Lud, zbunjen, normalan - 174. epizoda (S7E6)

  • 3 months ago
Lud, zbunjen, normalan - 175. epizoda (S7E7): https://dai.ly/x91jtjq (Sledeca epizoda)
Lud, zbunjen, normalan - 173. epizoda (S7E5): https://dai.ly/x91jt8q (Prethodna epizoda)
Transcript
00:00This film was made with the support of the Ministry of Culture of the Republic of Serbia and the Association of Serbian Filmmakers.
00:05This film was made with the support of the Ministry of Culture of the Republic of Serbia and the Association of Serbian Filmmakers.
00:10Where are you?
00:12This is impossible. We will have to shoot this scene again.
00:17Hey, what's up, kid? Why did you call me?
00:21We have a problem. We will have to shoot it again.
00:26What?
00:28Tell me, did you stop or didn't you stop smoking?
00:32Well, I did. What else?
00:34You stopped right after that. You don't smoke at all.
00:37I don't smoke at all, kid.
00:39What's wrong with you? When I say I don't want to, then I don't want to.
00:42There's no way I want to.
00:44Besides, these Swedes told me to watch out for the smoke and Damir forbade it.
00:50Why do you smoke a cigarette at the same time?
00:58Not one, but three.
01:00That's not me.
01:02That's the character I play.
01:05Don Juan from the Alps.
01:07He smokes, I don't.
01:09Besides, as soon as you say stop, I put out all three cigarettes.
01:13Oh, you don't smoke, but Don Juan does.
01:19As soon as you stopped smoking, Don Juan started smoking.
01:23Coincidence.
01:24Absolute coincidence, kid.
01:27The man stopped smoking because of stress.
01:30He's being chased by these men and these women.
01:33You know what I mean?
01:35Leave me alone. This is a play.
01:37Excuse me, can I ask you for a favor?
01:40If it's not against the play, I will fulfill every request.
01:44It's not against the play.
01:46When you write this new version of the script,
01:49let Don Juan smoke less.
01:51No way.
01:53That's his character.
01:55He smokes mercilessly.
01:57Why do you care? He smokes better.
02:00What do I care? Come here.
02:03What do I care?
02:05Look.
02:07What do I look at?
02:08Look and enjoy.
02:10Where are you?
02:13Is there anyone home?
02:16Do you understand now?
02:18Is there anyone home?
02:20My mother is not home.
02:23She's not at the monitor.
02:26That's why the camera lens is dirty.
02:31She's not smoking, but at your church.
02:35Why is he calling me?
02:37My mother is not at home.
02:43She's not smoking, but at your church.
02:46She's not smoking, but at your church.
02:49She's not smoking, but at your church.
02:52She's not smoking, but at your church.
02:55What do you care?
02:57If I understood you correctly, you want me to do your lips,
03:01but they have to be full, like a black woman's.
03:04Yes, they have to be full, like a woman's in Africa.
03:08And your eyes have to be blue.
03:11Like a Swede's or a Norwegian's.
03:14And your hair has to be red, like a Greek's.
03:18I hope I didn't forget anyone from your international list.
03:21And your breasts.
03:23They don't have a nationality, but they have to be...
03:27I understand.
03:29No problem.
03:30Go to one of my colleagues.
03:32I'll give you his number and address.
03:34Dr. Djuricko.
03:36What would a smart man say?
03:38He's a doctor par excellence.
03:40He'll take care of all your problems.
03:42He's a classic surgeon.
03:44He's a psychiatrist.
03:50These patients are getting crazier and crazier.
03:53My tolerance level is getting lower and lower.
03:59Where are you going?
04:01What are you staring at, Damir?
04:04Listen, I sent you another one.
04:06Total madness.
04:09It's worse than the last time.
04:12That's what I said.
04:14These patients are getting crazier and crazier.
04:17Trust me, Damir.
04:19It suits me.
04:21The crazier they are, the more I work.
04:24Listen.
04:26I have to thank you.
04:28More than half of the people you gave me.
04:31Maja.
04:33I'm taking you to dinner.
04:35What are you talking about?
04:37We'll talk about dinner.
04:39Okay, bye.
04:43Maja, send the next one.
04:48Come in.
04:50Good afternoon, doctor.
04:52Good afternoon.
04:54Please, have a seat.
04:56Thank you.
04:59What could a doctor of esthetic surgery do for you?
05:03I don't see any obvious reason.
05:06Thank you, you're very kind.
05:18What's going on?
05:20After the first one, the second one comes.
05:22They know how it goes.
05:24One after the other.
05:28Come on.
05:32I'm sure I'll see an earthquake again.
05:35Here it is.
05:41It's an earthquake.
05:43Stop.
05:45I don't have time for this.
05:48What's this?
05:50Another earthquake?
05:52I don't want to learn.
05:54Where am I?
05:56Michelangelo was born on the 6th of March, 1485 in Caprese,
06:00in the French Republic.
06:02He died on the 18th of February, 1564 in Rome.
06:05He was an Italian Renaissance painter, architect and poet.
06:09He had a great influence on the development of European art.
06:13Dad!
06:15Dad! Do you feel him?
06:17Michelangelo was a painter, architect and poet.
06:20He had a great influence on European and world art.
06:24Where's your bookshelf?
06:26It's over there.
06:28Dad, come here.
06:30I don't have time for this.
06:32You're distracting me.
06:34Get lost!
06:36Get lost!
06:41Dad, did you feel the earthquake?
06:44Did you feel the horse?
06:46You fool!
06:48You fool!
06:50You're going to hit me in the head.
06:53What are you doing?
06:55Get out!
06:57It stopped.
06:59It won't.
07:01This was the second one.
07:03They always go in pairs.
07:05Faruk, you can go.
07:07It won't.
07:09Look at this fool.
07:11He took a history of art.
07:13He learned by heart.
07:15He didn't even move because of the earthquake.
07:17I know. I hear it all day long.
07:19Dear Faruk, why are you shaking so much?
07:21I'm carrying your bookshelf again.
07:23No, Maria.
07:25I have a little earthquake in my body.
07:27It's normal for an engineer to learn history of art.
07:34It would be normal for you to know what I know.
07:37I think you witnessed what I witnessed.
07:44Maria, come here.
07:46What was that?
07:48What?
07:51Who is she?
07:53She's over there.
07:55Who is she?
07:57You can't go out.
07:59She's not a candidate for you.
08:01You're wasting your time.
08:03I'm not interested in her.
08:05You?
08:07No.
08:09If a woman has a house where she lives alone,
08:11so there's no chance that you'll move in with her,
08:14I'd be very interested.
08:16But I'm interested.
08:18That's important.
08:20You mean she's a muberer?
08:22Yes. A fine lady.
08:24A widow.
08:26Please, don't.
08:28You have no chance with her.
08:30She doesn't act like a woman for one night.
08:32That's what you're interested in.
08:34I'm interested in both.
08:36If you want a quick night.
08:38Whatever.
08:40You're wasting your time.
08:42She acts like an intellectual.
08:44I see.
08:46Look at the bookshelf next to her.
08:48I suppose she's interested in men
08:50who have the same interests as she does.
08:52Great.
08:54Can I pay?
08:56Of course.
08:58Two marks.
09:00Here you are.
09:02Thank you.
09:04Goodbye.
09:06She doesn't give me anything.
09:10Intellectual.
09:18Mara, I'm begging you.
09:20I'm paying you.
09:22I told you to put that bookshelf in your pocket.
09:24It's easier for you to carry it.
09:26You have to see everything.
09:28Mara, I'm dying.
09:30So what?
09:32He stole the woman's book?
09:34Yes. He snatched it.
09:36Now it's all clear.
09:38The history of art
09:40is obviously interested in that muberer.
09:42And now he's taking that thick book
09:44to impress her, to charm her.
09:46It's a classic exorcism.
09:48Poor muberer.
09:50I wonder what he's up to.
09:52I can't believe it.
09:54After all these years of exorcism,
09:56he managed to surprise me.
09:58He's a phenomenon.
10:04Oops.
10:06It doesn't matter.
10:08Seko, give us another bottle of this.
10:10This is the most expensive.
10:12What's the matter?
10:14What are you talking about?
10:16This country is full of lunatics.
10:18And for us, psychiatrists, it's heaven.
10:20Here's a new wine for you.
10:22Thank you.
10:24Dad has a point.
10:26You brought me the best customers.
10:28I know if a lunatic comes from you,
10:30he comes with empty pockets.
10:32Ideal patients.
10:34Great diagnosis.
10:36I never told you.
10:38I wouldn't have married if it weren't for you.
10:40What?
10:42It's just the beginning.
10:44You mean the one with the boobs?
10:46Wait.
10:48You want your breasts to get bigger again?
10:50Yes, doctor.
10:52Dear lady,
10:54I've already enlarged your breasts three times.
10:56You know what?
10:58Here's a phone number and an address.
11:00Dr. Djuricko, my colleague.
11:02He'll take care of all your problems.
11:04How's that, Lujka?
11:06Women, move it.
11:08No, Fukrov, take it easy.
11:10That's right.
11:12She's the one.
11:14I married her.
11:16You sent her to me.
11:18Her?
11:20I didn't mean it that way.
11:22What are you talking about?
11:24I know her.
11:26But she has the attributes of others.
11:28You did a good job.
11:30I'm trying.
11:32She was at the beginning.
11:34Then you sent her to me every week.
11:36Tamir, it's a weekend in Jahorina.
11:38I built it thanks to you.
11:40You really owe me.
11:4290% of my patients
11:44are total lunatics.
11:46If I understood you correctly,
11:48building silicone implants costs 4,000 marks.
11:50Unfortunately,
11:52it can't be cheaper.
11:54It's a huge expense.
11:56That means one implant costs 2,000 marks.
11:58Is that right?
12:00Theoretically, yes.
12:02But I wouldn't recommend
12:04doing one and leaving the other natural.
12:06No, no, no.
12:08You wouldn't understand me.
12:10I'm perfect, but perfectly satisfied
12:12with my natural breasts.
12:14I wouldn't touch them.
12:16I don't understand. What would you do?
12:18I would get a third one.
12:20Right here.
12:22Wouldn't that be cool?
12:24Too cool.
12:26Doctor, I want a skin transplant.
12:28Yes, that's possible.
12:30Just tell me where you want
12:32to do the transplant.
12:34I want you to take it off
12:36from, let's say, the anus.
12:38Where do you want the transplant?
12:40Between the toes.
12:42Between the toes? Why there?
12:44You know, I have a disease.
12:46A skin disease.
12:48I always get a black spot
12:50between my toes.
12:52You get a black spot between your toes?
12:54Of course. I have surgery in 20 days
12:56and I still get a black spot.
13:00Here it is.
13:02For the crazy people.
13:04For the crazy people.
13:06For the crazy people.
13:08Cheers.
13:24There's no time.
13:26This broke
13:28like an April fool.
13:32Mark, where are you going?
13:34It's 3 a.m.
13:36I want to turn off the light.
13:38Here I am, my love. I'm running.
13:40I'm running.
13:46Secession or art?
13:48No way, wow.
13:50No way, wow.
13:52I have to ask someone
13:54how to pronounce that.
13:56No way, wow.
13:58No way, wow is the last
14:00but not the right one.
14:02The right one who managed
14:04to put his own artistic stamp
14:06in his own area.
14:14Oops, you got scared, son.
14:16Don't ask me.
14:18Grandpa, it's nothing.
14:20I drank some very expensive wine
14:22and my brain is no longer
14:24in the angle.
14:26I'm getting dizzy from that cheap wine
14:28I'm getting dizzy from that cheap wine
14:30My son, no wine is supposed
14:32to be drunk on paper.
14:34Why did you sigh like that?
14:36You got scared
14:38and now you're in a cage
14:40and we can't bury you.
14:42No, it's an old movie
14:44to watch when I tell you.
14:46Seriously, how did you get that?
14:48This is the history of art.
14:50All night long.
14:52My brain is running.
14:54Why don't you count that?
14:56Why would I do that?
14:58When I tell you, open it
15:00and count.
15:02Okay, let's see.
15:06Here it is.
15:08Who are the main representatives
15:10of the early Renaissance in Italy?
15:12It's easy,
15:14Mazaccio Donatello
15:16and Filippo Brunelleschi.
15:18Move on.
15:20Let's see.
15:22Here it is.
15:24What are the most common motifs in Gothic architecture?
15:27Motifs in Gothic architecture are primarily limited to church sculptures
15:34with religious and moralizing appearances.
15:37Also, individual portraits and self-portraits appear first.
15:41Go on, shoot something.
15:43Oh, you got him good, let's see this from the end.
15:45Here it is.
15:47What is it and when did cubism arise?
15:51Cubism? Is that Picasso?
15:54Yes, yes, Picasso.
15:56What period is considered the beginning of cubism?
15:59Oh, my dear son, I'm not ready yet.
16:03Son, I'm all mixed up, I have to learn more.
16:06Give it to me.
16:08Oh, my dear son, cubist!
16:11What kind of nonsense is this?
16:14It's a standard execution, crazy man.
16:16I don't know what his motive was, but in the old days
16:18he decided to learn history, art,
16:20and he wants to buy the whole library.
16:23Son, you have the first right to guess
16:25why Izet is learning history and art.
16:28Garan is making a joke, huh?
16:31Sit down, Pete.
16:32It's nothing, he wanted to enroll in college.
16:35He persuaded me to buy him that Russian,
16:37you know, the one with the eyes,
16:39so he wouldn't be robbed on the road.
16:42To be a good student.
16:44Look at him, look at him.
16:47Tell me, where did Maria go?
16:49Early in the morning, to open Sanremo.
16:52You're such a pain in the ass.
16:55You lie down last, get up first.
16:57Maybe yours is better,
16:59you lie down first, and get up last.
17:01Come on, don't be silly.
17:03I haven't seen you in a while, what's up?
17:05What do you want to know?
17:07Emotional or business plan?
17:09You're on a business trip,
17:11you must have had a bomb, huh?
17:13Good day, boss.
17:14Yes?
17:15I have some calendars,
17:18I just wanted you to see them.
17:20It's been half a year,
17:22and now you're offering calendars?
17:25It's been half a year, that's right,
17:28but they're half-priced.
17:30I'm interested.
17:32So, boss, let's say,
17:34for example, this one,
17:36he's a true artist.
17:40Michelangelo.
17:43Leonardo da Vinci.
17:47Leonardo DiCaprio.
17:49I've heard of him,
17:51but I've never heard of this one.
17:53I mean, I don't understand anything about art.
17:56Yeah, well...
17:58Wait, I know.
18:00Give it to me.
18:01Give it to me, I'll give it back to you.
18:03Of course, of course.
18:05Mr. Weber,
18:07I wanted to ask you something,
18:09if it's not a problem.
18:10I'd like to consult you about
18:12these artistic pictures on this calendar.
18:16I can't believe it.
18:18The earthquake hit, and she jumped on you.
18:21Well, in the middle of the earthquake,
18:22in the middle of my ordination, man,
18:24but believe me, you know how comfortable it is.
18:26I mean, the two of us didn't get to know each other very well,
18:28but I really like it.
18:29Listen, son, you should look at things from all angles.
18:33Believe me, I looked at her from all angles.
18:36What, are you going to see each other from all angles again, huh?
18:39I don't know, I don't even have a phone number,
18:41I don't know where she lives, nothing.
18:43I mean, when the earthquake hits again,
18:44I don't know how to behave.
18:45I mean, it's kind of awkward.
18:47Well, you've now broken the doctor's ethics.
18:50She's your patient,
18:52and you're exchanging body parts with her.
18:55No, no, no, she's never officially become my patient.
18:58I mean, we didn't get to talk about why she came to me.
19:01There's no problem with exchanging body parts.
19:04I know, but I've never been in such a situation,
19:07and it's kind of weird.
19:08Son, hit him, hit him, son, hit him.
19:11Let the kids see who's going to question me now.
19:14Oops.
19:15Oh, you son of a bitch,
19:18how can you only catch your feet?
19:20Come on, son,
19:22be polite,
19:24unmerciful,
19:25shoot!
19:31So, you're really on fire, huh?
19:34You won't believe it,
19:36I've been studying history and art for three whole hours.
19:40My brain's gone numb.
19:42Did he at least learn it?
19:43Numb, everything, on his head, on his mind.
19:45Well, he learned copywriting by printing books.
19:49He's fucked up.
19:51Who's fucked up?
19:52The one from my department.
19:54The one that needs an earthquake?
19:57Yeah.
19:58And where, where, where?
19:59Don't be stupid.
20:00What?
20:01The one with that table.
20:07Here you are.
20:09She's like a goddess.
20:11Come on, say something.
20:13I don't know, I don't like it.
20:15I don't know what to say.
20:16What do you mean, you don't know what to say?
20:18Say anything.
20:19Say that the earth was a fried ball.
20:21The earth was a fried ball?
20:23Yeah.
20:24You know what?
20:25You're right, I have nothing to lose.
20:27Uh...
20:28The earth was a fried ball,
20:30and you and I caused the earthquake
20:33in the epicenter of my department.
20:35Do you remember?
20:36Uh-huh.
20:41Hey!
20:42What are you doing in there?
20:44I was counting what to say to her.
20:46And?
20:47I was counting what to say to her.
20:49And?
20:50I was counting what to say to her.
20:52And?
20:53I was counting what to say to her.
20:55And?
20:56I was counting what to say to her.
20:58And?
20:59I was counting what to say to her.
21:01Son, don't think too much.
21:03Say anything.
21:04Don't be scared.
21:06I don't know.
21:08I don't like it.
21:09I don't know.
21:12I'm eating shit.
21:14I'm going to them.
21:15I don't care.
21:16That's what I'm saying.
21:17You're eating shit.
21:18Come on.
21:19Come on.
21:23Hey, hi.
21:24I'm eating...
21:27Is that on Facebook?
21:29Come on.
21:30I'm sending you a request.
21:31You pick me up and I like you, huh?
21:41Look at him.
21:42Why are you scratching yourself like a monkey?
21:44Are you crazy again?
21:45I'm thinking of different ways to talk to her.
21:48Believe me, whatever I count, I'll be fucked.
21:51Listen, when you count how you're going to talk to her,
21:53let me know by e-mail.
21:56Who are you?
21:58I'm going to get a beer.
22:02Mother of God, what should I do?
22:07I'll be right back.
22:24Hey, buddy.
22:26What's up?
22:27Why are you drinking in the middle of the bar?
22:29What?
22:30Oh, Djuricko.
22:32I was thinking of something.
22:34You've lost your mind.
22:36Where are you?
22:37Tell me.
22:38Tell your friend, Psychiatrist.
22:39Who do you want if not me?
22:40Well...
22:41It was good.
22:42What do you mean?
22:43Let's have a beer.
22:45That's why I came here.
22:47You know what they say?
22:48Murluk with good wine always clings to bad beer.
22:51Proof.
22:52Proof.
22:54Where is he?
22:55Honey, give us two cold ones, please.
22:57Big ones.
22:59Listen, Damir.
23:00I've been listening to crazy people for eight hours.
23:04You know what's worse than that?
23:06When you're drunk and listening to crazy people for eight hours.
23:09You're right.
23:10I'm drunk today because of your quality wine.
23:13No, I'm not drunk.
23:15I'm confused all day.
23:17I've been listening to crazy people for eight hours.
23:20What did you say?
23:21I'm telling them I'm crazier than they are.
23:23I know what you're listening to.
23:25You and your Damir.
23:26Do you have an interesting story?
23:30I could write a book, believe me.
23:32Dr. Đuričko.
23:33These are crazy stories from the psychiatric ward.
23:37Look, there's this fool.
23:41She's a good fish, a cat.
23:43She flies.
23:44But she can't survive the orgasm.
23:46You know what my grandpa used to say?
23:48Frigid women only have weak genitals.
23:50Grandpa, it's a diagnosis.
23:52Look, she can survive the orgasm.
23:54But only if she's in danger.
23:56What do you mean?
23:57Believe me.
23:58When she told me how she experienced the orgasm for the first time.
24:01I knew she was a fool.
24:03That's a coincidence for me.
24:04Come on, Bolan. Tell me.
24:14In the broom closet.
24:16With a picture from work.
24:18I don't get it.
24:19You said yourself she can't survive the orgasm
24:21if she's not in a life-threatening situation.
24:23What kind of life-threatening situation are you talking about?
24:25Damir, to be caught.
24:28And there's a man who's a real life-threatening situation.
24:32I've never heard of such a diagnosis.
24:34It's strange, but it exists.
24:35Believe me, if she's in her room,
24:37somewhere in bed,
24:38well, it's nothing.
24:39Dead horse.
24:40But if she's in the car,
24:41which is 200 km per hour,
24:43orgasm after orgasm,
24:44one for the other.
24:45Don't be silly.
24:46Hey, remember where the bathroom is.
24:48Come on, come on.
24:51Honey, give us two more cold ones, please.
24:59Doctor.
25:08New calendar?
25:09Yeah, I bought it this morning.
25:11Half price.
25:12My beautiful flower.
25:15Wait.
25:17Caravaggio?
25:19Caravaggio.
25:20Do I have that painting?
25:21What painting?
25:23Well, that's a painter.
25:25What kind of baker was he?
25:28He went from cafe to cafe,
25:30drank so much,
25:31chased women.
25:34My favorite painter
25:36of the Baroque period.
25:38I see, he was good at building.
25:40From cover to cover.
25:42He knows better than Marx's Capital.
25:45That's an unfounded claim.
25:49Did she come?
25:50Mubera?
25:51Mubera.
25:52Like someone in Greek prism.
25:54Name.
25:56Mubera.
25:57Full mouth.
25:59Venera.
26:00She was a goddess.
26:02Oh, she's just coming in.
26:05It's time to extract my enormous knowledge
26:08from the history of art
26:10under her feet.
26:12Let's go to the battle
26:14that she preordained.
26:17What an epic madman.
26:21What?
26:22What are you laughing at?
26:24I'm coming in the morning.
26:25Mubera and this calendar.
26:26I need a consultation.
26:28Her opinion.
26:29Mrs. Mubera,
26:30I wanted to ask you something,
26:32if it's not a problem.
26:33I mean,
26:34to consult you about these
26:36artistic pictures on this calendar.
26:39Me?
26:40You, you.
26:41You understand the history of art.
26:44I have no idea about the history of art.
26:47And speaking in general,
26:48I understand the art of clothing.
26:51I thought,
26:52because I saw one day
26:54you have that book,
26:55the history of art.
26:57You didn't see that book to me.
26:59I lost it somewhere.
27:00It's a gift for my grandson.
27:02He's studying at the Academy of Fine Arts.
27:05Aha.
27:07Wait, wait.
27:08So, she has no idea about the history of art.
27:10Well, yes.
27:11And he's all jababubo.
27:13Jababubo.
27:14Now this day has become interesting.
27:17I have to follow Marijana a little.
27:19Sfumato inskista maestra,
27:22da Vinci is nothing
27:25in relation to how the face was painted
27:27by the mother of nature
27:29on your body.
27:32Do you know, Mrs. Mubera,
27:34that when you call a technique sfumato,
27:36it draws a root from the Italian word fumo,
27:41which means smoke.
27:43Yes, yes.
27:44Sir,
27:45what did she say your name was?
27:47Is it Fazlinović Izzi?
27:50Mr. Fazlinović,
27:51I don't understand you at all.
27:54Goodbye.
27:55I'm a boring guy, my God.
27:57Mrs. Mubera!
27:59Mrs. Mubera, look here.
28:02I didn't even find Kubiza.
28:05Mrs. Mubera!
28:09Listen, where have you been?
28:11What were you doing in the toilet?
28:12I wanted to follow you,
28:13so I could see that you didn't slip
28:16and fall into the toilet.
28:18No, no, no.
28:19I was in the toilet.
28:20I think it's written Rai.
28:27She was writing too, huh?
28:29Who?
28:30Fuck.
28:32There she is.
28:33Who, Bolan?
28:34The one from the broomstick.
28:35What?
28:36Are you saying she's...
28:37She is, yes, yes, yes.
28:38She's still a good fish.
28:39She's still a good fish.
28:40I should have known.
28:42It seems to me that she's been in trouble
28:43since her husband was arrested.
28:45Her husband was arrested?
28:46Do you know what that guy did?
28:48He took a baseball to the guy
28:49and he froze his whole face.
28:51You wouldn't put him together
28:52if you washed him 15 times.
28:54Which guy?
28:55The one from the broomstick.
28:57Oh, fuck me.
29:01I'm sorry.
29:06Yes, Maja?
29:07Doctor, there's a lady who doesn't have an appointment
29:09and she wants to see you.
29:10She says you know each other.
29:12Aha.
29:13Send her in.
29:20Come in.
29:21I mean...
29:22I have an appointment.
29:25I don't know if this is okay.
29:27But wait.
29:28But wait.
29:29It's not an earthquake.
29:30We're safe in my office.
29:32Husband!
29:33Did your husband get out of jail?
29:35This morning.
29:36Oh, my God.
29:38I'm sorry.
29:39Tell me, Maja.
29:40Doctor, there's a gentleman
29:42and he says his wife is at your place.
29:44He insists on coming in.
29:45The doctor has a baseball bat.
29:47Oh, my God.
29:59Hey, honey.
30:00You're here.
30:07Hey, man.
30:08What's up?
30:10Nothing.
30:11Just some news.
30:12And some tea.
30:13To wash my brain.
30:15Tell me,
30:16did you have a renaissance party
30:18these days in Sarajevo?
30:20No, we didn't.
30:21No, I'm serious.
30:22Maria and I want to go
30:24and get cultured.
30:26Oh, my God.
30:27I got cultured
30:28by going to the library in Čeč.
30:30I washed my brain.
30:32How can a minister of culture
30:34be in Sarajevo?
30:36Directly to Vienna.
30:37Did that library
30:38inspire you?
30:40Let me teach her.
30:42You never know
30:43when she can help me.
30:45I'm sorry, Kustos.
30:46I didn't recognize you.
30:48I'm sorry.
30:50Faruča, son,
30:51I'm warning you for the last time.
30:57Look at the fridge.
31:00I've never seen it before.
31:03What fridge?
31:05Don't you think
31:06this fridge is a bit...
31:08Oh, my God.
31:10What fridge?
31:11We've been using
31:12this fridge for years.
31:13It's actually
31:14a pure Secesian design.
31:18You see,
31:19it's pure art,
31:20profiling...
31:22Get off me, man!
31:25I warned you.
31:27Did I warn you?
31:30Oh, my God.
31:31He's going to kill me.
31:33What's wrong with you?
31:34Don't ask me anything.
31:36Is it Damir?
31:37Yes.
31:38Let me see.
31:39Let me see.
31:40What did you do
31:41to my new pajamas?
31:42I made them myself.
31:43Oh, come on.
31:44Look at these stains.
31:45Don't they remind you
31:47of the wounds
31:48of the abstract work
31:49of Kandinsky?
31:51His research
31:52of cubism.
31:54Where's the beer?
31:55I'll get it.
31:56I'll get it.
32:01Oh, Kustos.
32:03He's running like a cheetah.
32:05Oh, you look beautiful.
32:07You have a beautiful pale skin.
32:09Come, let me hug you.
32:11Finally,
32:12they're hugging me again.
32:14You're so gentle,
32:17so soft.
32:19Colleague Izete,
32:20you hug Jastuk,
32:21I'm on the other side.
32:22Director,
32:23can we stop filming?
32:24Stop!
32:25Stop!
32:26Faruk, what's going on?
32:28The actors are stopping.
32:29Izete,
32:30you'll have to
32:31lower your glasses.
32:53Director,
32:54camera,
32:55editing,
32:56sound,
32:57editing,
32:58sound,
32:59sound,
33:00sound,
33:01sound,
33:02sound,
33:03sound,
33:04sound,
33:05sound,
33:06sound,
33:07sound,
33:08sound,
33:09sound,
33:10sound,
33:11sound,
33:12sound,
33:13sound,
33:14sound,
33:15sound,
33:16sound,
33:17sound,
33:18sound,
33:19sound,
33:20sound,