1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:41,485 --> 00:00:50,569 BEGINNING 4 00:01:02,694 --> 00:01:06,694 BE GRATEFUL TO GOD, AS HE IS THE KINDEST 5 00:01:22,652 --> 00:01:24,360 Come in, come in. 6 00:01:26,152 --> 00:01:28,027 Go sit there. 7 00:01:28,069 --> 00:01:29,152 Go on. 8 00:01:30,485 --> 00:01:32,277 Sit down. 9 00:01:32,319 --> 00:01:35,194 Don't you dare turn around. 10 00:01:35,235 --> 00:01:36,819 You naughty boys. 11 00:01:49,319 --> 00:01:50,902 Does your hand hurt? 12 00:01:55,152 --> 00:01:58,569 You're looking out the window? Turn and face the wall. 13 00:02:04,985 --> 00:02:06,277 Come in. 14 00:02:08,194 --> 00:02:09,652 How are you? 15 00:02:10,944 --> 00:02:12,777 Take a seat. 16 00:02:17,402 --> 00:02:19,277 Hello, how are you? 17 00:02:19,319 --> 00:02:20,902 Go take a seat. 18 00:02:24,985 --> 00:02:26,402 Come in, come in. 19 00:02:26,444 --> 00:02:29,194 Hello. Please stay seated. 20 00:02:29,235 --> 00:02:30,444 I'm well, thank you. 21 00:02:30,485 --> 00:02:32,402 Please have a seat. 22 00:02:32,444 --> 00:02:33,652 What did they do? 23 00:02:33,694 --> 00:02:36,027 They were playing football and got all dirty. 24 00:02:36,069 --> 00:02:37,235 Little devils. 25 00:02:37,277 --> 00:02:38,860 They wouldn't stop. 26 00:02:46,527 --> 00:02:47,985 Come in, come in. 27 00:02:49,069 --> 00:02:50,735 Come in, come in. 28 00:02:50,777 --> 00:02:52,277 Take a seat. 29 00:02:53,402 --> 00:02:55,485 How are you? 30 00:02:55,527 --> 00:02:56,610 Hello. 31 00:03:03,985 --> 00:03:05,569 Hello. 32 00:03:05,610 --> 00:03:07,277 How is your wife? 33 00:03:08,944 --> 00:03:10,694 Hello, take a seat. 34 00:03:17,527 --> 00:03:18,569 Hello. 35 00:03:19,735 --> 00:03:20,777 Take a seat. 36 00:03:35,694 --> 00:03:37,694 Let's close the blinds. 37 00:03:39,569 --> 00:03:40,735 And the door. 38 00:03:53,277 --> 00:03:54,694 Don't make a sound. 39 00:04:34,694 --> 00:04:36,777 Good afternoon, brothers and sisters. 40 00:04:37,777 --> 00:04:38,819 How are you today? 41 00:04:39,819 --> 00:04:41,402 I'm fine, thank you. 42 00:04:42,652 --> 00:04:48,069 Today we're going to talk about an important subject. 43 00:04:48,110 --> 00:04:53,277 And we'll share valuable insights with each other. 44 00:04:54,860 --> 00:04:58,069 Let's begin our conversation 45 00:04:58,110 --> 00:05:00,902 with a seemingly simple story, 46 00:05:00,944 --> 00:05:04,194 told in the Bible. 47 00:05:07,944 --> 00:05:11,485 We all know who Abraham is, right? 48 00:05:14,527 --> 00:05:19,694 What do you think Abraham is doing in this picture? 49 00:05:23,277 --> 00:05:27,944 Does he really intend to kill Isaac, his only son? 50 00:05:31,027 --> 00:05:33,194 What does the Bible say? 51 00:05:37,027 --> 00:05:38,527 The Bible says... 52 00:05:39,610 --> 00:05:43,902 "Abraham built an altar and arranged the wood on it." 53 00:05:45,694 --> 00:05:49,569 "He bound his son Isaac hand and foot 54 00:05:49,610 --> 00:05:52,819 "and put him on the altar on top of the wood." 55 00:05:56,110 --> 00:05:58,777 "Then Abraham reached out his hand 56 00:05:58,819 --> 00:06:01,194 "and took the knife 57 00:06:01,235 --> 00:06:03,360 "to kill his son." 58 00:06:05,652 --> 00:06:07,569 "He raised his knife..." 59 00:06:09,444 --> 00:06:10,777 "..and waited." 60 00:06:12,610 --> 00:06:14,860 "But Jehovah's angel called from the heavens and said, 61 00:06:14,902 --> 00:06:16,360 " 'Abraham!' " 62 00:06:18,069 --> 00:06:19,319 " 'Abraham!' " 63 00:06:21,902 --> 00:06:23,027 " 'Here I am!' 64 00:06:23,069 --> 00:06:24,360 "answered Abraham. 65 00:06:27,402 --> 00:06:29,319 " 'Do not harm the boy...' " 66 00:06:31,444 --> 00:06:33,985 " '..and do nothing to him... 67 00:06:34,027 --> 00:06:38,069 " 'for now I know that you are God-fearing...' " 68 00:06:39,319 --> 00:06:42,069 " '..because you have not withheld 69 00:06:42,110 --> 00:06:44,110 " 'your only son 70 00:06:44,152 --> 00:06:45,319 " 'from God.' " 71 00:06:50,235 --> 00:06:52,402 What is the moral of this story? 72 00:06:54,527 --> 00:06:56,444 What does the Bible teach us? 73 00:07:04,652 --> 00:07:07,110 Why did Jehovah ask Abraham 74 00:07:07,152 --> 00:07:09,444 to sacrifice 75 00:07:09,485 --> 00:07:11,319 his only son? 76 00:07:11,360 --> 00:07:13,652 Who would like to answer? 77 00:07:17,152 --> 00:07:18,485 Sister Lena, 78 00:07:18,527 --> 00:07:21,610 since you raised your hand... 79 00:07:21,652 --> 00:07:24,360 Jehovah wanted to test Abraham, 80 00:07:24,402 --> 00:07:27,652 to make his faith... 81 00:07:29,319 --> 00:07:32,027 - Stronger, right? - Yes, stronger. 82 00:07:32,069 --> 00:07:33,527 That's right, 83 00:07:33,569 --> 00:07:34,902 thank you. 84 00:07:34,944 --> 00:07:36,194 You may sit down. 85 00:07:37,444 --> 00:07:39,444 Now, building on this story, 86 00:07:39,485 --> 00:07:43,277 how should a true Christian behave in everyday life? 87 00:07:44,360 --> 00:07:45,360 Do any of you... 88 00:07:47,652 --> 00:07:48,985 Don't panic! 89 00:07:49,027 --> 00:07:51,277 Keep the children away from the window! 90 00:07:52,319 --> 00:07:54,610 Stay inside! Don't go out! 91 00:07:57,819 --> 00:07:59,860 Don't panic. 92 00:07:59,902 --> 00:08:00,985 Calm down! 93 00:08:06,777 --> 00:08:08,944 Stay calm! We'll get out! 94 00:08:26,235 --> 00:08:27,819 We need air in here! 95 00:08:37,819 --> 00:08:39,777 Somebody break down the door! 96 00:09:54,569 --> 00:09:55,735 Giorgi. 97 00:09:55,777 --> 00:09:57,485 Giorgi! 98 00:09:57,527 --> 00:09:59,152 Come. 99 00:09:59,194 --> 00:10:00,194 Come! 100 00:11:52,152 --> 00:11:53,735 What's going on here? 101 00:11:53,777 --> 00:11:55,235 There's a fire. 102 00:11:55,277 --> 00:11:57,402 - What? - There's a fire. 103 00:11:59,319 --> 00:12:00,527 No kidding. 104 00:14:39,194 --> 00:14:41,152 - Leave it open. - Just for tonight. 105 00:14:41,194 --> 00:14:43,485 It's stifling in here. 106 00:14:52,860 --> 00:14:55,152 They were caught on the security cameras. 107 00:14:58,110 --> 00:15:02,569 A detective came over from Tbilisi. He told me to delete the footage. 108 00:15:05,694 --> 00:15:07,360 What a nerve. 109 00:15:12,069 --> 00:15:13,652 What if you don't do it? 110 00:15:15,235 --> 00:15:17,027 He told me to lie low. 111 00:15:19,110 --> 00:15:21,485 Apparently, we bother the people around here. 112 00:15:25,069 --> 00:15:27,152 The hell with it. 113 00:15:27,194 --> 00:15:28,610 Let's go to bed. 114 00:15:33,152 --> 00:15:34,569 What's wrong? 115 00:15:34,610 --> 00:15:35,735 Nothing. 116 00:15:37,319 --> 00:15:39,360 Did you see their faces on the footage? 117 00:15:42,819 --> 00:15:44,277 David? 118 00:15:44,319 --> 00:15:46,152 What? 119 00:15:46,194 --> 00:15:48,860 Ask for a transfer. 120 00:15:48,902 --> 00:15:51,110 Where to? 121 00:15:51,152 --> 00:15:53,444 The police won't do anything. 122 00:15:53,485 --> 00:15:55,027 They "won't find them". 123 00:16:05,235 --> 00:16:07,319 It's a bit late tonight, no? 124 00:16:08,485 --> 00:16:10,444 I tell you what - let's get a good night's sleep. 125 00:16:10,485 --> 00:16:12,777 First thing tomorrow, we'll run away. 126 00:16:14,569 --> 00:16:16,777 Giorgi has no friends. 127 00:16:16,819 --> 00:16:19,402 I'm uncomfortable going out. 128 00:16:19,444 --> 00:16:22,569 What do you mean? You grew up here! 129 00:16:31,444 --> 00:16:33,152 I'm fed up, too. 130 00:16:35,152 --> 00:16:38,235 I have to solve this first, I have no choice. 131 00:16:39,777 --> 00:16:41,444 Then we'll decide. 132 00:16:45,319 --> 00:16:48,402 Come in. Come in. 133 00:16:48,444 --> 00:16:49,944 Can't get to sleep? 134 00:16:51,402 --> 00:16:53,569 Come, sneak into bed. 135 00:16:53,610 --> 00:16:54,860 Hurry up. 136 00:16:54,902 --> 00:16:57,319 You spoil him. 137 00:16:57,360 --> 00:16:58,944 Come on, get in. 138 00:17:01,152 --> 00:17:03,569 If you go on like this, he'll never become a man. 139 00:17:03,610 --> 00:17:05,652 He's scared. 140 00:17:05,694 --> 00:17:08,277 I understand, but how can he ever grow up? 141 00:17:13,319 --> 00:17:16,069 When I was his age, I was running on the rooftops. 142 00:17:19,110 --> 00:17:21,360 Let's get you a kitten. 143 00:17:21,402 --> 00:17:22,985 So you leave him alone. 144 00:17:25,485 --> 00:17:26,819 Come on, don't be angry. 145 00:17:26,860 --> 00:17:28,485 I'm not. 146 00:17:28,527 --> 00:17:30,694 Then come to me. 147 00:17:30,735 --> 00:17:31,777 Come on. 148 00:17:33,694 --> 00:17:35,402 Come, my kitty. 149 00:17:46,819 --> 00:17:49,985 Can't you act like a normal person and just tell me what you want? 150 00:17:51,902 --> 00:17:53,277 We agreed on this. 151 00:17:57,027 --> 00:17:58,944 I didn't agree. 152 00:18:00,194 --> 00:18:02,777 You said you needed seven years... 153 00:18:03,902 --> 00:18:06,985 ..for your career. I did as you asked. 154 00:18:08,485 --> 00:18:11,402 Every time something happens, you say the same thing, 155 00:18:11,444 --> 00:18:15,194 "That's it, we're moving. That's it, we're moving." 156 00:18:15,235 --> 00:18:17,110 It's a perfect time for your little show. 157 00:18:17,152 --> 00:18:18,569 Go ahead. 158 00:18:21,319 --> 00:18:22,985 I have an awful headache. 159 00:18:33,069 --> 00:18:34,319 Take this. 160 00:18:48,819 --> 00:18:50,569 Give me time. 161 00:18:52,819 --> 00:18:55,235 I need to think. 162 00:18:55,277 --> 00:18:57,902 I'll find a solution. 163 00:19:02,235 --> 00:19:04,694 When we met, 164 00:19:04,735 --> 00:19:06,985 you knew what kind of man I was, 165 00:19:07,027 --> 00:19:09,194 my ambitions, my plans. 166 00:19:10,735 --> 00:19:13,277 You wanted to be with me, right? 167 00:19:13,319 --> 00:19:14,485 Yes... 168 00:19:14,527 --> 00:19:15,735 I did. 169 00:19:17,860 --> 00:19:19,485 There you go. 170 00:19:19,527 --> 00:19:20,819 What's your plan? 171 00:19:22,277 --> 00:19:24,360 Yana, what do you think? 172 00:19:24,402 --> 00:19:28,444 I'll get up early tomorrow and calculate the costs. 173 00:19:28,485 --> 00:19:31,152 In a month, we'll have a new prayer house. 174 00:19:33,527 --> 00:19:37,110 At the congress, I'll try to convince the elders to help. 175 00:19:37,152 --> 00:19:38,277 Go by yourself. 176 00:19:42,652 --> 00:19:44,735 No. 177 00:19:44,777 --> 00:19:47,152 I want to be alone. 178 00:19:47,194 --> 00:19:49,527 They expect us to come as a family. 179 00:19:50,819 --> 00:19:52,319 I won't go alone. 180 00:19:54,569 --> 00:19:55,819 Come with me. 181 00:19:57,444 --> 00:19:59,985 You will rest, meet people... 182 00:20:00,027 --> 00:20:02,027 Meet people! 183 00:20:02,069 --> 00:20:04,819 While you discuss your construction plans 184 00:20:04,860 --> 00:20:07,194 I'll stay in the hotel room. 185 00:20:07,235 --> 00:20:09,277 Who's forcing you to stay in the room? 186 00:20:09,319 --> 00:20:11,360 I want to be alone. 187 00:20:13,735 --> 00:20:16,485 Then be alone at the hotel. 188 00:20:16,527 --> 00:20:17,777 Please. 189 00:20:19,235 --> 00:20:20,860 Why do you do this? 190 00:20:22,360 --> 00:20:24,527 Can't you support me like a normal person? 191 00:20:24,569 --> 00:20:25,610 One week. 192 00:20:25,652 --> 00:20:27,735 You're determined to ruin me, aren't you? 193 00:20:29,527 --> 00:20:31,527 You can't help yourself. 194 00:20:31,569 --> 00:20:33,777 You've mastered that. 195 00:20:42,610 --> 00:20:44,277 I can't go on like this. 196 00:20:48,485 --> 00:20:50,944 Life goes by... 197 00:20:50,985 --> 00:20:53,110 as if I weren't there. 198 00:20:53,152 --> 00:20:54,985 You need something to do. 199 00:20:56,194 --> 00:20:58,027 Let's find you a job. 200 00:20:59,402 --> 00:21:00,902 I don't know. 201 00:21:00,944 --> 00:21:02,694 Then what do you know? 202 00:21:02,735 --> 00:21:05,652 You knew you couldn't be an actress and my wife at the same time. 203 00:21:05,694 --> 00:21:07,110 That's not it. 204 00:21:07,152 --> 00:21:08,902 Then what is it? 205 00:21:08,944 --> 00:21:10,194 Tell me exactly. 206 00:21:10,235 --> 00:21:12,235 Something's wrong with me. 207 00:21:15,235 --> 00:21:16,944 It's as if I were waiting... 208 00:21:18,777 --> 00:21:22,444 ..for something to start, or to end. 209 00:21:24,235 --> 00:21:27,902 You're overreacting. 210 00:21:27,944 --> 00:21:31,277 You're a very emotional person, you know that. 211 00:21:31,319 --> 00:21:33,110 Especially under stress. 212 00:21:33,152 --> 00:21:35,235 Come with me and rest. 213 00:21:35,277 --> 00:21:36,944 You don't believe me. 214 00:21:36,985 --> 00:21:40,819 I look into the mirror and a stranger looks back. 215 00:21:44,777 --> 00:21:48,027 Please don't start this. 216 00:21:49,069 --> 00:21:50,819 I can't handle it. 217 00:21:52,985 --> 00:21:55,069 If you want to talk to someone... 218 00:21:56,235 --> 00:21:59,444 Counselling or therapy, whatever... 219 00:22:00,860 --> 00:22:04,069 It's not a problem, I'll help you find someone. 220 00:22:06,610 --> 00:22:08,944 But let's keep it between us. 221 00:22:11,777 --> 00:22:14,527 All I need from you now 222 00:22:14,569 --> 00:22:16,152 is your support. 223 00:22:17,777 --> 00:22:18,819 All right? 224 00:22:58,944 --> 00:22:59,944 Nini, 225 00:22:59,985 --> 00:23:01,860 what do you ask Jehovah for? 226 00:23:01,902 --> 00:23:04,194 To make me a good child. 227 00:23:04,235 --> 00:23:05,819 What does it take to be good? 228 00:23:05,860 --> 00:23:07,402 I have to behave well. 229 00:23:07,444 --> 00:23:08,485 What else? 230 00:23:11,444 --> 00:23:14,069 Nika, what do you think? 231 00:23:14,110 --> 00:23:18,319 You have to behave well and do what God 232 00:23:18,360 --> 00:23:21,277 or your mum and dad tell you. 233 00:23:21,319 --> 00:23:23,777 Good. That's right. 234 00:23:23,819 --> 00:23:25,985 Here's another question - 235 00:23:26,027 --> 00:23:28,902 how can we protect ourselves from evil? 236 00:23:28,944 --> 00:23:31,652 We shouldn't give in to evil out of fear 237 00:23:31,694 --> 00:23:34,235 and stay on God's path. 238 00:23:34,277 --> 00:23:39,860 Correct. The Bible says Satan can take the form of light, 239 00:23:39,902 --> 00:23:41,819 the form of the Angel of Light, 240 00:23:41,860 --> 00:23:44,610 and trick us into doing what God dislikes. 241 00:23:44,652 --> 00:23:46,110 Yes, you're right. 242 00:23:46,152 --> 00:23:47,569 And we should pray. 243 00:23:47,610 --> 00:23:50,735 You're good kids. Now, on page 9. 244 00:23:50,777 --> 00:23:52,569 Saba, little Saba! 245 00:23:52,610 --> 00:23:54,402 Read, please. 246 00:23:54,444 --> 00:23:57,819 "I am the Lord thy God..." 247 00:24:00,277 --> 00:24:03,485 Wait a minute! Let him read! 248 00:24:03,527 --> 00:24:06,069 "And you shall..." 249 00:24:06,110 --> 00:24:14,235 "And you shall have no other..." 250 00:24:14,277 --> 00:24:17,319 Elene, why is that funny? 251 00:24:17,360 --> 00:24:20,777 "Before me..." 252 00:24:24,152 --> 00:24:25,444 Just a minute! 253 00:24:25,485 --> 00:24:28,152 I really want to know, what's so funny? 254 00:24:35,610 --> 00:24:38,152 Is this how you want to prepare for your baptism? 255 00:24:38,194 --> 00:24:40,069 - Yes. - No. 256 00:24:40,110 --> 00:24:41,527 Who said yes? 257 00:24:41,569 --> 00:24:42,819 Nini. 258 00:24:44,360 --> 00:24:48,069 Enough. Close your books and leave them on the table. 259 00:24:55,735 --> 00:24:57,194 Good job! 260 00:24:58,652 --> 00:25:00,777 You can go home now. 261 00:25:03,110 --> 00:25:05,610 Be careful crossing the street. 262 00:25:15,777 --> 00:25:18,819 What was that all about, can you explain? 263 00:25:18,860 --> 00:25:21,694 Nothing, I swear on your life! 264 00:25:21,735 --> 00:25:24,527 I told you never to swear on my life. 265 00:25:39,985 --> 00:25:42,860 You promised to take me to the toy store. 266 00:25:44,569 --> 00:25:45,694 Not yet. 267 00:25:57,319 --> 00:25:58,319 Come. 268 00:26:25,694 --> 00:26:27,444 Why did we get off the bus? 269 00:26:28,569 --> 00:26:30,152 I'd like to walk a bit. 270 00:26:33,694 --> 00:26:34,985 Come, follow me. 271 00:27:02,485 --> 00:27:04,027 Stay close to me. 272 00:27:04,069 --> 00:27:05,694 Don't fall behind. 273 00:27:05,735 --> 00:27:07,152 Walk close to me. 274 00:28:12,110 --> 00:28:14,152 I can't put it together. Help me. 275 00:28:16,235 --> 00:28:18,069 You can do it. 276 00:28:18,110 --> 00:28:19,985 You're a big boy. 277 00:28:20,027 --> 00:28:21,569 It's not coming together. 278 00:28:22,694 --> 00:28:23,944 Why not? 279 00:28:27,277 --> 00:28:28,902 It's missing a piece. 280 00:28:31,652 --> 00:28:33,027 Let's do it in the morning. 281 00:28:33,069 --> 00:28:35,110 Come sit with me for a while. 282 00:28:35,152 --> 00:28:38,444 Please, let's finish it and play once. 283 00:28:38,485 --> 00:28:40,069 No, it's late. 284 00:28:41,444 --> 00:28:42,902 You need to shower. 285 00:28:42,944 --> 00:28:44,402 No, please. 286 00:28:46,027 --> 00:28:48,360 You want to go to sleep all dirty like a piglet? 287 00:28:48,402 --> 00:28:49,735 I'm not dirty. 288 00:28:53,194 --> 00:28:55,485 That's enough. Let's go. 289 00:28:57,360 --> 00:28:58,860 Come, sweetheart. 290 00:32:19,360 --> 00:32:21,027 Is your husband at home? 291 00:32:24,485 --> 00:32:25,485 No. 292 00:32:27,152 --> 00:32:29,027 I'm from the police department. 293 00:32:29,069 --> 00:32:30,902 I'd like to talk to you. 294 00:32:33,360 --> 00:32:34,527 What about? 295 00:32:34,569 --> 00:32:37,527 I just have a few questions regarding the fire. 296 00:32:40,069 --> 00:32:41,652 Can I come in? 297 00:32:46,527 --> 00:32:47,694 Come in. 298 00:32:56,694 --> 00:32:58,235 This way, please. 299 00:33:14,944 --> 00:33:16,277 Are you reading this? 300 00:33:16,319 --> 00:33:17,360 No. 301 00:33:17,402 --> 00:33:19,444 I'm preparing children for baptism. 302 00:33:19,485 --> 00:33:20,485 Really? 303 00:33:21,735 --> 00:33:23,485 Do the kids enjoy it? 304 00:33:24,902 --> 00:33:28,152 I can give you my husband's phone number. 305 00:33:28,194 --> 00:33:29,652 I have it. 306 00:33:29,694 --> 00:33:31,402 Why don't you call him, then? 307 00:33:32,485 --> 00:33:35,235 I want to talk to you. 308 00:33:38,819 --> 00:33:41,027 Did you watch the footage? 309 00:33:41,069 --> 00:33:42,485 What footage? 310 00:33:42,527 --> 00:33:44,069 From the security cameras. 311 00:33:44,110 --> 00:33:45,110 No. 312 00:33:47,527 --> 00:33:49,902 Your husband... 313 00:33:49,944 --> 00:33:51,819 is a stubborn man, isn't he? 314 00:33:52,902 --> 00:33:55,819 I don't interfere with his business. 315 00:33:55,860 --> 00:33:57,277 What is his business? 316 00:33:59,194 --> 00:34:01,402 He's busy building a prayer house. 317 00:34:02,860 --> 00:34:07,860 It is pointless to talk. No-one will be arrested. 318 00:34:07,902 --> 00:34:10,569 This is not the first incident. 319 00:34:10,610 --> 00:34:14,402 The local police know who they are, but no-one is ever arrested. 320 00:34:14,444 --> 00:34:17,027 Do you know...who they are? 321 00:34:17,069 --> 00:34:18,319 No. 322 00:34:18,360 --> 00:34:20,652 I didn't see them. 323 00:34:20,694 --> 00:34:22,777 Do you suspect anyone? 324 00:34:22,819 --> 00:34:25,152 I can't point fingers like that. 325 00:34:25,194 --> 00:34:27,277 But we can't live like this. 326 00:34:27,319 --> 00:34:29,027 I can't let my son go out. 327 00:34:29,069 --> 00:34:31,235 Why? Did something happen? 328 00:34:31,277 --> 00:34:33,485 No, but it might. 329 00:34:33,527 --> 00:34:36,319 Isn't your husband concerned about this? 330 00:34:36,360 --> 00:34:37,944 Of course he is. 331 00:34:40,402 --> 00:34:43,277 Look, you are a believer. 332 00:34:43,319 --> 00:34:45,485 They have their own faith. 333 00:34:48,985 --> 00:34:51,819 Trust me, we can find an arrangement. 334 00:34:52,944 --> 00:34:54,985 You also need to understand them. 335 00:34:57,777 --> 00:35:01,069 Please, ask your husband to withdraw the complaint. 336 00:35:01,110 --> 00:35:03,402 He makes his own decisions. 337 00:35:03,444 --> 00:35:04,694 Of course. 338 00:35:05,819 --> 00:35:08,235 But if I were you... 339 00:35:09,944 --> 00:35:13,860 ..I'd use my charms to convince him. 340 00:35:22,985 --> 00:35:25,319 Do you like living here? 341 00:35:25,360 --> 00:35:26,860 Yes, we do. 342 00:35:27,944 --> 00:35:30,735 You've got a really nice place. 343 00:35:30,777 --> 00:35:32,985 Your own little paradise. 344 00:35:34,569 --> 00:35:36,194 I envy you. 345 00:35:41,277 --> 00:35:44,277 Does your husband fuck you on that couch? 346 00:35:50,235 --> 00:35:53,194 Don't look at me as if you were a virgin. 347 00:35:53,235 --> 00:35:55,444 Does he fuck you? 348 00:35:55,485 --> 00:35:57,610 If you don't leave right now... 349 00:36:07,444 --> 00:36:08,944 What if I don't? 350 00:36:29,527 --> 00:36:31,110 Will you sit next to me? 351 00:36:33,152 --> 00:36:34,194 No. 352 00:36:35,860 --> 00:36:37,110 Why not? 353 00:36:40,194 --> 00:36:42,277 You think I'll hurt you? 354 00:36:45,652 --> 00:36:47,610 Why would you? 355 00:36:47,652 --> 00:36:49,527 Do I need a reason? 356 00:36:53,485 --> 00:36:55,694 What does your husband like best? 357 00:37:00,194 --> 00:37:01,985 What do you want from me? 358 00:37:09,485 --> 00:37:11,319 You know what? 359 00:37:11,360 --> 00:37:13,527 Let's play a game. 360 00:37:14,569 --> 00:37:19,027 I'll ask questions, you answer yes or no. 361 00:37:20,610 --> 00:37:23,527 You can add details if you wish. 362 00:37:23,569 --> 00:37:25,402 Does he fuck you on this couch? 363 00:37:26,735 --> 00:37:28,527 - No. - Lie. 364 00:37:31,485 --> 00:37:33,527 Tell me the truth and I'll go. 365 00:37:34,944 --> 00:37:36,902 Does he fuck you on this couch? 366 00:37:39,402 --> 00:37:40,402 Yes. 367 00:37:47,819 --> 00:37:48,860 See? 368 00:37:51,027 --> 00:37:53,944 We can share things with each other. 369 00:37:56,277 --> 00:37:57,277 You're sick. 370 00:37:57,319 --> 00:37:58,860 Please. 371 00:38:00,152 --> 00:38:03,444 Don't pretend you're a frigid religious fanatic. 372 00:38:07,319 --> 00:38:09,652 How many times a week does he fuck you? 373 00:38:12,277 --> 00:38:14,610 What is this for? 374 00:38:14,652 --> 00:38:16,652 You want to change the subject? 375 00:38:18,152 --> 00:38:19,152 Fine. 376 00:38:20,527 --> 00:38:23,319 Does he prefer blowjobs or fucking you in the ass? 377 00:38:26,235 --> 00:38:27,860 Does he like blowjobs? 378 00:38:27,902 --> 00:38:28,902 No. 379 00:38:31,694 --> 00:38:33,110 Think again. 380 00:38:38,235 --> 00:38:40,110 Does he like you to blow him? 381 00:38:41,652 --> 00:38:42,694 Yes. 382 00:38:43,819 --> 00:38:44,944 And you? 383 00:38:47,319 --> 00:38:48,694 Do you like it too? 384 00:38:49,985 --> 00:38:50,985 Yes. 385 00:38:55,819 --> 00:38:56,860 Say it. 386 00:38:58,819 --> 00:39:01,735 "I like to blow my husband." 387 00:39:06,777 --> 00:39:09,610 I like to blow my husband. 388 00:39:10,902 --> 00:39:12,444 He likes it too. 389 00:39:14,360 --> 00:39:16,277 See? You're opening up. 390 00:39:18,819 --> 00:39:20,402 What about your asshole? 391 00:39:27,110 --> 00:39:29,319 Does he ever ask for that? 392 00:39:31,777 --> 00:39:33,027 Yes, he does. 393 00:39:39,444 --> 00:39:41,152 Are you scared of me? 394 00:39:45,735 --> 00:39:46,735 Yes. 395 00:39:52,485 --> 00:39:53,610 Come. 396 00:40:19,277 --> 00:40:20,360 Come. 397 00:40:42,152 --> 00:40:44,277 You know what I'm going to do? 398 00:40:45,610 --> 00:40:46,694 No. 399 00:40:50,069 --> 00:40:51,777 Anything I want. 400 00:41:12,360 --> 00:41:15,652 It's so nice for two people just to sit together. 401 00:42:19,235 --> 00:42:20,402 I'm sorry. 402 00:44:27,569 --> 00:44:29,235 Yana, aren't you hungry? 403 00:44:29,277 --> 00:44:30,944 Should we break for lunch? 404 00:44:30,985 --> 00:44:32,235 I'm hungry. 405 00:44:35,735 --> 00:44:36,860 Not yet. 406 00:44:49,777 --> 00:44:51,569 Giorgi. 407 00:44:51,610 --> 00:44:53,152 Are you hungry? 408 00:44:53,194 --> 00:44:55,194 Mum, can I get this? 409 00:44:55,235 --> 00:44:57,194 - No. - Please! 410 00:44:57,235 --> 00:44:59,319 I said no. Behave yourself. 411 00:45:01,944 --> 00:45:05,235 Come on. 412 00:45:06,985 --> 00:45:08,860 Go play with the kids. 413 00:45:12,402 --> 00:45:14,819 But don't go too far! 414 00:45:16,610 --> 00:45:18,444 I wouldn't let him go. 415 00:45:18,485 --> 00:45:19,902 You spoil him too much. 416 00:45:19,944 --> 00:45:21,569 Who are those children? 417 00:45:24,985 --> 00:45:26,360 I'll be right back. 418 00:45:44,985 --> 00:45:46,194 Excuse me. 419 00:45:46,235 --> 00:45:47,527 Good morning. 420 00:45:48,819 --> 00:45:50,569 How can I help you? 421 00:45:51,610 --> 00:45:53,444 Where do I get a ticket? 422 00:45:53,485 --> 00:45:55,485 - What ticket? - For the queue. 423 00:45:55,527 --> 00:45:56,610 Oh, that. 424 00:45:56,652 --> 00:45:59,819 We don't use tickets. It's a live queue. 425 00:46:04,277 --> 00:46:06,402 How else can I help you? 426 00:46:07,819 --> 00:46:09,819 I'm looking for the detective. 427 00:46:09,860 --> 00:46:11,902 Which detective? 428 00:46:11,944 --> 00:46:13,569 He came from Tbilisi. 429 00:46:14,652 --> 00:46:16,610 - When? - Two days ago. 430 00:46:16,652 --> 00:46:18,402 Nobody came from Tbilisi. 431 00:46:20,527 --> 00:46:22,277 Do you know his name? 432 00:46:24,902 --> 00:46:27,485 - No. - What case is he on? 433 00:46:30,319 --> 00:46:33,319 - Do you want to file a complaint? - No, thank you. 434 00:46:34,652 --> 00:46:36,110 Is there anything else...? 435 00:46:36,152 --> 00:46:37,485 No, thank you. 436 00:46:58,444 --> 00:47:00,027 You're not reading. 437 00:47:02,360 --> 00:47:03,444 Yes, I am. 438 00:47:04,735 --> 00:47:05,985 No, you're not. 439 00:47:07,902 --> 00:47:09,819 I am. 440 00:47:09,860 --> 00:47:12,027 What's written on that page? 441 00:47:17,860 --> 00:47:19,277 You lied to me. 442 00:47:19,319 --> 00:47:20,444 I did not. 443 00:47:21,860 --> 00:47:23,985 So, tell me what you just read. 444 00:47:25,444 --> 00:47:26,610 The whole page? 445 00:47:26,652 --> 00:47:29,027 Whatever you read. 446 00:47:32,652 --> 00:47:36,069 It's about an old man taken to heaven by flying horses. 447 00:47:40,985 --> 00:47:42,485 Flying horses? 448 00:47:46,985 --> 00:47:50,152 What does your father say about children who lie? 449 00:47:52,985 --> 00:47:54,485 God will punish me. 450 00:47:54,527 --> 00:47:55,569 So? 451 00:47:59,777 --> 00:48:02,069 But that's what it says. 452 00:48:02,110 --> 00:48:03,694 Don't lie. 453 00:48:03,735 --> 00:48:05,777 You're such a good boy. 454 00:48:05,819 --> 00:48:07,444 I never lie to you. 455 00:48:07,485 --> 00:48:09,819 You shouldn't lie to me either. 456 00:48:14,944 --> 00:48:16,860 Horses can't fly. 457 00:48:18,194 --> 00:48:19,985 Why do you think that? 458 00:48:21,277 --> 00:48:24,610 I've never seen a horse fly. 459 00:48:24,652 --> 00:48:25,985 Have you? 460 00:48:27,194 --> 00:48:30,152 If it was Jehovah's will... 461 00:48:31,944 --> 00:48:34,360 ..do you think a horse could fly? 462 00:48:36,902 --> 00:48:39,735 If it was Jehovah's will, then yes. 463 00:48:39,777 --> 00:48:42,777 Jehovah can do anything, can't he? 464 00:48:43,985 --> 00:48:44,985 Yes. 465 00:48:46,194 --> 00:48:48,194 Please read this page. 466 00:48:48,235 --> 00:48:51,819 Your father will test you when he comes back. 467 00:48:51,860 --> 00:48:54,152 Can I go out first? 468 00:48:54,194 --> 00:48:55,902 No, it's dangerous. 469 00:48:55,944 --> 00:48:57,235 But everyone is outside. 470 00:48:57,277 --> 00:48:58,610 We'll go out tomorrow. 471 00:48:58,652 --> 00:49:00,319 - Please. - No. 472 00:49:06,985 --> 00:49:09,610 Let's play a game. 473 00:49:09,652 --> 00:49:11,235 Move over. 474 00:49:13,985 --> 00:49:15,485 Sit up straight. 475 00:49:17,694 --> 00:49:19,360 Close your eyes. 476 00:49:25,819 --> 00:49:29,069 Imagine what you'd do if you went out. 477 00:49:29,110 --> 00:49:31,235 I don't want to. 478 00:49:31,277 --> 00:49:32,485 Close your eyes. 479 00:49:32,527 --> 00:49:34,152 Dad lets me go out. 480 00:49:34,194 --> 00:49:37,069 Don't be stubborn. Close your eyes. 481 00:49:39,527 --> 00:49:43,027 Imagine what you'd do outside. 482 00:49:44,985 --> 00:49:47,444 I'd play football. 483 00:49:47,485 --> 00:49:49,819 - Who would you play with? - My friends. 484 00:49:50,944 --> 00:49:53,569 What are your friends' names? 485 00:49:53,610 --> 00:49:54,610 All right. 486 00:49:55,694 --> 00:49:58,069 Who is the goalkeeper? 487 00:49:58,110 --> 00:49:59,860 Me. It's always me. 488 00:49:59,902 --> 00:50:01,777 Why is that? 489 00:50:01,819 --> 00:50:03,360 The others don't want to. 490 00:50:04,985 --> 00:50:06,194 All right. 491 00:50:06,235 --> 00:50:08,610 What else do you do? 492 00:50:08,652 --> 00:50:10,902 We chase dogs. 493 00:50:10,944 --> 00:50:12,360 Dogs? 494 00:50:12,402 --> 00:50:14,985 Yes, dogs from the neighbourhood. 495 00:50:18,152 --> 00:50:20,069 Good. Open your eyes. 496 00:55:29,235 --> 00:55:30,277 Mum. 497 00:55:44,777 --> 00:55:45,944 Mum. 498 00:56:17,985 --> 00:56:19,485 Mum, wake up. 499 01:01:36,569 --> 01:01:37,819 Did I scare you? 500 01:01:37,860 --> 01:01:38,860 No. 501 01:01:56,527 --> 01:01:58,610 I was just kidding. I'm alive. 502 01:16:05,027 --> 01:16:06,819 Yana, come in. 503 01:16:08,735 --> 01:16:11,194 Watch your step. 504 01:16:11,235 --> 01:16:12,360 Come on. 505 01:16:39,027 --> 01:16:41,194 What happened? Poor child. 506 01:16:41,235 --> 01:16:42,569 He's sleepy. 507 01:16:42,610 --> 01:16:44,485 Come, let's put you to bed. 508 01:16:48,069 --> 01:16:49,527 Get in carefully. 509 01:16:50,610 --> 01:16:52,402 Don't wake the baby. 510 01:16:54,444 --> 01:16:56,485 Gently. 511 01:16:56,527 --> 01:16:57,860 That's right. 512 01:17:12,027 --> 01:17:13,444 How does it feel to be a mother? 513 01:17:13,485 --> 01:17:14,777 I don't know yet. 514 01:17:16,902 --> 01:17:18,569 What was the rush? 515 01:17:20,402 --> 01:17:21,985 Are you still going to school? 516 01:17:22,027 --> 01:17:23,027 No. 517 01:17:25,277 --> 01:17:27,319 She's transferring to a technical school. 518 01:17:27,360 --> 01:17:30,485 No, I'm not. I found a job. 519 01:17:30,527 --> 01:17:32,527 Who'll take care of the baby? 520 01:17:32,569 --> 01:17:35,194 Who would if I'm in school? 521 01:17:40,069 --> 01:17:41,444 Does he eat well? 522 01:17:41,485 --> 01:17:42,569 Yes. 523 01:17:44,944 --> 01:17:47,194 Does his father help? 524 01:17:47,235 --> 01:17:48,694 No. 525 01:17:48,735 --> 01:17:51,402 He hasn't realised yet he has a child. 526 01:17:51,444 --> 01:17:53,360 He hasn't even come to see him. 527 01:18:02,277 --> 01:18:04,069 I'm going out for a while. 528 01:18:04,110 --> 01:18:06,652 Don't you want to spend time with your sister? 529 01:18:06,694 --> 01:18:10,152 Just for an hour, while you talk. 530 01:18:10,194 --> 01:18:12,152 Be back in an hour. 531 01:18:16,485 --> 01:18:18,902 Some guy was waiting outside. 532 01:18:18,944 --> 01:18:19,944 I know. 533 01:18:21,944 --> 01:18:24,652 But who cares what I think? 534 01:18:24,694 --> 01:18:26,402 Why did you let her go? 535 01:18:28,069 --> 01:18:29,735 What can I do? 536 01:18:29,777 --> 01:18:32,652 I keep telling her she needs to study 537 01:18:32,694 --> 01:18:35,485 so she can support herself. 538 01:18:35,527 --> 01:18:36,944 But she doesn't listen. 539 01:18:37,985 --> 01:18:40,194 She never did. 540 01:18:41,819 --> 01:18:44,194 Now, I'm left with the baby. 541 01:19:08,944 --> 01:19:10,860 Drink your coffee. It'll get cold. 542 01:19:12,694 --> 01:19:14,235 Don't blow on it. 543 01:19:20,319 --> 01:19:21,985 Make a wish. 544 01:19:22,985 --> 01:19:24,777 Why? 545 01:19:24,819 --> 01:19:26,069 So I can read your cup. 546 01:19:26,110 --> 01:19:27,444 I don't want you to. 547 01:19:31,360 --> 01:19:34,527 Your husband isn't watching. 548 01:19:34,569 --> 01:19:36,735 Don't you want to know the future? 549 01:19:48,235 --> 01:19:50,319 Won't you tell me what happened? 550 01:20:00,277 --> 01:20:01,652 I don't know. 551 01:20:03,569 --> 01:20:05,110 Please tell me. 552 01:20:09,860 --> 01:20:11,527 Did you meet someone? 553 01:20:14,027 --> 01:20:15,027 No. 554 01:20:18,569 --> 01:20:21,527 You wouldn't tell me even if you did. 555 01:20:21,569 --> 01:20:23,610 You and your sister are the same. 556 01:20:28,485 --> 01:20:30,485 I didn't meet anyone. 557 01:20:37,402 --> 01:20:39,402 Don't tell him. 558 01:20:39,444 --> 01:20:40,694 There's no need. 559 01:20:42,360 --> 01:20:43,944 Whatever it is... 560 01:20:45,194 --> 01:20:47,527 ..especially if it's not serious. 561 01:20:50,110 --> 01:20:52,860 Your husband doesn't need to know. 562 01:21:06,027 --> 01:21:07,860 Mum? 563 01:21:07,902 --> 01:21:10,444 Why do we never talk about Dad? 564 01:21:12,444 --> 01:21:14,319 What is there to talk about? 565 01:21:17,777 --> 01:21:19,819 Was he that bad to you? 566 01:21:23,360 --> 01:21:24,402 No. 567 01:21:26,777 --> 01:21:28,944 But he was no angel either. 568 01:21:30,027 --> 01:21:31,902 Why didn't you divorce him? 569 01:21:36,485 --> 01:21:39,277 Life was different, back then. 570 01:21:42,152 --> 01:21:48,069 Who would've married a second-hand woman with a child? 571 01:21:58,027 --> 01:21:59,110 You know... 572 01:22:00,735 --> 01:22:04,527 ..when you were born, you confused day and night. 573 01:22:06,152 --> 01:22:08,694 You would sleep all day and cry at night. 574 01:22:11,194 --> 01:22:14,027 One night your father came back from work. 575 01:22:15,444 --> 01:22:17,902 He was drunk and exhausted. 576 01:22:17,944 --> 01:22:19,652 You wouldn't let him sleep. 577 01:22:19,694 --> 01:22:22,027 So, he kicked me out with you. 578 01:22:24,735 --> 01:22:27,152 It was February, it was snowing. 579 01:22:32,235 --> 01:22:34,027 I carried you out... 580 01:22:36,110 --> 01:22:39,319 ..and sat down under that tree. 581 01:22:46,902 --> 01:22:48,777 In five minutes, you were calm. 582 01:22:49,944 --> 01:22:52,152 You were catching snowflakes with your mouth. 583 01:22:52,194 --> 01:22:53,944 You liked it. 584 01:22:57,402 --> 01:22:59,819 You fell asleep at the break of dawn. 585 01:23:06,985 --> 01:23:09,819 I was so hurt by your father... 586 01:23:12,444 --> 01:23:14,360 ..I wept all night. 587 01:23:18,610 --> 01:23:21,110 You enjoyed being outside. 588 01:23:25,777 --> 01:23:28,444 You slept peacefully all day long. 589 01:23:31,985 --> 01:23:34,860 Your father called you Sleeping Beauty. 590 01:23:45,652 --> 01:23:48,360 Your father was not easy to live with. 591 01:23:53,694 --> 01:23:56,235 But I never thought of divorcing him. 592 01:23:59,860 --> 01:24:02,944 We tried to love each other as best we could. 593 01:24:46,069 --> 01:24:47,319 Lie down. 594 01:24:50,319 --> 01:24:51,985 No, I have to go. 595 01:24:53,444 --> 01:24:55,235 Rest a bit. 596 01:24:56,527 --> 01:24:57,944 I can't stay. 597 01:25:04,860 --> 01:25:08,069 Next time can we go to Dad's grave? 598 01:25:43,694 --> 01:25:45,194 Don't worry, it's me. 599 01:25:52,027 --> 01:25:53,694 I'm so tired, 600 01:25:53,735 --> 01:25:56,277 I could fall asleep right here and crush you. 601 01:25:57,485 --> 01:25:58,985 You're heavy. 602 01:25:59,027 --> 01:26:00,402 I know. 603 01:26:13,902 --> 01:26:15,735 I've settled everything. 604 01:26:20,319 --> 01:26:23,694 In a month, we'll have a new building. 605 01:26:23,735 --> 01:26:24,777 Well done. 606 01:26:29,069 --> 01:26:31,027 Did you rest well without me? 607 01:26:37,777 --> 01:26:39,902 - What's the matter? - Nothing. 608 01:26:45,527 --> 01:26:48,194 Didn't you miss me at all? 609 01:26:48,235 --> 01:26:49,360 I did. 610 01:27:04,152 --> 01:27:06,235 You're an awful person. 611 01:27:09,652 --> 01:27:10,944 I love you. 612 01:27:24,527 --> 01:27:25,860 I love you too. 613 01:27:38,444 --> 01:27:39,694 Go back to sleep. 614 01:27:45,110 --> 01:27:47,027 I'll check on Giorgi. 615 01:29:30,860 --> 01:29:32,110 And you? 616 01:29:34,277 --> 01:29:35,527 Do you like it too? 617 01:29:36,735 --> 01:29:37,777 Yes. 618 01:29:42,860 --> 01:29:43,944 Say it. 619 01:29:45,860 --> 01:29:48,652 "I like to blow my husband." 620 01:29:55,652 --> 01:29:58,485 I like to blow my husband. 621 01:29:59,735 --> 01:30:01,027 He likes it too. 622 01:30:03,235 --> 01:30:04,985 See? You're opening up. 623 01:30:07,777 --> 01:30:09,402 What about your asshole? 624 01:30:16,027 --> 01:30:18,319 Does he ever ask for that? 625 01:30:20,569 --> 01:30:21,902 Yes, he does. 626 01:30:28,277 --> 01:30:29,985 Are you scared of me? 627 01:30:34,569 --> 01:30:35,694 Yes. 628 01:30:41,360 --> 01:30:42,444 Come. 629 01:30:50,277 --> 01:30:52,152 See? You're opening up. 630 01:30:54,777 --> 01:30:56,444 What about your asshole? 631 01:31:02,360 --> 01:31:04,569 Does he ever ask for that? 632 01:31:06,902 --> 01:31:08,194 Yes, he does. 633 01:31:13,694 --> 01:31:15,360 Are you scared of me? 634 01:31:19,985 --> 01:31:21,027 Yes. 635 01:31:25,069 --> 01:31:26,110 Come. 636 01:31:36,860 --> 01:31:38,235 What is this? 637 01:31:45,819 --> 01:31:47,027 Sit down. 638 01:32:06,069 --> 01:32:08,152 Is there more to this? 639 01:32:12,610 --> 01:32:14,069 I wanted to tell you. 640 01:32:16,194 --> 01:32:17,485 Tell me. 641 01:32:23,527 --> 01:32:25,027 He came here twice. 642 01:32:26,485 --> 01:32:27,694 And? 643 01:32:30,069 --> 01:32:31,194 And? 644 01:32:35,652 --> 01:32:37,235 He raped me. 645 01:32:45,444 --> 01:32:47,152 What the fuck do you mean? 646 01:32:54,860 --> 01:32:56,485 Tell me what happened. 647 01:32:57,569 --> 01:32:58,985 What should I tell you? 648 01:33:00,694 --> 01:33:03,110 How could you let him in? 649 01:33:03,152 --> 01:33:04,902 It happened outside. 650 01:33:04,944 --> 01:33:06,319 Where exactly? 651 01:33:08,194 --> 01:33:11,027 What difference does it make? 652 01:33:11,069 --> 01:33:13,860 I'm telling you he raped me. 653 01:33:13,902 --> 01:33:15,777 What difference does it make? 654 01:33:16,985 --> 01:33:19,235 Isn't this your voice on the recording? 655 01:33:21,360 --> 01:33:22,944 Am I imagining things? 656 01:33:24,735 --> 01:33:25,985 That's me. 657 01:33:32,735 --> 01:33:34,569 And you call this rape? 658 01:33:42,027 --> 01:33:44,277 Who were you when we met? 659 01:33:46,652 --> 01:33:49,527 I created you, I dragged you out of your misery. 660 01:33:51,735 --> 01:33:53,527 A lousy actress. 661 01:33:58,360 --> 01:34:00,485 Is this how you thank me? 662 01:34:10,694 --> 01:34:13,444 What if they send this to the elders? 663 01:34:18,694 --> 01:34:20,194 Have me punished. 664 01:34:23,902 --> 01:34:25,194 Punish you? 665 01:34:32,194 --> 01:34:33,985 Tell me everything. 666 01:34:37,319 --> 01:34:38,527 I'm listening. 667 01:36:38,402 --> 01:36:40,652 Sorry, is this room occupied? 668 01:36:42,527 --> 01:36:44,485 I'm waiting for the chief. 669 01:36:44,527 --> 01:36:46,569 You were told to wait here? 670 01:36:46,610 --> 01:36:47,610 Yes. 671 01:36:48,944 --> 01:36:50,527 All right, wait, then. 672 01:36:56,819 --> 01:36:58,902 You're meeting the chief at this hour? 673 01:37:01,194 --> 01:37:02,527 Yes. 674 01:37:02,569 --> 01:37:04,777 Are you sure he's coming back? 675 01:37:07,735 --> 01:37:10,485 I don't know. I want to withdraw my case. 676 01:37:10,527 --> 01:37:11,694 Which case? 677 01:37:14,152 --> 01:37:15,485 A complaint. 678 01:37:22,069 --> 01:37:26,069 All right, if you were told to wait here, then wait. 679 01:39:12,194 --> 01:39:14,777 Let me out here. 680 01:39:14,819 --> 01:39:16,069 Giorgi... 681 01:40:23,235 --> 01:40:24,944 Want to get out, Giorgi? 682 01:40:42,944 --> 01:40:45,444 Should I take your change of clothes? 683 01:40:53,652 --> 01:40:54,694 Ready? 684 01:40:54,735 --> 01:40:56,152 Yes. 685 01:40:56,194 --> 01:40:57,777 Let's start the questions? 686 01:40:58,944 --> 01:41:02,069 Nikusha, tell us what heaven is. 687 01:41:02,110 --> 01:41:03,944 Heaven is... 688 01:41:03,985 --> 01:41:05,277 a good place. 689 01:41:05,319 --> 01:41:07,569 When you do good things, 690 01:41:07,610 --> 01:41:10,319 things that God likes, 691 01:41:10,360 --> 01:41:13,152 God lets you go there. 692 01:41:14,402 --> 01:41:15,860 What happens there? 693 01:41:15,902 --> 01:41:18,902 It's a place for good people. 694 01:41:18,944 --> 01:41:21,902 Nobody can bring bad things there. 695 01:41:25,194 --> 01:41:27,485 - What is hell? - Hell is 696 01:41:27,527 --> 01:41:29,402 when you kill someone, 697 01:41:29,444 --> 01:41:31,777 or if you rob someone, 698 01:41:31,819 --> 01:41:33,110 that is hell. 699 01:41:33,152 --> 01:41:36,652 God will punish you when you die. 700 01:41:36,694 --> 01:41:39,402 God will punish you. 701 01:41:44,777 --> 01:41:52,694 We should protect all living things, because when God tells us 702 01:41:52,735 --> 01:41:54,485 not to misbehave... 703 01:41:54,527 --> 01:41:58,069 When you die, there will be two doors, 704 01:41:58,110 --> 01:41:59,902 one leads to hell, the other to heaven. 705 01:41:59,944 --> 01:42:03,610 If you did good deeds, you go to heaven, 706 01:42:03,652 --> 01:42:05,652 if bad deeds, then to hell. 707 01:42:13,360 --> 01:42:16,735 Hell is when you burn in fire. 708 01:42:16,777 --> 01:42:20,694 When bad things are done. 709 01:42:22,235 --> 01:42:24,027 For example... 710 01:42:24,069 --> 01:42:25,194 Those people... 711 01:42:26,610 --> 01:42:27,735 I think... 712 01:42:29,569 --> 01:42:31,194 Being alone. 713 01:42:32,235 --> 01:42:33,610 What else? 714 01:42:37,069 --> 01:42:38,652 And heaven? 715 01:42:40,944 --> 01:42:43,610 I think it's a coffin. 716 01:42:43,652 --> 01:42:46,027 - You think so? - A coffin. 717 01:42:46,069 --> 01:42:47,069 Why? 718 01:42:49,027 --> 01:42:50,194 I don't know. 719 01:42:52,819 --> 01:42:53,944 Saba, 720 01:42:53,985 --> 01:42:57,777 what happens to a human soul after death? 721 01:42:57,819 --> 01:42:59,569 A human soul? 722 01:43:13,110 --> 01:43:14,985 What is hell? 723 01:43:15,027 --> 01:43:20,402 Hell is when you burn in fire. 724 01:43:21,985 --> 01:43:23,360 Also... 725 01:43:31,235 --> 01:43:32,652 What is heaven? 726 01:43:33,860 --> 01:43:35,860 It's a place where people 727 01:43:35,902 --> 01:43:38,194 who never sinned 728 01:43:38,235 --> 01:43:40,152 or sinned only once go. 729 01:43:41,610 --> 01:43:43,235 Only once? 730 01:43:43,277 --> 01:43:45,027 Maybe three times. 731 01:43:45,069 --> 01:43:47,110 No more. 732 01:43:47,152 --> 01:43:49,652 - Have you sinned? - Yes. 733 01:43:51,235 --> 01:43:52,527 For example? 734 01:43:52,569 --> 01:43:54,152 Nothing serious. 735 01:43:54,194 --> 01:43:55,569 Nothing big. 736 01:44:15,610 --> 01:44:17,444 All right, children! 737 01:44:17,485 --> 01:44:18,485 Go. 738 01:44:25,610 --> 01:44:26,902 Send Anna. 739 01:44:31,194 --> 01:44:33,027 Are you ready? 740 01:44:33,069 --> 01:44:34,235 Nervous? 741 01:44:35,860 --> 01:44:37,194 Close your eyes. 742 01:44:46,610 --> 01:44:48,569 Ready? 743 01:44:48,610 --> 01:44:50,027 Close your eyes. 744 01:45:46,402 --> 01:45:47,944 Grab your underwear first! 745 01:45:52,485 --> 01:45:53,569 Fuck off! 746 01:45:57,652 --> 01:45:58,735 It's mine! 747 01:46:43,027 --> 01:46:44,902 Hey! Come with us! 748 01:46:49,860 --> 01:46:51,527 Hey, girls, come on! 749 01:47:20,360 --> 01:47:22,402 Yana, come with me for a moment. 750 01:47:54,110 --> 01:47:55,235 Yana. 751 01:47:59,527 --> 01:48:00,902 Is Giorgi asleep? 752 01:48:05,569 --> 01:48:06,610 Yes. 753 01:48:12,194 --> 01:48:14,194 They offered me a promotion. 754 01:48:15,444 --> 01:48:17,735 A position at the head office. 755 01:48:21,944 --> 01:48:24,527 When the building is done, 756 01:48:24,569 --> 01:48:26,402 should we move to Tbilisi? 757 01:48:33,277 --> 01:48:36,027 You could work in a dubbing studio with children. 758 01:48:37,819 --> 01:48:38,902 David... 759 01:48:50,735 --> 01:48:52,485 I want to forgive you. 760 01:49:00,069 --> 01:49:01,569 You won't be able to. 761 01:49:05,902 --> 01:49:07,485 Then what should we do? 762 01:49:21,610 --> 01:49:24,402 Yana, nothing makes sense without you. 763 01:49:27,444 --> 01:49:29,569 I just want us to start over. 764 01:49:38,027 --> 01:49:39,985 That's what I want, too, David. 765 01:53:00,402 --> 01:53:02,194 Wash your feet properly. 766 01:53:07,610 --> 01:53:08,735 Both. 767 01:53:24,152 --> 01:53:25,902 Show me your face. 768 01:53:25,944 --> 01:53:27,360 Turn. 769 01:54:03,402 --> 01:54:04,694 Here, drink this. 770 01:54:06,277 --> 01:54:08,860 - I don't want it. - Drink it. 771 01:54:08,902 --> 01:54:10,527 It's good, go ahead. 772 01:54:46,027 --> 01:54:48,527 How come he went to bed so early? 773 01:55:01,735 --> 01:55:03,735 I killed him. 774 01:55:30,902 --> 01:55:32,027 Yana. 775 01:57:49,902 --> 01:57:51,527 You missed it! 776 01:58:46,027 --> 01:58:48,527 Alex! Don't fall behind! 777 02:05:57,632 --> 02:06:00,192 Hello, everybody, this is Luca Guadagnino 778 02:06:00,232 --> 02:06:03,032 and I have the great privilege and pleasure 779 02:06:03,072 --> 02:06:05,392 to introduce to this conversation 780 02:06:05,432 --> 02:06:10,552 the great and wonderful Georgian film director Déa Kulumbegashvili. 781 02:06:10,592 --> 02:06:14,632 I was invited to join the festival of San Sebastián this year, 782 02:06:14,672 --> 02:06:17,632 this very difficult year for cinema, 2020, 783 02:06:17,672 --> 02:06:20,872 as the president of the jury of the international competition, 784 02:06:20,912 --> 02:06:25,512 and once the movie Beginning started to fill the screen 785 02:06:25,552 --> 02:06:30,872 of the very big main theatre at the San Sebastián Film Festival, 786 02:06:30,912 --> 02:06:37,552 the power of the imagery of Beginningand the hypnotic qualities of it 787 02:06:37,592 --> 02:06:42,792 immediately had us, all the viewers in the theatre, arrested by this. 788 02:06:42,832 --> 02:06:45,112 There is no doubt that, watching Beginning, 789 02:06:45,152 --> 02:06:48,992 it's a transformative experience for any viewers 790 02:06:49,032 --> 02:06:53,632 and that, with this movie, we have to salute and welcome 791 02:06:53,672 --> 02:06:59,032 the affirmation of an incredible talent for cinema, in Déa. 792 02:06:59,072 --> 02:07:03,512 So, cut to the chase, let's start the conversation, my dear Déa. 793 02:07:03,552 --> 02:07:04,552 I'm a big fan. 794 02:07:04,592 --> 02:07:07,672 And I'm proud, because, all my life, I've been fans of directors, 795 02:07:07,712 --> 02:07:13,512 so I'm happy to have a new, great director to admire in you. 796 02:07:13,552 --> 02:07:18,072 Your experience in cinema has been very steady and very strong, 797 02:07:18,112 --> 02:07:21,952 because you've been presenting your work in Cannes, 798 02:07:21,992 --> 02:07:24,192 when you were doing short films. 799 02:07:24,232 --> 02:07:27,032 And, through the great support of festivals, 800 02:07:27,072 --> 02:07:30,512 you worked on the development of Beginning. 801 02:07:30,552 --> 02:07:36,232 You've been attending the Cinéfondation in Paris of the Cannes Film Festival, 802 02:07:36,272 --> 02:07:42,192 you've been supported by the Sam Spiegel International Film Lab 803 02:07:42,232 --> 02:07:46,512 and you've been presenting yourself, through works and labs, 804 02:07:46,552 --> 02:07:50,792 in many important European festivals around the world. 805 02:07:50,832 --> 02:07:55,072 Beginning, among these great producers, 806 02:07:55,112 --> 02:07:58,232 has also the support 807 02:07:58,272 --> 02:08:01,552 of the great Mexican film-maker, Carlos Reygadas. 808 02:08:01,592 --> 02:08:03,992 So, my first question to you is such - 809 02:08:04,032 --> 02:08:07,072 what do you think is the importance, if there is any, 810 02:08:07,112 --> 02:08:11,912 for film festivals in the development of a language 811 02:08:11,952 --> 02:08:14,072 for a film-maker like yourself, 812 02:08:14,112 --> 02:08:16,352 at large, for cinema? 813 02:08:16,392 --> 02:08:18,112 Given that we've been experiencing 814 02:08:18,152 --> 02:08:22,232 a lot of difficulties for film festivals this year. 815 02:08:22,272 --> 02:08:24,712 Well, first of all, thank you. 816 02:08:24,752 --> 02:08:28,832 It's an honour that you're presenting my film. 817 02:08:28,872 --> 02:08:32,792 And it's a pleasure to talk to you. 818 02:08:32,832 --> 02:08:37,712 Well, if we talk about film festivals as the place where we present our films, 819 02:08:37,752 --> 02:08:41,592 I think that it's different from the film festivals, 820 02:08:41,632 --> 02:08:44,632 or the platforms affiliated with the film festivals 821 02:08:44,672 --> 02:08:46,992 for the development of the project, 822 02:08:47,032 --> 02:08:49,712 or the films which are still in development. 823 02:08:49,752 --> 02:08:56,752 I think that festivals are really vital for the films that we make, 824 02:08:56,792 --> 02:08:59,232 because I think that, first of all, 825 02:08:59,272 --> 02:09:03,752 it keeps this nature of celebrating cinema. 826 02:09:03,792 --> 02:09:07,152 It's a place where we can celebrate cinema, first of all, 827 02:09:07,192 --> 02:09:13,272 and unfortunately, not many places are left, for, like... 828 02:09:13,312 --> 02:09:18,272 Less and less cinemas are actually places where we celebrate cinema, 829 02:09:18,312 --> 02:09:22,792 because less and less cinemas exist around the world. 830 02:09:22,832 --> 02:09:25,912 I know that they're closing every year. 831 02:09:25,952 --> 02:09:29,192 And I think that some festivals give us the opportunity first 832 02:09:29,232 --> 02:09:35,392 to really experience films with really, like, film lovers and cinephiles. 833 02:09:35,432 --> 02:09:38,432 And it has a great importance for me, personally. 834 02:09:38,472 --> 02:09:45,312 And as for the platforms where you can develop the script or work on a project, 835 02:09:45,352 --> 02:09:48,832 of course, it's very important for young directors like myself, 836 02:09:48,872 --> 02:09:52,112 and I got huge support from all these places 837 02:09:52,152 --> 02:09:55,512 and I was able to talk to people 838 02:09:55,552 --> 02:10:00,312 and, as with mentors, so with young directors like myself, 839 02:10:00,352 --> 02:10:04,432 which is very important, to exchange ideas and to really be there 840 02:10:04,472 --> 02:10:09,512 and to feel that people all around the world are really, like... 841 02:10:09,552 --> 02:10:15,032 having all these, like, ideas they, like, cannot not make into films. 842 02:10:15,072 --> 02:10:17,632 It's important to share that energy. 843 02:10:17,672 --> 02:10:21,272 But what really matters, while you go to these places, 844 02:10:21,312 --> 02:10:26,072 I think is to really still listen to yourself, always. 845 02:10:26,112 --> 02:10:27,952 It's great to talk to others 846 02:10:27,992 --> 02:10:31,152 and to people who have much more experience than you have, 847 02:10:31,192 --> 02:10:37,032 but it's important to always go back and to listen to yourself. 848 02:10:37,072 --> 02:10:41,272 I agree. That's a very thoughtful answer on your end, 849 02:10:41,312 --> 02:10:45,432 because, many times, people don't understand 850 02:10:45,472 --> 02:10:49,512 the position of the film-maker, the director, the directress, 851 02:10:49,552 --> 02:10:54,352 is that of someone who has to understand how to bring out, 852 02:10:54,392 --> 02:10:57,352 from himself, herself, themselves, 853 02:10:57,392 --> 02:11:01,032 what they know they want to bring on-screen. 854 02:11:01,072 --> 02:11:06,152 More than for the beauty of the collaborative process of film-making - 855 02:11:06,192 --> 02:11:07,992 and we'll talk about that in a minute - 856 02:11:08,032 --> 02:11:12,072 this is...it's really, as you said beautifully, 857 02:11:12,112 --> 02:11:15,552 a way to understand what you want, in the first place. 858 02:11:15,592 --> 02:11:21,712 So, Beginning is a very translucent, 859 02:11:21,752 --> 02:11:27,992 crystal clear and, at the same time, opaque portrait of a woman in crisis, 860 02:11:28,032 --> 02:11:30,272 within a world in crisis. 861 02:11:31,392 --> 02:11:33,632 I would like to start getting into the movie 862 02:11:33,672 --> 02:11:38,192 by talking about this great character of Yana, 863 02:11:38,232 --> 02:11:40,592 that is the centre of the movie 864 02:11:40,632 --> 02:11:46,032 and that, in a way, with all her facets, 865 02:11:46,072 --> 02:11:49,712 represents also the incredible complexity of this movie. 866 02:11:49,752 --> 02:11:55,032 Can you tell us about where you started thinking of Yana, 867 02:11:55,072 --> 02:11:57,232 how you developed Yana, 868 02:11:57,272 --> 02:12:01,712 and how you communicated with your incredible performer 869 02:12:01,752 --> 02:12:05,792 the way in which you two both together built Yana 870 02:12:05,832 --> 02:12:08,352 as a character alive on-screen? 871 02:12:09,832 --> 02:12:13,792 Well, actually, the first image that I wrote 872 02:12:13,832 --> 02:12:19,592 was the image in the end of the film when she sits at the table 873 02:12:19,632 --> 02:12:24,072 and she turns and tells her husband that she killed their child 874 02:12:24,112 --> 02:12:26,312 and then she turns away. 875 02:12:26,352 --> 02:12:28,472 And I knew immediately when I was writing - 876 02:12:28,512 --> 02:12:30,912 this was the first thing I wrote in the script - 877 02:12:30,952 --> 02:12:33,232 and I knew that she does not turn back, 878 02:12:33,272 --> 02:12:36,832 neither to her husband, nor to the camera and the audience. 879 02:12:36,872 --> 02:12:40,552 And this moment is almost irritatingly long, 880 02:12:40,592 --> 02:12:44,472 because we demand from her that she owes us explanation, 881 02:12:44,512 --> 02:12:47,072 she needs to turn to us, but she doesn't do it. 882 02:12:47,112 --> 02:12:53,352 And I knew that it was a central and the most important moment of the film 883 02:12:53,392 --> 02:12:57,952 and I knew that the film started from there, for me, in a way. 884 02:12:57,992 --> 02:13:00,952 But before I even started to write, 885 02:13:00,992 --> 02:13:06,432 and I think now I can say that this is probably my process so far, 886 02:13:06,472 --> 02:13:09,192 with my little experience, 887 02:13:09,232 --> 02:13:14,752 that when I already have the entire film in my head, 888 02:13:14,792 --> 02:13:17,032 this is when I can start to write. 889 02:13:17,072 --> 02:13:22,632 So, until that, I just make hundreds of notes. 890 02:13:22,672 --> 02:13:25,312 And I know that I am getting somewhere, 891 02:13:25,352 --> 02:13:29,592 but it's just so...all over the place, 892 02:13:29,632 --> 02:13:32,072 because I know that there is something, but I don't know what. 893 02:13:32,112 --> 02:13:35,312 But I knew that it was this character, it was about her, 894 02:13:35,352 --> 02:13:38,992 and that it was the story of this family and, uh... 895 02:13:39,032 --> 02:13:42,512 But, Yana, I should say that when I was talking to people 896 02:13:42,552 --> 02:13:45,792 in the process of development... 897 02:13:45,832 --> 02:13:49,392 I was getting notes on, "Oh, she's not likeable," 898 02:13:49,432 --> 02:13:54,152 and, "How do you make her more likeable or more sympathetic? 899 02:13:54,192 --> 02:13:56,232 "We need to like her more," 900 02:13:56,272 --> 02:14:00,192 but I knew for sure that that was not what I needed to do, 901 02:14:00,232 --> 02:14:01,952 because I liked her. 902 02:14:01,992 --> 02:14:04,752 - And I was... - I do like her too. 903 02:14:04,792 --> 02:14:08,112 And that was very important feedback for me 904 02:14:08,152 --> 02:14:09,672 and it was interesting for me to hear, 905 02:14:09,712 --> 02:14:12,152 because I started to think that maybe, as humans, 906 02:14:12,192 --> 02:14:16,712 we really think that we need to understand everything about another person 907 02:14:16,752 --> 02:14:19,912 and every single... justify everything that they do 908 02:14:19,952 --> 02:14:21,752 in order to like them. 909 02:14:21,792 --> 02:14:24,152 Like, can't we just like each other as humans, 910 02:14:24,192 --> 02:14:26,832 like, just because that another is a human as well? 911 02:14:26,872 --> 02:14:29,512 So, I actually was thinking that opacity 912 02:14:29,552 --> 02:14:32,272 was a very important quality that I really wanted to grasp. 913 02:14:32,312 --> 02:14:35,872 And the more comments I was getting into this direction, 914 02:14:35,912 --> 02:14:38,552 the more I was sure that I wanted the character 915 02:14:38,592 --> 02:14:42,552 to have its own autonomous being, 916 02:14:42,592 --> 02:14:47,392 which means that no matter how well do we know people who we live with 917 02:14:47,432 --> 02:14:51,112 or people in our own families, we don't know everything about them. 918 02:14:51,152 --> 02:14:54,232 And I really wanted to grasp this not knowing 919 02:14:54,272 --> 02:14:56,752 like, something which we don't know about her, 920 02:14:56,792 --> 02:14:59,792 because that would give her some kind of power also, 921 02:14:59,832 --> 02:15:02,432 in relationship with an audience. 922 02:15:02,472 --> 02:15:07,472 Which, I think it's very interesting, because the tale of womanhood, 923 02:15:07,512 --> 02:15:12,592 unfortunately, becomes more and more somehow simplified 924 02:15:12,632 --> 02:15:14,992 to the level of empowerment, 925 02:15:15,032 --> 02:15:17,712 a banal form of empowerment, or victimisation. 926 02:15:17,752 --> 02:15:20,952 And, yet, in your movie, 927 02:15:20,992 --> 02:15:23,792 this incredible character of Yana, 928 02:15:23,832 --> 02:15:28,152 who is portraited, portraited by a woman, yourself, 929 02:15:28,192 --> 02:15:31,352 and is somehow neither one nor the other. 930 02:15:31,392 --> 02:15:35,432 She's not a victim and she's not simply someone 931 02:15:35,472 --> 02:15:40,752 who is going to fight against a sense of disempowerment 932 02:15:40,792 --> 02:15:42,832 to get some power for herself. 933 02:15:42,872 --> 02:15:48,672 What is Yana kind of dealing with? She's an actress, she is an outlier, 934 02:15:48,712 --> 02:15:50,952 she lives on the margin of a community 935 02:15:50,992 --> 02:15:54,472 and she lives within this community at the margin of the same community, 936 02:15:54,512 --> 02:15:57,952 so it's a double set of being an outsider. 937 02:15:57,992 --> 02:16:00,912 She's a mother but, at the same time, 938 02:16:00,952 --> 02:16:05,312 she feels to have the impetus not to be a mother. 939 02:16:05,352 --> 02:16:10,392 And in that, we can see that very clearly in her relationship with her own mother. 940 02:16:10,432 --> 02:16:13,792 She's caught in a world of violence, of male violence, 941 02:16:13,832 --> 02:16:17,392 whether it's a psychological and subtly performed violence, 942 02:16:17,432 --> 02:16:20,312 or a very out there, out there violence, 943 02:16:20,352 --> 02:16:24,472 but at the same time, she is not passive to that, 944 02:16:24,512 --> 02:16:28,552 or she does not kind of surrender to that 945 02:16:28,592 --> 02:16:30,992 in a way that is functional to the narrative, 946 02:16:31,032 --> 02:16:34,152 actually the opposite. Can we talk about all this? 947 02:16:35,312 --> 02:16:39,952 Well, that's why I, when I'm writing, or I think when you're making a film, 948 02:16:39,992 --> 02:16:45,752 I am very scared and I don't want to bring down things to ideas or symbols, 949 02:16:45,792 --> 02:16:50,232 because then, when something stands for something else in the film, 950 02:16:50,272 --> 02:16:52,112 it's not interesting for me any more, 951 02:16:52,152 --> 02:16:54,472 because I need to grasp the truth of the moment. 952 02:16:54,512 --> 02:16:58,992 I need to get somewhere which I can feel that there is something which is truthful 953 02:16:59,032 --> 02:17:01,112 now happening in front of the camera. 954 02:17:01,152 --> 02:17:05,792 So, even when I finish writing the script, and then, when I work with the actors, 955 02:17:05,832 --> 02:17:07,312 I do a lot of rehearsals, 956 02:17:07,352 --> 02:17:09,952 and I do a lot of workshopping the script with them. 957 02:17:09,992 --> 02:17:13,152 And I am always rewriting the script, 958 02:17:13,192 --> 02:17:14,752 when I work with the actors, 959 02:17:14,792 --> 02:17:18,272 because some of the things that I write may be too theoretical. 960 02:17:18,312 --> 02:17:20,192 I start to remove so many things, 961 02:17:20,232 --> 02:17:23,032 the moment I start to work with the actors 962 02:17:23,072 --> 02:17:25,112 and we work maybe for six months, 963 02:17:25,152 --> 02:17:30,592 like, it was a rehearsal workshop, kind of...like, room, 964 02:17:30,632 --> 02:17:33,912 where we would just gather and work and talk. 965 02:17:33,952 --> 02:17:36,672 And I really wanted to get to know the main actress, 966 02:17:36,712 --> 02:17:39,912 because I think that she brought a lot to the character, 967 02:17:39,952 --> 02:17:42,272 in terms of interpreting 968 02:17:42,312 --> 02:17:45,552 or not interpreting the character at the same time. 969 02:17:45,592 --> 02:17:49,912 What she's holding back was sometimes more interesting for me 970 02:17:49,952 --> 02:17:53,032 than what she's actually presenting to the camera. 971 02:17:53,072 --> 02:17:56,592 So, I really needed to get to know her, like, how is she as a person, 972 02:17:56,632 --> 02:18:01,032 because I do believe the camera reads who we are as humans, 973 02:18:01,072 --> 02:18:03,672 despite us also being... She's a great actress, 974 02:18:03,712 --> 02:18:06,472 but the camera gets beyond that also. 975 02:18:06,512 --> 02:18:10,472 So, you agree with Bertolucci when he said that a movie is also a documentary 976 02:18:10,512 --> 02:18:12,672 on the actors portraying the characters? 977 02:18:12,712 --> 02:18:15,392 Yes, I do believe in that. I do believe that. 978 02:18:15,432 --> 02:18:17,472 I do believe that there is something behind, 979 02:18:17,512 --> 02:18:20,392 which, it's not up to me, it's not up to actors, 980 02:18:20,432 --> 02:18:25,072 it's just something intangible that happens and the camera grasps it. 981 02:18:25,112 --> 02:18:28,952 And I always want to allow myself to be able to grasp those moments. 982 02:18:28,992 --> 02:18:32,912 And I want to be very prepared so that I can step back 983 02:18:32,952 --> 02:18:37,032 and allow maybe what I call cinema 984 02:18:37,072 --> 02:18:40,552 to start to happen in front of the camera. 985 02:18:40,592 --> 02:18:45,792 So, when I was... I did not talk about any of these ideas with the actors. 986 02:18:45,832 --> 02:18:48,592 I did not want them to think about ideas at all. 987 02:18:48,632 --> 02:18:50,992 But, in my head, I was constantly thinking that, 988 02:18:51,032 --> 02:18:52,832 "Okay, what does it mean to be a mother?" 989 02:18:52,872 --> 02:18:56,072 and I think that, because I have two sisters, 990 02:18:56,112 --> 02:19:00,192 mother and grandmother and I grew up in a family with many women, 991 02:19:00,232 --> 02:19:03,632 they're a huge inspiration of my work, for my work. 992 02:19:03,672 --> 02:19:06,312 And my sister was helping us on set 993 02:19:06,352 --> 02:19:09,792 and she was pregnant with her second child at the same time. 994 02:19:09,832 --> 02:19:12,752 And I used to just go and talk to her also a lot. 995 02:19:12,792 --> 02:19:16,352 And the child in the film is my nephew, also. 996 02:19:16,392 --> 02:19:19,072 Giorgi, in the film. So, I used to talk to her a lot 997 02:19:19,112 --> 02:19:21,512 and I think that questioning everything is very important. 998 02:19:21,552 --> 02:19:23,832 Like, what does it mean to be a mother? 999 02:19:23,872 --> 02:19:27,272 Even if you don't live in the marginalised community, 1000 02:19:27,312 --> 02:19:29,632 even if you're not oppressed? 1001 02:19:29,672 --> 02:19:32,992 I think motherhood is the most complex notion 1002 02:19:33,032 --> 02:19:36,792 and most complex role for a woman to play. 1003 02:19:36,832 --> 02:19:43,152 And I don't think that it's all beautiful and just tenderness and love. 1004 02:19:43,192 --> 02:19:48,552 I think it's a complex thing, as it is 1005 02:19:48,592 --> 02:19:50,392 and I really wanted to go beyond 1006 02:19:50,432 --> 02:19:54,312 just talking about a woman in the oppressed community, 1007 02:19:54,352 --> 02:19:58,752 but I wanted to make a film about a woman. 1008 02:19:58,792 --> 02:20:01,632 And the rest is just circumstances. 1009 02:20:01,672 --> 02:20:05,312 When we were talking about how the camera films the intangible, 1010 02:20:05,352 --> 02:20:08,392 I was thinking of the great moment in the movie, 1011 02:20:08,432 --> 02:20:11,792 it's a very bravura sequence of seven minutes or more, 1012 02:20:11,832 --> 02:20:16,552 in which Yana is lying on leaves in woods 1013 02:20:16,592 --> 02:20:22,272 and we are allowed to linger on her face, 1014 02:20:22,312 --> 02:20:25,232 and her behaviour and her alertness 1015 02:20:25,272 --> 02:20:28,192 to the sounds in the world that is around her 1016 02:20:28,232 --> 02:20:30,752 to the degree that we start 1017 02:20:30,792 --> 02:20:33,672 to be completely hypnotised by this image. 1018 02:20:33,712 --> 02:20:37,192 And at the same time, the sun, the light, 1019 02:20:37,232 --> 02:20:41,192 comes and goes in a way that somehow is bringing out 1020 02:20:41,232 --> 02:20:45,152 all these shadows and luminosity of Yana herself. 1021 02:20:45,192 --> 02:20:47,352 How do you conceive a scene like that? 1022 02:20:47,392 --> 02:20:51,312 And can we also investigate, starting from this sequence, 1023 02:20:51,352 --> 02:20:54,592 your collaboration with Arseni Khachaturan, 1024 02:20:54,632 --> 02:20:56,952 the great director of photography, 1025 02:20:56,992 --> 02:20:59,592 that, I guess, made his debut with this movie. 1026 02:20:59,632 --> 02:21:05,872 Or maybe, in any case, this is one of the very first films he made, 1027 02:21:05,912 --> 02:21:10,832 and that somehow, is another great addition to film-making today. 1028 02:21:11,992 --> 02:21:15,472 Well, with Arseni, we worked together for a long time 1029 02:21:15,512 --> 02:21:20,632 and I just want to say that I am so happy to have these people, like, in my life, 1030 02:21:20,672 --> 02:21:23,952 like Arseni and my producers. 1031 02:21:23,992 --> 02:21:28,712 We have been making short films together and we really know each other. 1032 02:21:28,752 --> 02:21:33,192 And I think it's a great luxury to have when you're making a film. 1033 02:21:33,232 --> 02:21:37,472 And this sequence in particular was, like, we were in the forest 1034 02:21:37,512 --> 02:21:40,352 and I had a storyboard and I had a shot list, 1035 02:21:40,392 --> 02:21:43,152 which I actually usually have - 1036 02:21:43,192 --> 02:21:45,512 we work on it a lot, with Arseni - 1037 02:21:45,552 --> 02:21:49,752 and we, I was, like, I knew what I wanted to shoot. 1038 02:21:49,792 --> 02:21:51,752 And... But I was, like... 1039 02:21:52,952 --> 02:21:55,832 Like, dramaturgically, everything was working. 1040 02:21:55,872 --> 02:22:00,392 But I was not feeling that I was getting what I was looking for. 1041 02:22:00,432 --> 02:22:03,192 And it was not that easy for me also to explain, 1042 02:22:03,232 --> 02:22:06,152 but then I was just walking around in this place 1043 02:22:06,192 --> 02:22:10,392 and then we knew, like, I was, like, "Okay, I think we need to try this," 1044 02:22:10,432 --> 02:22:14,152 because I was looking at the light and how it was moving through the leaves, 1045 02:22:14,192 --> 02:22:19,752 and we just asked the actress to lay down in that particular place 1046 02:22:19,792 --> 02:22:23,792 and then we asked our friend who was the gaffer, literally, 1047 02:22:23,832 --> 02:22:25,352 to catch the light also, 1048 02:22:25,392 --> 02:22:28,752 but we needed to actually wait for the light. 1049 02:22:28,792 --> 02:22:32,672 And I think that, in the moment, maybe it looked a bit absurd, 1050 02:22:32,712 --> 02:22:36,552 because Arseni, who usually we don't need to talk much, 1051 02:22:36,592 --> 02:22:39,552 usually just understands what I want to do 1052 02:22:39,592 --> 02:22:43,032 and we were pretty much really understanding each other without talking, 1053 02:22:43,072 --> 02:22:45,592 at some point, he was looking through the camera, 1054 02:22:45,632 --> 02:22:48,032 and he looked at me, he was, like, "What are we doing now?" 1055 02:22:48,072 --> 02:22:50,792 Because it was already six minutes went by. 1056 02:22:50,832 --> 02:22:53,072 And I was like, "Okay." 1057 02:22:53,112 --> 02:22:55,992 And I just knew that, exactly, like, what is cinema? 1058 02:22:56,032 --> 02:22:59,992 It's an actor, or it's a human, in front of the camera. 1059 02:23:00,032 --> 02:23:03,512 It's the image, it's a sound, it's light. 1060 02:23:03,552 --> 02:23:05,232 And it's how the light changes. 1061 02:23:05,272 --> 02:23:07,352 And I was just so in the moment, 1062 02:23:07,392 --> 02:23:11,112 I was so hypnotised by looking at her face with the light changing 1063 02:23:11,152 --> 02:23:14,752 that I knew immediately that I, as a director, 1064 02:23:14,792 --> 02:23:17,952 really did not need to do anything any more. 1065 02:23:17,992 --> 02:23:21,112 Like, it was happening and I didn't know... 1066 02:23:21,152 --> 02:23:24,312 In that moment, I could not say what I was grasping, actually. 1067 02:23:24,352 --> 02:23:26,672 But I was really convinced 1068 02:23:26,712 --> 02:23:28,472 and I trusted the moment. 1069 02:23:28,512 --> 02:23:32,032 Which means that you were following your intuition. 1070 02:23:32,072 --> 02:23:34,352 Well, yes. And that's exactly... 1071 02:23:34,392 --> 02:23:37,552 Like, I think that no matter how great the script is, 1072 02:23:37,592 --> 02:23:39,432 and how well I am prepared - 1073 02:23:39,472 --> 02:23:42,112 and I really like to be well prepared - 1074 02:23:42,152 --> 02:23:45,072 but then on-set, if I don't connect in the moment, 1075 02:23:45,112 --> 02:23:47,392 what's happening in front of the camera, 1076 02:23:47,432 --> 02:23:50,952 I don't believe that I can save anything in editing. 1077 02:23:50,992 --> 02:23:55,272 I'm not... I know that many directors can. I can't. 1078 02:23:55,312 --> 02:23:58,352 I need to feel that it's really happening in that moment 1079 02:23:58,392 --> 02:24:01,352 and I'm connecting emotionally, with what's happening, 1080 02:24:01,392 --> 02:24:03,552 what's happening in front of the camera. 1081 02:24:03,592 --> 02:24:09,072 And actually Arseni agrees with me and my collaboration is to add... 1082 02:24:09,112 --> 02:24:11,992 Arseni is really a great talent. 1083 02:24:12,032 --> 02:24:15,272 And what I really like, working with him 1084 02:24:15,312 --> 02:24:18,192 is that, first of all, he's very... 1085 02:24:18,232 --> 02:24:19,792 I think that he has something, 1086 02:24:19,832 --> 02:24:22,272 like, he has connection with people always. 1087 02:24:22,312 --> 02:24:24,872 Like, he doesn't speak Georgian, but when he's in Georgia, 1088 02:24:24,912 --> 02:24:29,472 and I always take him to mountains and to places which are not very easy 1089 02:24:29,512 --> 02:24:33,992 for foreigners to go and feel very comfortable in, 1090 02:24:34,032 --> 02:24:36,952 but, I mean, no, he doesn't need to talk 1091 02:24:36,992 --> 02:24:41,112 and it brings people around him some comfort. 1092 02:24:41,152 --> 02:24:45,312 Like, they feel comfortable. Because I know that he sees things. 1093 02:24:45,352 --> 02:24:48,952 And I think that many people don't see things any more. 1094 02:24:48,992 --> 02:24:51,792 We look at things but we don't really see. 1095 02:24:51,832 --> 02:24:54,272 And Arseni has... We don't need to talk. 1096 02:24:54,312 --> 02:24:58,192 Sometimes we just go and walk around some place and I know that, 1097 02:24:58,232 --> 02:25:01,752 even if I don't say it in the moment, like, "Okay, look at this light," 1098 02:25:01,792 --> 02:25:03,952 I know that he saw it. 1099 02:25:03,992 --> 02:25:06,752 Maybe, in three days, we'll talk about it. 1100 02:25:06,792 --> 02:25:09,272 I'll say that, "Oh, did you notice? And he'll, like, "Yeah." 1101 02:25:09,312 --> 02:25:13,632 And we both make notes, usually, about light, or... 1102 02:25:15,272 --> 02:25:19,432 The movie is shot in this beautiful Academy frame 1103 02:25:19,472 --> 02:25:21,832 and it's mostly... 1104 02:25:21,872 --> 02:25:26,792 You use the camera as a still...gaze, 1105 02:25:26,832 --> 02:25:30,072 but a few times - maybe two or three, I don't remember now, precisely - 1106 02:25:30,112 --> 02:25:31,792 you move the camera. 1107 02:25:31,832 --> 02:25:34,352 Can we talk about that? 1108 02:25:34,392 --> 02:25:38,992 Yes. Actually, that was one thing we disagreed, with Arseni. 1109 02:25:39,032 --> 02:25:42,952 Because, like, I was, like... 1110 02:25:42,992 --> 02:25:46,272 For me, as a director, I'm very interested in the medium itself, 1111 02:25:46,312 --> 02:25:48,312 like, what is cinema as a medium? 1112 02:25:48,352 --> 02:25:52,192 And how does all the images and all the audio-visual material 1113 02:25:52,232 --> 02:25:55,112 we're surrounded with in our everyday life, 1114 02:25:55,152 --> 02:25:58,392 how does it affect the way we're looking? 1115 02:25:58,432 --> 02:26:01,392 How does it affect the way we listen to things? 1116 02:26:01,432 --> 02:26:05,152 And I was thinking that, as a director, 1117 02:26:05,192 --> 02:26:09,112 what if you distil everything to the essential? 1118 02:26:09,152 --> 02:26:11,672 What if you distil everything to the minimum? 1119 02:26:11,712 --> 02:26:16,232 And I knew that I just wanted to look at things in front of me, 1120 02:26:16,272 --> 02:26:21,152 and I wanted to create mise-en-scène that would be mostly about looking. 1121 02:26:21,192 --> 02:26:23,912 And then even I was removing a lot of sound. 1122 02:26:23,952 --> 02:26:28,072 We created a lot of sound, and then I was removing it from the film. 1123 02:26:28,112 --> 02:26:34,752 And once the film is so still then every minimal movement you make, 1124 02:26:34,792 --> 02:26:39,192 it has a much bigger impact on the viewer, 1125 02:26:39,232 --> 02:26:42,792 than if you were to move the camera all the time. 1126 02:26:42,832 --> 02:26:45,112 In this film, that's for sure. 1127 02:26:45,152 --> 02:26:48,872 And I really wanted to know also, 1128 02:26:48,912 --> 02:26:52,352 how much would I, as a director, feel the audience in that moment, 1129 02:26:52,392 --> 02:26:55,912 like, if I knew that, "This is the moment I would move," 1130 02:26:55,952 --> 02:26:59,912 and that's how it was shot, we only moved the camera in this way... 1131 02:27:01,912 --> 02:27:05,192 - It's actually four. - Four times, okay. 1132 02:27:05,232 --> 02:27:07,552 In the four moments in the film. 1133 02:27:07,592 --> 02:27:09,792 We didn't shoot any other moment. 1134 02:27:09,832 --> 02:27:12,032 But I'm sure there will be a time 1135 02:27:12,072 --> 02:27:15,752 in which you will do a movie,all the movement of the camera. 1136 02:27:15,792 --> 02:27:18,952 Yes. Actually, I'm already thinking about it. 1137 02:27:18,992 --> 02:27:22,192 Now, because we're talking about the language of cinema, 1138 02:27:22,232 --> 02:27:25,872 I must ask you, before going back to the character 1139 02:27:25,912 --> 02:27:28,312 and the theme of the film, 1140 02:27:28,352 --> 02:27:35,472 what are, if there are any, people whose work you have been following, 1141 02:27:35,512 --> 02:27:40,152 or ideal mentors in cinema for you, 1142 02:27:40,192 --> 02:27:44,312 people that...film-makers that you've been inspired by, 1143 02:27:44,352 --> 02:27:49,512 that you refer to in your mind when you are creating an image? 1144 02:27:51,512 --> 02:27:54,992 Who are your fathers and mothers in cinema? 1145 02:27:56,312 --> 02:28:00,032 Well, you see, until I was 17, I had not watched films, 1146 02:28:00,072 --> 02:28:04,632 because I was growing up, we had... There was a civil war in Georgia, 1147 02:28:04,672 --> 02:28:08,592 so we did not have electricity and I was mostly reading, 1148 02:28:08,632 --> 02:28:10,232 but I was reading a lot. 1149 02:28:10,272 --> 02:28:12,992 And I grew up in this town where the film is shot, 1150 02:28:13,032 --> 02:28:17,312 so I was growing up in a very beautiful and picturesque place. 1151 02:28:17,352 --> 02:28:19,512 And, uh... 1152 02:28:19,552 --> 02:28:22,952 I think I had a very happy and interesting childhood, 1153 02:28:22,992 --> 02:28:26,672 despite all the hardships of the reality we lived in, 1154 02:28:26,712 --> 02:28:31,872 because I had the opportunity to spend time with people 1155 02:28:31,912 --> 02:28:35,592 and to really play in the streets and to go to the forest every day 1156 02:28:35,632 --> 02:28:38,792 and to even get... I was getting lost in the forest, 1157 02:28:38,832 --> 02:28:41,112 for example, and then coming back. 1158 02:28:41,152 --> 02:28:46,832 So, it was all filled with emotional experiences, 1159 02:28:46,872 --> 02:28:50,592 which just, somehow, they're really, like, 1160 02:28:50,632 --> 02:28:53,872 imprinted in my memories now. 1161 02:28:53,912 --> 02:28:55,912 And I think that's my biggest influence maybe, 1162 02:28:55,952 --> 02:28:59,112 but then, cinema, I started to watch cinema when I was 17 1163 02:28:59,152 --> 02:29:00,952 and it was like an explosion. 1164 02:29:00,992 --> 02:29:04,832 I, all of a sudden, started to understand that there was something... 1165 02:29:04,872 --> 02:29:07,352 And I did not know if I could ever become a director, 1166 02:29:07,392 --> 02:29:09,552 I did not even think about it. 1167 02:29:09,592 --> 02:29:12,392 But I started to watch everything. 1168 02:29:12,432 --> 02:29:17,752 And I am... I do believe that I'm equally influenced by everything I watch, 1169 02:29:17,792 --> 02:29:19,537 but today I was thinking, for example, 1170 02:29:19,561 --> 02:29:22,594 about Ermanno Olmi,The Tree of Wooden Clogs. 1171 02:29:22,618 --> 02:29:25,141 I don't know why, all day long, I keep thinking about this film 1172 02:29:25,166 --> 02:29:28,432 and I know that I need to immediately re-watch it, 1173 02:29:28,472 --> 02:29:32,792 because some of the images just come into my head and it just... 1174 02:29:32,832 --> 02:29:34,992 I think that's an influence. 1175 02:29:35,032 --> 02:29:38,392 When a film comes back to you after some time, 1176 02:29:38,432 --> 02:29:41,672 and it takes you back to watch it 1177 02:29:41,712 --> 02:29:44,872 or you're doing something mundane in your life 1178 02:29:44,912 --> 02:29:47,432 and then a film comes to you somehow, 1179 02:29:47,472 --> 02:29:50,512 I think that is an influence, 1180 02:29:50,552 --> 02:29:52,752 because I did study in the film school, 1181 02:29:52,792 --> 02:29:55,992 but I cannot say that to study a shot-by-shot breakdown, 1182 02:29:56,032 --> 02:29:57,872 yes, it's incredible, of course, 1183 02:29:57,912 --> 02:30:00,472 and practically it makes a huge difference, 1184 02:30:00,512 --> 02:30:04,752 and I'm very grateful to have certain skills as a director, 1185 02:30:04,792 --> 02:30:07,272 but after all, 1186 02:30:07,312 --> 02:30:12,192 it's just an emotional connection with cinema. 1187 02:30:12,232 --> 02:30:14,552 Yana is antagonised... 1188 02:30:14,592 --> 02:30:16,352 I mean, I don't want to use this word, 1189 02:30:16,392 --> 02:30:18,592 but I would say that there is the unity of Yana 1190 02:30:18,632 --> 02:30:23,352 and then there is the sort of trinity of three men. 1191 02:30:23,392 --> 02:30:27,952 David, then the detective and the son. 1192 02:30:27,992 --> 02:30:33,552 Two men exert violence on Yana and one is somehow... Not somehow, 1193 02:30:33,592 --> 02:30:37,672 one is actually the victim of her violence. 1194 02:30:37,712 --> 02:30:39,992 Do we want to make a little diagram? 1195 02:30:40,032 --> 02:30:41,592 Can we investigate this? 1196 02:30:42,672 --> 02:30:46,272 Well, yes, because I was also questioning that she... 1197 02:30:46,312 --> 02:30:48,592 The child is her victim directly, 1198 02:30:48,632 --> 02:30:54,152 but maybe she's the one who takes responsibility for the crime, 1199 02:30:54,192 --> 02:30:55,872 but others just don't. 1200 02:30:55,912 --> 02:31:00,072 And I think that perhaps the punishment for the father, the husband character, 1201 02:31:00,112 --> 02:31:03,992 is that he will never be able to have actual punishment. 1202 02:31:04,032 --> 02:31:07,552 And I don't think that redemption, then, is possible for him. 1203 02:31:07,592 --> 02:31:09,032 So, I was thinking about that, 1204 02:31:09,072 --> 02:31:13,472 maybe, what she does at least makes her guilty. 1205 02:31:14,712 --> 02:31:18,272 But, him, he's somewhere without actual relief. 1206 02:31:18,312 --> 02:31:22,246 He's the character who possesses the most power in the story of the film, 1207 02:31:22,270 --> 02:31:24,552 we think so, but, in reality, 1208 02:31:24,592 --> 02:31:30,592 he doesn't have power even over being guilty or accepting his own guilt. 1209 02:31:30,632 --> 02:31:34,792 And also, this film, for me, is about love, at the same time. 1210 02:31:34,832 --> 02:31:38,152 Because I don't know how much love is just... 1211 02:31:38,192 --> 02:31:40,072 I mean, what is it? 1212 02:31:40,112 --> 02:31:44,352 I was thinking that maybe this family, they all love each other. 1213 02:31:44,392 --> 02:31:46,992 But is it possible, truly, 1214 02:31:47,032 --> 02:31:51,792 like, to truly love someone without imposing something? 1215 02:31:51,832 --> 02:31:56,072 Or is it possible to love someone for who they really are? 1216 02:31:56,112 --> 02:32:00,912 Because when he tells his wife that, "I want to forgive you," 1217 02:32:00,952 --> 02:32:05,392 for me, that's a very interesting phrase. Because, what does it mean to forgive? 1218 02:32:05,432 --> 02:32:08,712 Like, what's your position in that situation? 1219 02:32:08,752 --> 02:32:13,272 When you take that power or responsibility to forgive someone. 1220 02:32:14,712 --> 02:32:16,752 Like, what does he want to forgive her? 1221 02:32:16,792 --> 02:32:19,552 Like, he wants to forgive her what she's taken away. 1222 02:32:20,712 --> 02:32:24,432 So, for me, the diagram is that I don't know in this film, for me, 1223 02:32:24,472 --> 02:32:28,632 it's not like one character is just... 1224 02:32:28,672 --> 02:32:31,832 guilty or evil, and another one is right, or... 1225 02:32:31,872 --> 02:32:34,552 This film is not about wrong and right, for me. 1226 02:32:34,592 --> 02:32:39,512 I think all of them are equally wrong and right, because they're humans. 1227 02:32:39,552 --> 02:32:44,312 It was interesting for me to watch the movie in the theatre 1228 02:32:44,352 --> 02:32:48,512 and feeling the almost unbearable tension 1229 02:32:48,552 --> 02:32:52,232 of the scenes between Yana and the detective. 1230 02:32:52,272 --> 02:32:54,192 All of them. 1231 02:32:54,232 --> 02:32:57,792 Because those scenes were ambiguous. 1232 02:32:57,832 --> 02:32:59,112 Yes. 1233 02:32:59,152 --> 02:33:00,352 You were not putting... 1234 02:33:00,392 --> 02:33:06,272 You didn't put us in the position either of him or her. 1235 02:33:06,312 --> 02:33:08,872 We were not, in a way, 1236 02:33:08,912 --> 02:33:11,912 in scenes in which we were victimised 1237 02:33:11,952 --> 02:33:15,232 or we were sadistic. 1238 02:33:15,272 --> 02:33:18,952 And the relationship with the detective and Yana, 1239 02:33:18,992 --> 02:33:21,152 as we know from the movie, 1240 02:33:21,192 --> 02:33:25,392 has outcomes that are super complex. 1241 02:33:25,432 --> 02:33:26,672 Mm-hm. 1242 02:33:26,712 --> 02:33:29,952 Because probably not knowing completely Yana, 1243 02:33:29,992 --> 02:33:34,272 we do not expect or predict to know 1244 02:33:34,312 --> 02:33:38,152 how Yana would react to the relationship with the detective. 1245 02:33:38,192 --> 02:33:39,792 How did you process that? 1246 02:33:39,832 --> 02:33:44,272 Because that is a very complicated thing to conceive and to achieve. 1247 02:33:44,312 --> 02:33:49,472 And, for me, it is a luminous example of your mastery. 1248 02:33:50,552 --> 02:33:52,192 Thank you. 1249 02:33:52,232 --> 02:33:54,992 Well, I think that they... 1250 02:33:57,152 --> 02:34:00,192 The scene when he visits her house, 1251 02:34:00,232 --> 02:34:05,792 and she sits and they talk, I think, when he's off camera, 1252 02:34:05,832 --> 02:34:08,512 this is when he has the most power over her, 1253 02:34:08,552 --> 02:34:12,992 because it's not him just as one character any more. 1254 02:34:13,032 --> 02:34:17,192 He becomes something maybe bigger than one character. 1255 02:34:17,232 --> 02:34:20,472 And then she's also facing the audience in a certain way. 1256 02:34:20,512 --> 02:34:23,392 And it's also, like, he becomes so intangible, 1257 02:34:23,432 --> 02:34:24,752 we cannot... 1258 02:34:24,792 --> 02:34:27,872 Because, if we look at him and we know exactly what he feels, 1259 02:34:27,912 --> 02:34:31,552 and if he takes pleasure out of what he's doing, 1260 02:34:31,592 --> 02:34:34,112 then we can maybe detach from this character, 1261 02:34:34,152 --> 02:34:36,272 detach ourselves from him a bit. 1262 02:34:36,312 --> 02:34:38,912 But when we don't see him, I think it's more difficult for us 1263 02:34:38,952 --> 02:34:43,472 because then we're forced to also take our own position 1264 02:34:43,512 --> 02:34:45,952 and to be responsible for what we feel. 1265 02:34:45,992 --> 02:34:49,592 And I think that those kinds of moments make the audience more active 1266 02:34:49,632 --> 02:34:51,512 because we are not given answers 1267 02:34:51,552 --> 02:34:54,752 and we need to participate in a different way. 1268 02:34:54,792 --> 02:34:57,232 We need to make decisions on our own. 1269 02:34:57,272 --> 02:35:00,192 I knew for sure that I didn't want to cut back and forth, 1270 02:35:00,232 --> 02:35:04,512 because, dramaturgically, of course, it's interesting and there is... 1271 02:35:04,552 --> 02:35:06,592 It's seducing, to go to him, 1272 02:35:06,632 --> 02:35:11,832 because it's interesting to also film, um...antagonists, 1273 02:35:11,872 --> 02:35:16,712 especially when they're charismatic and evil or, like, there is... 1274 02:35:16,752 --> 02:35:18,752 You want to film them too, but I was, like, 1275 02:35:18,792 --> 02:35:22,432 no, it's a totally different film. That's not what I'm interested in. 1276 02:35:22,472 --> 02:35:27,992 Again, I was interested to ask the audience... 1277 02:35:28,032 --> 02:35:30,512 to place themselves in a scene. 1278 02:35:30,552 --> 02:35:33,072 Like, where is your place as an audience? 1279 02:35:33,112 --> 02:35:37,032 And it's charged because it's also imbued, like, is it sexually charged, 1280 02:35:37,072 --> 02:35:40,192 or what does she feel in that moment? Is she scared? 1281 02:35:40,232 --> 02:35:46,072 And when there's one emotion and one feeling becomes another. 1282 02:35:46,112 --> 02:35:47,992 There is a lot happening 1283 02:35:48,032 --> 02:35:53,512 and I didn't want to just separate and make it about one thing. 1284 02:35:53,552 --> 02:35:56,312 Another scene is the rape scene, of course, 1285 02:35:56,352 --> 02:36:00,112 and, again, I wanted to step back and I did not want to crack the scene 1286 02:36:00,152 --> 02:36:02,712 and I didn't want to emphasise anything. 1287 02:36:02,752 --> 02:36:06,832 I only wanted to film the scene for what it is, what's really happening, 1288 02:36:06,872 --> 02:36:11,232 and to almost film it in real time, in front of camera. 1289 02:36:11,272 --> 02:36:14,379 And we did only two takes, and it's the first take. 1290 02:36:14,404 --> 02:36:16,272 And we knew that it would be on the first take, 1291 02:36:16,312 --> 02:36:18,569 but we did a second one, 1292 02:36:18,593 --> 02:36:21,512 because of Arseni, because he always wants to have safety. 1293 02:36:21,552 --> 02:36:25,992 But I was convinced that we did not need a second take any more. 1294 02:36:26,032 --> 02:36:29,672 And I didn't want to give the audience any answer there as well, 1295 02:36:29,712 --> 02:36:34,032 because once I knew that I would position... 1296 02:36:34,072 --> 02:36:37,512 I would put the camera and I would know where the audience members are, 1297 02:36:37,552 --> 02:36:38,872 where do they look from, 1298 02:36:38,912 --> 02:36:43,872 then it's up to the audience to also decide what each of us feel. 1299 02:36:43,912 --> 02:36:45,832 Because it's a sexual assault, 1300 02:36:45,872 --> 02:36:50,272 which happens in front of the camera and in front of us. 1301 02:36:50,312 --> 02:36:54,312 I cannot tell anyone what to feel in that moment. 1302 02:36:54,352 --> 02:36:59,392 It's up to every single individual in... 1303 02:36:59,432 --> 02:37:01,592 in the theatre. 1304 02:37:01,632 --> 02:37:06,032 The movie, it takes place in a community of Jehovah's Witnesses 1305 02:37:06,072 --> 02:37:09,152 and the religious aspect of the movie 1306 02:37:09,192 --> 02:37:12,792 not only is, let's say, literal in the storyline, 1307 02:37:12,832 --> 02:37:16,392 but it's also very beautifully infused in the image, 1308 02:37:16,432 --> 02:37:19,432 the image, as you said many times during our conversations, 1309 02:37:19,472 --> 02:37:23,072 it's about the invisible. 1310 02:37:23,112 --> 02:37:26,552 And definitely that's one of the powers of cinema 1311 02:37:26,592 --> 02:37:31,752 and this is very well played in Beginning. 1312 02:37:31,792 --> 02:37:34,272 You, you... I know the answer. 1313 02:37:34,312 --> 02:37:37,712 I know this is not an allegory, I know this is not a metaphor 1314 02:37:37,752 --> 02:37:40,312 and I know you love the idea of accumulation, 1315 02:37:40,352 --> 02:37:44,112 the accumulation being the layers, being what makes cinema. 1316 02:37:44,152 --> 02:37:48,152 But the movie ends with an image that is very biblical. 1317 02:37:48,192 --> 02:37:51,512 When I'm asked to explain my movies, in particular, my endings, 1318 02:37:51,552 --> 02:37:56,272 I am very contemptuous of who asks me these questions. 1319 02:37:56,312 --> 02:38:01,112 But I cannot resist to ask this question, Déa. 1320 02:38:01,152 --> 02:38:06,712 Am I right? There is a very powerful religious... 1321 02:38:06,752 --> 02:38:08,192 Allegory? 1322 02:38:08,232 --> 02:38:11,432 Allegory or imagery or... 1323 02:38:11,472 --> 02:38:16,632 It's not allegory, maybe, but I know why you're asking the question, 1324 02:38:16,672 --> 02:38:22,192 because I think that it is definitely thinking... 1325 02:38:22,232 --> 02:38:28,952 which has religious thought or examination of religious ideas behind it. 1326 02:38:28,992 --> 02:38:32,432 Because I was thinking again, like... 1327 02:38:32,472 --> 02:38:34,432 is it a punishment? 1328 02:38:34,472 --> 02:38:37,752 Is it a redemption for this character? 1329 02:38:37,792 --> 02:38:39,632 Can he have either one? 1330 02:38:39,672 --> 02:38:43,512 Because for him to disintegrate, is it possibility of death, 1331 02:38:43,552 --> 02:38:46,712 or is it impossibility for him to even die? 1332 02:38:46,752 --> 02:38:51,272 Because I was still thinking that, is it one or another? 1333 02:38:51,312 --> 02:38:53,032 And I honestly don't know. 1334 02:38:53,072 --> 02:38:55,232 Because, even when I was working on this, 1335 02:38:55,272 --> 02:38:59,712 I do know that I was thinking about this, I was thinking that he disintegrate, 1336 02:38:59,752 --> 02:39:06,392 he does not die with just the death of a human, when you just die. 1337 02:39:06,432 --> 02:39:10,552 He's still breathing, by the way, when he's turns into sand. 1338 02:39:10,592 --> 02:39:13,312 He's half sand and he's still breathing, and I was working on that, 1339 02:39:13,352 --> 02:39:17,592 I really wanted the audience to feel that he's breathing. 1340 02:39:17,632 --> 02:39:20,152 Because I still question that... 1341 02:39:20,192 --> 02:39:24,112 does he die or it's impossible for him to die? 1342 02:39:25,192 --> 02:39:28,512 Because I'm very curious in this idea. 1343 02:39:28,552 --> 02:39:30,792 I think that the idea of life and death 1344 02:39:30,832 --> 02:39:34,472 and especially death is the only certainty, 1345 02:39:34,512 --> 02:39:37,032 of all the questions we have, 1346 02:39:37,072 --> 02:39:41,552 the only certain thing we know that will happen for sure. 1347 02:39:41,592 --> 02:39:47,352 Then to question, like, what it's meaning for a human being. 1348 02:39:47,392 --> 02:39:49,952 Maybe I'm a bit obsessed more than anything else. 1349 02:39:52,632 --> 02:39:57,432 But there is religious thinking behind it, certainly. 1350 02:39:57,472 --> 02:40:01,592 Déa, thank you so much. This has been a wonderful conversation. 1351 02:40:01,632 --> 02:40:03,512 I want to remind our listeners 1352 02:40:03,552 --> 02:40:06,632 that the jury of the San Sebastián Film Festival 1353 02:40:06,672 --> 02:40:11,272 eventually awarded four awards out of seven to Déa. 1354 02:40:11,312 --> 02:40:15,912 The Best Picture, Best Director, Best Actress and Best Screenplay. 1355 02:40:15,952 --> 02:40:17,912 That is the level of enthusiasm 1356 02:40:17,952 --> 02:40:21,312 that the jury had for your movie, Déa, and more. 1357 02:40:21,352 --> 02:40:24,272 And I am sure that this enthusiasm 1358 02:40:24,312 --> 02:40:28,512 will be more and more affecting the viewers that have seen the movie 1359 02:40:28,552 --> 02:40:30,872 and that will see this masterpiece. 1360 02:40:30,912 --> 02:40:32,712 Thank you so very much. 1361 02:40:32,752 --> 02:40:35,331 Luca, thank you very much. Thank you.