at him.
Make a pause. Go!
Inside here are 25 years of my life.
The party helped me grow, but now I don't recognize myself anymore.
Don't do it, Vera. Don't leave.
You think you're right
but outside the Party it's useless.
- You didn't have the courage, you disappointed me. - Cut!
The scene is disgusting.
The dialogue is terrible, unbearably rhetorical.
Well, it's the first take, let's do another one.
- Maybe it will be better. - No, the dialogue is not good.
Let's cut everything. Barbora, you go to him.
You return the card to him, and that's it.
But this is the last time we'll see each other, we basically break up.
It's a goodbye. We need to say something. Those lines are necessary.
No, they're not needed because the scene sucks.
And scenes that suck serve no purpose, because they suck. Come on.
Let's do it my way. Lights!
Camera!
88 - 1 - second.
Action!
I would like to see you dance.
Like the gypsies of the desert.
A chandelier on the head.
Or like the Balinese.
During the holidays.
I would like to see you dance.
Like the whirling dervishes who whirl around.
Spinning like spinning tops.
To the sound of ankle bells in kathakali.
And all around us, it swings.
When we dance.
We are dancing.
And Radio Tirana broadcasts.
Balkan music.
While Bulgarian dancers.
Dancing barefoot on burning coals...
- Did he tell you how he's shooting it? - Not yet.
Do a close-up or is there only a detail of the feet?
- I don't know, I'll ask him now. - Because I thought about how to do it.
I've been thinking about it since we began filming.
For me, this is the most important scene of the film.
Do you know how many hours I slept last night?
One hour.
I've always dreamt of playing a character who hangs himself.
Finally.
It's beautiful.
- You did well. - Isn't it too gloomy?
No, it's fine for this scene.
That's what I asked you for the ending.
Here we are. Shall I give it a try?
Do you want to try? But you have to be concise, essential.
Think about what Calvino said.
Cesare Pavese killed himself.
So that we can learn to live.
Think about it. Then forget about it.
We're done.
Thank you everyone.
- Giovanni, but we still have three hours. - Thank you all.
We're done for today.
So, what do you plan to do now?
What do you plan to do?
I don't know. I don't know, and anyway...
Come on, I don't feel like talking about it right now.
- Let's change the subject. - Yes.
Dad, Jerzy and I are getting married.
- I am happy. - You're really happy?
If you had told me a month ago
I don't know how I would have reacted.
But now I am happy.
What are you working on right now? Are you producing other films?
Two series in Korea, three movies in Europe, and two in America.
Well. Paola, I can't live without you.
I can't do it.
Why don't we try again? Eh?
Why don't we reconsider?
Why do you translate? These are private things.
Excuse me.
And anyway, I don't like the final scene anymore.
I don't like that it's the last scene.
I don't like what he's saying and I don't want to see that noose anymore.
I don't want to see it anymore.
The ending of the movie must be something completely different.
A completely different thing, yes.
In my opinion, circus artists...
So we could imagine that this secretary...
"History is not made with 'if's".
And who dictated that?
Myself, I insist on doing it with "if" s.
Comrade Togliatti, please come forward.
Come closer, everyone. Listen to us.
We won't move from here until the Party
will take a stance in favor of the Hungarian revolution
and of freedom.
As soon as our section moved
in support of Hungarian friends, immediately it came
messages of solidarity from comrades in the sections
from all over Italy. We here also represent them.
And we are here to tell you
together with the friends from Budavari Circus, from Budapest.
SOVIET UNION GOODBYE!
One, two, three, four...
From that day on, the Italian Communist Party
has freed itself from Soviet hegemony,
realizing the utopia of Karl Marx and Fried rich Engels,
which still makes us so happy today.