Finding Sofia

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The picture features Sam Huntington, Andrea Carballo, Rafael Spregelburd, and Sofía Brihet.

Finding Sofía is a 2016 comedy film written and directed by Nico Casavecchia. The film is Casavecchia's first feature film and was produced by 1stAveMachine. It premiered in 2016 on the Buenos Aires International Festival of Independent Cinema and was included in the festival's Argentine official competition


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Transcript
00:02:00I don't know.
00:02:16It's Sofia.
00:02:25Sofia?
00:02:26Sofia, get in the car.
00:02:31Are you friends with Sofia?
00:02:33Sofia, I don't speak English.
00:02:36She's from Argentina, she speaks Spanish.
00:02:38Get in the car.
00:02:40I don't understand.
00:02:41Are you getting in the car or not?
00:02:44Okay.
00:03:01Get in the car.
00:03:12Where are we going?
00:03:18Mabel.
00:03:19The aunt Mabel.
00:03:22What?
00:03:23The aunt Mabel.
00:03:26Your aunt?
00:03:30I don't...
00:03:34No, I'll explain you all.
00:03:46It's hard to focus, I'm so scared right now.
00:04:00...and to the world through the internet through Wall Street.
00:04:03Look at what you're doing.
00:04:05You're stealing and raping.
00:04:07Raping, because you're going to catch her.
00:04:09Is this your buddy? Is this your friend?
00:04:40A film by
00:05:01Guess what? You're not special.
00:05:03In the US alone, there are 4.2 million recreational artists,
00:05:07800,000 art students and 3 million professionals.
00:05:12That's 8 million people affected by the disease
00:05:16that some optimistically call the creative type.
00:05:22They wake up every morning and when they look in the mirror, they feel special.
00:05:26They think they have a story worth telling.
00:05:29Most of them go on and write, paint, play, sing this story
00:05:32and then they publish it on endless blogs.
00:05:34The world tells them, trust yourself and you are different.
00:05:39But only 15% of them will get a job that they feel worthy of their talent.
00:05:43A mere 2% will achieve any sort of visibility
00:05:45and less than 0.2% will get famous,
00:05:48only to be forgotten in an average time of 3 years.
00:05:52Before traveling to Argentina that winter,
00:05:54I was among these 8 million people.
00:05:56I met Sofia for the first time when she left a comment on my most famous viral video,
00:06:00Dancing Tomatoes.
00:06:02She wrote,
00:06:03Your work is so shallow, it's the perfect metaphor for a decadent world.
00:06:08I was instantly attracted to her.
00:06:15If he buys this, we're finally set, Alex.
00:06:18No more of this struggling artist bullshit.
00:06:20We need this, man.
00:06:22Alex, I need you to focus, okay?
00:06:24It's definitely a big opportunity,
00:06:26but just pitch the show with a lot of confidence and you'll be fine.
00:06:30Come on.
00:06:31Say yes.
00:06:32Yes!
00:06:33That's it.
00:06:34Come on.
00:06:35You just really need to focus, that's all.
00:06:39Look, I brought the tomatoes in case you want to use them.
00:06:41Here.
00:06:42You know, he might want to see them or something.
00:06:46Alright man, let's go.
00:06:47Let's do this.
00:06:48Come on.
00:06:51Why are we doing this?
00:06:52That's the main question, right?
00:06:53I want to respect the artistic process.
00:06:55I want to do more than like a funny video or like a dancing thing, you know?
00:06:59I know what I don't want to do.
00:07:01I have a long list of things that I hate.
00:07:03It doesn't have to be overly negative, of course.
00:07:05How many viewers does your tomatoes video have up to now?
00:07:09Uh, it's like two million.
00:07:11But it's been online for three years.
00:07:12And how much money have you made?
00:07:14It's online.
00:07:15Nada.
00:07:16Zip.
00:07:17Zero.
00:07:18In the old days, fame came with fortune.
00:07:20Internet fame costs you money.
00:07:23You're paying for other people to enjoy.
00:07:25I'm glad you brought it up because he and I talk about this all the time.
00:07:27Do you know about what our brand is?
00:07:29Energy Yogurt? I assume it's yogurt.
00:07:31Yeah.
00:07:33We're going to sign a contract, you and me.
00:07:35I can get it ready for you in a couple of weeks.
00:07:37The point is that you're going to have complete artistic freedom, okay?
00:07:41The only thing we're going to do is we're going to change out the tomatoes for strawberries, bananas, and kiwis, just to get a range.
00:07:47I feel like we're talking about two different things here.
00:07:51Uh, well, let's be honest here, Patrick.
00:07:53Alex.
00:07:54Yeah, whatever.
00:07:55You can milk the tomatoes now and get the money, or you can watch how people forget about it and go on to the next stupid thing.
00:08:02Now, do you want to put it to work for you, or do you want to let it go to waste?
00:08:26Woo!
00:08:49Yo!
00:08:50Just a minute!
00:08:52Come on, there's a fucking line!
00:08:56Woo!
00:09:13Hey, it's America! Woo!
00:09:25Fuck.
00:09:48This is an automated security alert from Eastborough Bank.
00:09:52A purchase superior to $1,000 has been charged to your credit card.
00:09:56Oh, no, no.
00:09:58An American Airlines ticket to Buenos Aires, Argentina.
00:10:02If you did not make this transaction, please contact us immediately.
00:10:07Have a great day.
00:10:16Hey, what's up?
00:10:17You won't believe what happened.
00:10:19I've been invited to talk about my work in Buenos Aires.
00:10:21Tomorrow.
00:10:22I'd love to see you.
00:10:24Let me know if you want to grab a coffee or something.
00:10:51Okay.
00:11:14Where are the sandwiches?
00:11:16Do you have sandwiches?
00:11:17Si.
00:11:18Okay, where are they?
00:11:19Entra.
00:11:20Okay.
00:11:21Just in the back?
00:11:27Your bag.
00:11:28My bag?
00:11:29Yes.
00:11:41For a sandwich, really?
00:11:50Yes.
00:12:00Hi, Sofia.
00:12:01I'm writing this email from the phone of a guy who offered his help.
00:12:08I just got all my stuff stolen when I was looking for a hotel.
00:12:14I'll be sitting on the corner of Humboldt and Paraguay.
00:12:16I have no money and no way to get back to you.
00:12:21I know this is the last message you were expecting to get from me.
00:12:29I promise it will be the last one if you don't show up.
00:12:33I'll be waiting.
00:12:34Yours, Alex.
00:12:50I'll be waiting.
00:12:59It's Sofia.
00:13:20Hi.
00:13:50Hi, mate.
00:13:51How's it going?
00:14:08Fundamental dynamics of our eye contact.
00:14:11The dynamics of our eye contact started 8,000 years ago in the interior of the sun.
00:14:16Millions of photons were trapped in its core for centuries,
00:14:18and much later, we were born and everything else happened.
00:14:21Then, in a solar storm, 8 minutes before I saw her for the first time that summer night,
00:14:25some of those photons traveled 91.4 million miles through space
00:14:29and bounced into the moon, reaching my pupils 1.3 seconds later.
00:14:33Only then, a portion of those particles reflected back to Sofia,
00:14:36and so, we could look each other in the eyes for the first time.
00:14:40But the fact of the matter is, that night we looked away.
00:14:43Hi.
00:14:46Hi.
00:14:49Are you okay?
00:14:54I'm okay.
00:15:01Why would you call me in a situation like this?
00:15:04What about the people you came to see?
00:15:06I lost all my stuff,
00:15:09and I didn't have anyone else's email,
00:15:11so I'm sorry, I'm...
00:15:12Did he mention Mabel?
00:15:14Mabel?
00:15:16What?
00:15:17Did Victor ask you something about my aunt Mabel?
00:15:20Victor? That's that guy?
00:15:22That's that...
00:15:23Who is that guy?
00:15:25It's my boyfriend, okay?
00:15:27Your boyfriend?
00:15:28Okay, what did you say?
00:15:29Well, I didn't...
00:15:31I didn't know what to say.
00:15:32I thought he was talking about a fucking bell.
00:15:34You have a boyfriend?
00:15:35I can't believe that you didn't tell me...
00:15:37Okay, lower your voice.
00:15:38...that you have a boyfriend.
00:15:39Lower your voice.
00:15:41Listen carefully.
00:15:42I don't know you, and you don't know me, okay?
00:15:44Clearly.
00:15:45Tomorrow you will make some phone calls
00:15:47and sleep somewhere else.
00:15:50What's that?
00:15:54It's my little bag of shit
00:15:55that they let me keep for emotional value.
00:15:58I can't believe that you lied to me
00:16:00about having a boyfriend, and you didn't?
00:16:02I didn't lie.
00:16:03What are you talking about?
00:16:04I didn't lie.
00:16:05This is my real life.
00:16:06It's not the internet.
00:16:07The internet is real life.
00:16:08We've been chatting for months.
00:16:09I sent you a picture of my dick 24 hours ago.
00:16:12What did you expect out of that picture?
00:16:14What did I expect?
00:16:15Five-star hotel and a loving girlfriend.
00:16:17I was in a club, in a bathroom, in a stall,
00:16:20and there was a dude pounding on the door.
00:16:23Okay, listen.
00:16:24Yeah, I'm sorry.
00:16:25Listen, you are my cousin
00:16:27that I've never seen before.
00:16:29And Marvel's nephew, okay?
00:16:32You can spend the night here
00:16:34as long as you play along with this.
00:16:37Okay?
00:16:38Okay.
00:16:40Okay, I have no, uh...
00:16:42I have no other options, so...
00:16:46It will be fine.
00:17:01Hey, Alex.
00:17:03I'm Flor.
00:17:04Nice to meet you.
00:17:05Mwah.
00:17:07Sophie told me about your loss.
00:17:08I'm so sorry.
00:17:10She told me that you live in New York.
00:17:12I have never been there, but it must be awesome.
00:17:15My loss?
00:17:16Yeah, the robbery, Alex.
00:17:19Right.
00:17:27What time is it?
00:17:28It's, um, ten to one.
00:17:30You know, I can tell the time without looking.
00:17:32I can feel it, you know?
00:17:33It just happens.
00:17:34Oh, Alex, if I say your name a lot,
00:17:37like, uh, it's just a memory technique I use.
00:17:45Oh!
00:17:46What did you break?
00:17:47A glass.
00:17:48I broke a glass.
00:17:49What glass?
00:17:50I had a...
00:17:51Can you put it back together, please?
00:17:53Yes, I'll put it back together.
00:17:54Can you tell him something?
00:17:55I'm sorry.
00:17:56What are you doing?
00:17:57I'm sorry.
00:17:59No, thank you.
00:18:00No, no, gracias.
00:18:01It's a bad taste not to accept.
00:18:05What?
00:18:06Flor, can you come back?
00:18:07Can you not shout?
00:18:08Am I shouting?
00:18:09Yes.
00:18:10I'm not shouting.
00:18:11Alex, could you move a little bit?
00:18:12I'm not shouting.
00:18:13Because we need more room here.
00:18:14Yes, yes, yes.
00:18:15Flor, Flor, Flor.
00:18:16What are you doing?
00:18:17She's sleeping.
00:18:18No, no, no.
00:18:19She's sleeping.
00:18:20Alex, I'm so sorry.
00:18:21No, no, no.
00:18:22Alex, I'm sorry.
00:18:23Go back to sleep.
00:18:24Come on.
00:18:25It's almost one o'clock, you know?
00:18:28He's my guest.
00:18:29Why don't you just kick me out of the house?
00:18:31What's wrong with you?
00:18:32Alex, I'm sorry.
00:18:33This is your house too, okay?
00:18:35You can sleep until the hour you want.
00:18:37I'm awake.
00:18:38I'm awake.
00:18:39No, no, no.
00:18:40I'm not going to go back to sleep.
00:18:41Sofia, I have two days left to finish.
00:18:42Can you let me work in peace?
00:18:43Well, I'm working on the thesis too.
00:18:46Look, the world doesn't revolve around you.
00:18:48I'm not Flor.
00:18:50Alex, I'm sorry.
00:18:51Why are you sorry?
00:18:52I'm very sorry.
00:18:53It's because you were sleeping.
00:18:54I don't even know where I am right now.
00:18:55You know what?
00:18:56You're right.
00:18:57You're right.
00:18:58You're right.
00:18:59I'm telling you, you're right.
00:19:01She has reason.
00:19:02Cut it.
00:19:03Yes.
00:19:04You have to make the guest feel at home.
00:19:08I'm going to take him to get firewood,
00:19:10so we can make a fire later.
00:19:12Do whatever you want.
00:19:13A fire.
00:19:16A fire?
00:19:17Where are we starting a fire?
00:19:18A fire.
00:19:19Help.
00:19:20Help.
00:19:21You.
00:19:22You here.
00:19:23You here.
00:19:24You help.
00:19:25Alex, please go with him.
00:19:26Go.
00:19:27She's going to start a fire somewhere?
00:19:28No, you just...
00:19:29Go.
00:19:30Okay?
00:19:31Go.
00:19:32Go, go.
00:19:41Over there.
00:19:43What?
00:19:44Over there.
00:19:52Hit it from below.
00:19:54Listen to me.
00:19:55Hit it from below.
00:19:57Listen, I'm from New Jersey.
00:19:59I have never done anything like...
00:20:00I have no idea what I'm doing.
00:20:02Okay?
00:20:03No idea.
00:20:05Have at it.
00:20:06Have at it.
00:20:28Alex?
00:20:30Hello.
00:20:31Could you come for a second?
00:20:39I looked up the U.S. Embassy number
00:20:41for you to report your passport missing.
00:20:43Oh.
00:20:44Thank you.
00:20:45Thank you.
00:20:46Thank you.
00:20:47Thank you.
00:20:48Thank you.
00:20:49Thank you.
00:20:50Thank you.
00:20:51Thank you.
00:20:52Thank you.
00:20:53Thank you.
00:20:54Thank you.
00:20:55Thank you.
00:20:56Thank you.
00:20:57No, you're welcome.
00:20:58You know, it's important that we call now.
00:21:01Want me to call?
00:21:02You know they conceal your identity.
00:21:04You know that?
00:21:05Yeah, you know what?
00:21:06I thought about that.
00:21:07I'll just do it.
00:21:08But I don't think there's any, like, tremendous rush.
00:21:10No, really.
00:21:11I read it and there was this guy that was raped in jail
00:21:14for a crime that he didn't commit.
00:21:16Sure.
00:21:17But here's the thing.
00:21:18What?
00:21:19I saw with my own eyes the guys.
00:21:23They were kids who robbed me.
00:21:25And I just thought, I think they were interested in my cash.
00:21:27I don't think they wanted my passport.
00:21:28No, but you can never...
00:21:29I know you can never know.
00:21:30What's up?
00:21:31I wanted to call the embassy because we have to report Alex's passport.
00:21:34No, Flor, don't get involved.
00:21:35If he's lost, they can steal his identity.
00:21:36Thank you, Flor, but don't get involved in everything.
00:21:38But I don't have a problem.
00:21:39I'll call.
00:21:40I'll call the embassy.
00:21:41It's just a second.
00:21:42Go with Victor.
00:21:44Go.
00:21:45Thank you, Flor.
00:21:46You call from my phone, of course.
00:21:48No, no.
00:21:49What we'll do is we'll do it later, though.
00:21:51I don't...
00:21:52That's what I was just...
00:21:56Yeah, I can't...
00:21:58I can't hear anything.
00:21:59I'll just call later.
00:22:00No, it's just because it's tricky to get reception.
00:22:02You see this bow?
00:22:03Uh-huh.
00:22:04You get reception here.
00:22:05Wait.
00:22:06Lost or stolen passport.
00:22:07No.
00:22:08Choose from the following options.
00:22:09Please say robbery if your passport was stolen.
00:22:12Or say lost if your passport is just missing.
00:22:15Robbery.
00:22:16You chose stolen passport.
00:22:17Please say violent robbery if your life was in peril.
00:22:20Or say non-violent.
00:22:21Non-violent.
00:22:23You chose non-violent.
00:22:24Please wait on the line.
00:22:26Please state your name after the beep as a signature of your testimony
00:22:29and your passport will be invalidated.
00:22:34Um...
00:22:36You know what?
00:22:37I don't know which...
00:22:38Because I have a hyphen in...
00:22:39What do you mean?
00:22:40I don't...
00:22:41Alex, say your name.
00:22:42Alex Tyler.
00:22:43Your former passport is now invalidated.
00:22:45Please enter the contact number and when decided.
00:22:52Thank you.
00:22:53You will be contacted with a date and instructions for your appointment.
00:22:56Have a nice day.
00:22:57Okay.
00:22:58They'll call us with appointment day.
00:22:59Oh, good.
00:23:00When?
00:23:01I don't know.
00:23:02They didn't say.
00:23:03So maybe I could just stay with you for a couple days until...
00:23:06Non-violent?
00:23:07From your email I thought they put a gun to your head when they robbed you.
00:23:11Well, it was intimidating on a conceptual level.
00:23:13I mean...
00:23:14Well, assuming violence just because you're in South America is so racist.
00:23:17No.
00:23:18You know what?
00:23:19It was violent.
00:23:20It was more violent than I remembered.
00:23:22There are people who still think about the healing power of art.
00:23:25Yes.
00:23:26Well, but there are people who think it works.
00:23:28Yeah?
00:23:30Should we ask a taxi to pick him up?
00:23:32What?
00:23:33No, no. He's staying.
00:23:36He's staying until I solve his problem.
00:23:38You're saying?
00:23:40I am. I am.
00:23:42Yes.
00:23:52What are you doing?
00:23:53Oh, um...
00:23:55Well, I have no...
00:23:57Summer clothes.
00:23:59So I'm improvising.
00:24:02Let me help you.
00:24:04Would you stand up?
00:24:05Yeah.
00:24:11I'm sorry.
00:24:13It's okay.
00:24:14It's okay.
00:24:16It's okay.
00:24:17It's okay.
00:24:18It's okay.
00:24:19It's okay.
00:24:21Thanks.
00:24:22You're welcome.
00:24:26So are those your paintings, too?
00:24:28Oh, yeah.
00:24:29Well, it's Victor's work.
00:24:31I'm his assistant.
00:24:33I help him mix the paint.
00:24:37You know, they're about the human figure as a trigger for a pictorial dialogue.
00:24:42Sounds neat.
00:24:43Sounds really neat.
00:24:46So let me...
00:24:47I'm just gonna...
00:24:48I mean, maybe it's just me.
00:24:49I don't know.
00:24:50I just noticed a real...
00:24:53tension.
00:24:55Victor and Sofia.
00:24:56Oh, yeah.
00:24:57We're all under a lot of stress these days.
00:25:00We have a lot of work to finish.
00:25:02Two days to go, and then we're out of here for two weeks.
00:25:05Victor's gonna be part of a group exhibition,
00:25:07and the winner will get a grant for life.
00:25:12Word is, Victor's gonna get it, but...
00:25:15she's nervous.
00:25:16She's nervous.
00:25:17He says the other guy, Sarasola, is an asshole.
00:25:22My friend worked in his studio,
00:25:25and he asked her to blow him.
00:25:30And she did.
00:25:32Do you love it here?
00:25:34Yeah.
00:25:36So you're leaving with Victor for two weeks.
00:25:40Uh-huh.
00:25:42All right.
00:25:46Bye.
00:25:52Florveni.
00:25:54Oi.
00:26:17Fuck.
00:26:38I'm sorry.
00:26:40Uh, I didn't mean to interrupt.
00:26:42No, no, it's okay.
00:26:44I just needed a pause, you know?
00:26:46A break.
00:26:47Yeah, no, I'm not judging you.
00:26:48Everyone procrastinates, it's fine.
00:26:50What is procrastinate?
00:26:52Well, um, procrastination is when you, uh, do something,
00:26:57uh, like, uh, play the guitar
00:27:00to avoid doing something else, like your work.
00:27:05Hmm.
00:27:06Hmm.
00:27:07I'm not doing that.
00:27:08No?
00:27:09No, I'm working.
00:27:10Okay.
00:27:11Clearly.
00:27:12Clearly.
00:27:15Were you stalking me?
00:27:17Was I stalking you?
00:27:19Yes.
00:27:21No.
00:27:22No?
00:27:23No.
00:27:24Sure?
00:27:25I'm pretty sure.
00:27:26Okay.
00:27:29Don't, um, don't let me stop you from playing horribly.
00:27:33Okay.
00:27:34Yeah, yeah.
00:27:35Okay.
00:27:36Continue.
00:27:37Listen.
00:27:38I'm listening.
00:27:42I can't hear him.
00:27:43Sure, good.
00:27:44No, let's keep going.
00:27:45No, no.
00:27:46Somebody, you gotta start somewhere.
00:27:48Alex, are we doing the show?
00:27:50Emma need to know.
00:27:51Yes, yes, yeah.
00:27:52We're doing, yes, we're gonna do the show.
00:27:54Are you seriously in Argentina now?
00:27:56Listen, I'll be back in a few days, okay?
00:27:58I'm, I'm, I'm, I'm, in the meantime, email.
00:28:01Email's better.
00:28:02Just write me, because I can't hear a word you're saying.
00:28:05Alex, Alex.
00:28:06Can you hear me?
00:28:07Are you there?
00:28:08Josh.
00:28:10Josh, Josh, Josh.
00:28:11Hello, buddy.
00:28:12Hello?
00:28:19Hey, achuritas.
00:28:22Alex, maybe, if everything goes well with the paintings,
00:28:26Victor and I will tour and we could visit you in New York.
00:28:29Oh!
00:28:30Sofía, could you pass the salad?
00:28:32Que sí, vos y a mí.
00:28:34No, que sí.
00:28:35Todo va bien con la exposición.
00:28:37Quizás viajamos a Nueva York y lo podemos visitar a Alex.
00:28:41Hola.
00:28:42Are you going to the exhibition with them?
00:28:45No, I'm staying here.
00:28:46Oh, you are?
00:28:47Uh-huh.
00:28:48Yo no necesito la aprobación del imperio para sentirme un artista.
00:28:51Coméntaselo.
00:28:53Victor doesn't like the USA because he's a Peronist, you know?
00:28:57Have you heard?
00:28:58Peronism?
00:28:59No.
00:29:00And he thinks that it's an imperialistic country and that it will fall.
00:29:03Oh.
00:29:04Well, you know, yeah.
00:29:06I mean, listen, I'm against all military action,
00:29:10but I think every country has its misery.
00:29:13I think America's in the spotlight, of course.
00:29:15You know, I'm more like an anarchist because I don't believe in state that much.
00:29:19Alex, lo que dice es como que todos los países tienen sus miserias,
00:29:23pero como que América está en el, ¿cómo se dice?
00:29:26Foco.
00:29:27Spotlight.
00:29:28Sí, I said spotlight.
00:29:30All right.
00:29:31América.
00:29:33América es todo el continente.
00:29:35Decíselo.
00:29:36America is all the continents, Alex.
00:29:38What does that mean?
00:29:39Shh.
00:29:40All the continents.
00:29:41No, América es un diminutivo también, ¿no?
00:29:43¿Qué diminutivo?
00:29:44¿Qué diminutivo?
00:29:45Diminutivo sería ameriquita.
00:29:46Bueno, ameriquita.
00:29:47Pero si te gusta así, adelante, ¿no?
00:29:50Clásicas y palla latinoamericana.
00:29:53Sofía, el que no denuncia, colabora.
00:29:56Cortala.
00:29:57Cortala.
00:30:03¿Por qué no pasar las vacaciones en Guantánamo directamente?
00:30:06¿Para qué venirse a la Argentina tan lejos con tanto mosquito como hay?
00:30:09What?
00:30:10What?
00:30:11I think he's saying that you collaborated with Guantánamo, ¿sabes?
00:30:16Guantánamo, sí.
00:30:17Yeah, in its construction.
00:30:19I think there's a lot that's getting lost in translation.
00:30:22No, no, no.
00:30:23He didn't say that.
00:30:24He didn't say that.
00:30:25¿Puede bajar la voz? ¿Puede bajar la voz?
00:30:27¿Bajar la voz?
00:30:28Claro, por supuesto, bajar la voz.
00:30:30La voz.
00:30:31Hacémonos un poquito, ¿no?
00:30:33Claro, tiene sentido.
00:30:34¿Qué tiene sentido?
00:30:35What's going on?
00:30:36Ahora que lo pienso...
00:30:37¿Qué tiene sentido? ¿Qué te pasa?
00:30:40Tiene bastante sentido.
00:30:42¿Qué estás diciendo?
00:30:43Nada, que vos venís de una familia bastante oligarca, ¿no?
00:30:47Esta casa, de alguna manera, es fruto de la opresión.
00:30:51You know, I left my social class back in 2009 when I finished high school.
00:30:57Perdóname la sinceridad, ¿eh? Te quiero muchísimo.
00:30:59Vamos a analizar lo que acabas de decir, bien analizado, ¿te parece?
00:31:02A ver.
00:31:03Mira, para empezar, vos vivís de arriba en esta casa, fruto de la opresión.
00:31:06¿Yo vivo de arriba?
00:31:07Sí, vivís de arriba en esta casa.
00:31:08Yo soy víctima de esta casa, de su estética, de sus cosas, de tu familia, ¿eh?
00:31:13Yo por lo menos la estoy resignificando de una perspectiva artística.
00:31:17Perfecto.
00:31:18No te rías.
00:31:19¿Cómo no me voy a reír? Mirá lo que está diciendo.
00:31:21Yo estoy expropiando provisoriamente esta casa y sus utilidades, ¿sí?
00:31:26Para devolverle al pueblo algo de lo mucho que se le está quitando.
00:31:29It's good to debate ideas, don't you think?
00:31:33In my house, I could never talk about my anarchism without my father going insane.
00:31:37Entonces, vos estás haciendo todo esto para revolucionar el mundo del arte.
00:31:45A ver, ¿para qué te presentas en la beca? Contame.
00:31:48Decime.
00:31:51Por la guita.
00:31:53¿No?
00:31:55¿Vos pensás que lo estoy haciendo por la guita?
00:31:57Por supuesto, y me parece muy bien que lo hagas.
00:31:59¿Te parece bien?
00:32:00Claro, tenés cuarenta años. Hacé guita y relajate un poco.
00:32:03Dímelo, yo estoy muy relajado.
00:32:05No te veo.
00:32:06Segundo, tengo cuarenta y cuatro años.
00:32:08Bueno.
00:32:10¿Yo qué sé?
00:32:12Cortala. Ya está.
00:32:18¿Estás...?
00:32:19¿Es eso...?
00:32:20¿Es todo...?
00:32:21¿Es por lo que dije acerca de América?
00:32:23¿Es eso...?
00:32:24No, ¿qué quieres decir?
00:32:26Bueno, ¿qué quieres decir?
00:32:27¿Qué quiero decir?
00:32:28¿América?
00:32:30Sí.
00:32:37Flor, a ver si...
00:32:38Sí, a ver.
00:32:39Espera, espera.
00:32:40Sí, espera, sí.
00:32:41Yo lo compro.
00:32:43¿Qué hacés, Víctor?
00:32:44¿Querés que te ayude con eso?
00:32:46I'll put it here.
00:33:05What are you doing, Victor?
00:33:07Do you want me to help you with that?
00:33:16What is this?
00:33:18This?
00:33:19What is that?
00:33:20Chinchulines.
00:33:22That tells me nothing.
00:33:24Well, I don't know how to say it in English.
00:33:26It's chinchulines.
00:33:28Is it a tapeworm?
00:33:29Why don't you eat?
00:33:31Because it looks horrible.
00:33:33You have to.
00:33:34Do you want this?
00:33:35Yeah, I'll take some salad.
00:33:39What did he say?
00:33:40I don't know. I think it's the camera.
00:33:42What camera?
00:33:47The camera.
00:34:09What the hell are you doing, Victor?
00:34:11Look at what I'm doing.
00:34:14Look how relaxed I am.
00:34:16We're going out? We're going out there?
00:34:20What's wrong with you?
00:34:22Victor, stop, please.
00:34:23Let's see if you learn something from all this.
00:34:26Fuck you, Victor.
00:34:28Victor, stop!
00:34:30What's going on?
00:34:32Sofia, can you tell him something? He's burning everything!
00:34:34Is he burning things?
00:34:36This is part of the job. You were right.
00:34:38We've talked about this a thousand times.
00:34:43I want to thank you for noticing this.
00:34:46This is the moment when painting loses all meaning.
00:34:51When it's incorporated.
00:34:53When it's institutionalized.
00:34:55Stop it!
00:34:56If we take this, we're taking garbage.
00:34:58Garbage is burned.
00:35:00New work!
00:35:02Victor!
00:35:03And they all go to the fucking mother who gave birth to them.
00:35:13I'm sorry.
00:35:15Holy shit!
00:35:17I'm sorry. It's not funny.
00:35:21I'm sorry. I'm sorry.
00:35:43I'm sorry.
00:35:53He was talking to me and fell asleep.
00:36:13When he started showing in my mom's gallery...
00:36:18I used to write the essays for the exhibition's catalogues.
00:36:21And just writing for him was a nightmare.
00:36:24I quit.
00:36:26It was the only way I could be his girlfriend.
00:36:30I don't know how you'll do it.
00:36:33All that work gone to waste.
00:36:38Well, you know what? I'm leaving tomorrow.
00:36:40So I wish you good luck.
00:36:42What do you mean leaving?
00:36:44And the new work?
00:36:47I don't know.
00:36:48We can do new work in two days.
00:36:50What about the exhibition?
00:36:52Flor, I don't think it's cool that you quit when things get rough.
00:36:56But you said that you quit before.
00:36:58Yes, but it's different.
00:37:00I'm his girlfriend.
00:37:02Well, I guess I'm not. So I'm leaving tomorrow.
00:37:13Good morning.
00:37:14Good morning.
00:37:18Where's the rooster?
00:37:21You don't need a rooster to lay eggs.
00:37:24You don't?
00:37:25The hens just do it fine by themselves.
00:37:28I can't believe I didn't know that.
00:37:31Listen, the situation got complicated last night.
00:37:36Yeah.
00:37:37Yes.
00:37:38Yeah.
00:37:39Um, you know, you won't have any trouble for me.
00:37:44No, no.
00:37:45I know I told you that you could stay here.
00:37:49But it's really difficult.
00:37:51Wait, wait, wait, wait, wait, wait.
00:37:53You know he burned those paintings on purpose, right?
00:37:56Yes, but that's not your problem.
00:38:00I mean, maybe if Victor wasn't in the picture, things would be different.
00:38:06But I'm sorry. You have to go.
00:38:09I have to start thinking of friends of friends.
00:38:11You can't, you can't just do that.
00:38:14You can't just use me when it's convenient for you.
00:38:18What do you mean, use you?
00:38:19You're here because you need my help.
00:38:21Really?
00:38:24You sure I'm not here because you want to upset him?
00:38:30I have no choice. I'm sorry.
00:38:35I'm sorry.
00:39:05I'm sorry.
00:39:22You can't just fabricate a false art project.
00:39:24He said it himself.
00:39:25His, no, his work was trash so we burned it.
00:39:27That's the concept. It's genius.
00:39:28It doesn't work that way.
00:39:29Why doesn't it work that way?
00:39:30You used to write his essays.
00:39:31You can justify anything.
00:39:33Are you telling me that you would rather spend weeks up there with Victor,
00:39:37pissing and moaning around the house?
00:39:38I've seen that dynamic.
00:39:39Okay, I know what that looks like.
00:39:41So?
00:39:43So?
00:39:44So?
00:39:45All we have to do is convince him that it's a good idea.
00:39:47All of us working for him.
00:39:49Yeah.
00:39:50He'll love that, for sure.
00:40:03Okay.
00:40:34I'll talk to him.
00:40:43He's hard to get, you know, sometimes, because he's a genius.
00:40:48Yeah, I'm sure that's it.
00:40:52Alex.
00:40:54Alex.
00:40:56Alex.
00:40:58Alex.
00:40:59Alex.
00:41:00Alex.
00:41:01Alex.
00:41:03If this works, would you mind if I don't tell my parents that it was your idea?
00:41:16Your parents?
00:41:17Yeah, no, it's fine.
00:41:19Because, you know, sometimes it's hard for them to understand what I'm doing here.
00:41:24Yeah, that makes a lot of sense.
00:41:28You're so fucking cool, you know.
00:41:31Thank you.
00:41:32That's a very thoughtful thank you.
00:41:36He's in.
00:42:01It's a tamagotchi.
00:42:04What is it?
00:42:30What is it?
00:43:00Hey, so, Victor was saying that since fragments are accidents, we shouldn't try to understand it.
00:43:07Because, you know, accidents mustn't be comprehended.
00:43:11Okay.
00:43:12Just tell us how he wants it, okay?
00:43:14Okay.
00:43:15So, just group them by color and size.
00:43:19Okay?
00:43:20Okay.
00:43:29I love her so much.
00:43:31Just so much.
00:43:45I'm an addict.
00:43:47That's all I can think about.
00:43:49You can't just take it away from me.
00:43:51It's unfair.
00:43:52You have to, like, wean me off of it.
00:43:54You are in rehab here.
00:43:56Okay?
00:43:57And you will not tweet.
00:43:58Period.
00:43:59Yeah, that's my point.
00:44:00I'm down here.
00:44:02I'm in the jungles of South Africa.
00:44:04And I can't even tweet about it.
00:44:06I'm like a Swiss Family Robinson member.
00:44:08I'm so proud.
00:44:10Look at you.
00:44:11A changed man.
00:44:13Just keep these memories and feelings for yourself, okay?
00:44:17Doc.
00:44:18What?
00:44:19We'll continue tomorrow.
00:44:20Come to bed.
00:44:21No, I'll stay a little longer.
00:44:22Bye.
00:44:46He could be your grandfather.
00:44:48No.
00:44:49Easily.
00:44:50My father.
00:44:52No.
00:44:53You just said it.
00:44:54You can't take it back.
00:45:16Is everything alright?
00:45:18Yes, yes.
00:45:19Perfectly fine.
00:45:20We will do the last one.
00:45:21When we finish with these two, we will be done.
00:45:24Thank you so much, Alex.
00:45:26Yeah, no, it's not a problem.
00:45:28I'm sorry.
00:45:29I'm sorry.
00:45:30I'm sorry.
00:45:31It's just that I'm not in the mood.
00:45:34I'm sorry.
00:45:35I'm sorry.
00:45:36I'm sorry.
00:45:37I'm sorry.
00:45:38I'm sorry.
00:45:39I'm sorry.
00:45:40I'm sorry.
00:45:41I'm sorry.
00:45:42I'm sorry.
00:45:43I'm sorry.
00:45:44I'm sorry.
00:45:45Yeah, no, it's fun. It's fun. I'm having fun with it. It's good.
00:45:48He says he's happy.
00:45:50Oh, happy, look.
00:45:52The happiness of painting is for more than home.
00:45:54Let's go to work, go!
00:45:56I have to work a lot here. I have to correct this.
00:45:59He's saying that he's happy, that you're happy.
00:46:02Like, we're all happy.
00:46:03Good. That's good.
00:46:06You ready?
00:46:07Yes.
00:46:11I don't know.
00:46:15I don't know.
00:46:33I wanted to give you something.
00:46:36It's a little reward for adapting here.
00:46:40I think I'm doing a pretty good job.
00:46:42I'm enjoying the unplugged life.
00:46:44Where is it?
00:46:46Oh, it's here.
00:46:49And this.
00:46:54What is this?
00:46:56Is this what I think it is?
00:46:59Oh my gosh, that's so cool.
00:47:01You like it?
00:47:03Well, it was my father's.
00:47:07He was an architect.
00:47:09And he spent hours and hours drawing.
00:47:14Oh my gosh.
00:47:16Oh, look at this.
00:47:18You're just going to give this to me?
00:47:19Yes.
00:47:20Are you sure?
00:47:21Yes, I'm sure.
00:47:22Of course, it's a present.
00:47:23Thank you.
00:47:24A reward.
00:47:25What's that?
00:47:27I keep it.
00:47:31Thank you so much.
00:47:32You're welcome.
00:47:34This is really cool.
00:47:36I haven't drawn in ages. I can't wait.
00:47:44Thank you.
00:47:45You're welcome.
00:48:14Thank you.
00:48:44Victor, come here.
00:48:46Flor, can we not do this, please?
00:48:48No, no, a group photo. Come on.
00:48:52Come on, hurry up.
00:48:53Yes.
00:48:54Are you ready?
00:48:58Come on.
00:48:59Did you give it to him?
00:49:02No.
00:49:03No?
00:49:04No.
00:49:05No.
00:49:06No.
00:49:07No.
00:49:08No.
00:49:09No.
00:49:10No.
00:49:11No.
00:49:12No.
00:49:14No.
00:49:15Come on.
00:49:17If he doesn't take the photo, then I'll take his.
00:49:21No, no, come on.
00:49:23Come on.
00:49:24Come on.
00:49:25Come on.
00:49:26Come on.
00:49:27Come on.
00:49:28Come on.
00:49:29Come on.
00:49:30He's about to take it.
00:49:31Come on.
00:49:32Come on.
00:49:33Come on.
00:49:34The self.
00:49:35In Camera Lucida, published in 1980, Roland Barthes describes how our personality splits
00:49:37in front of the camera, unfolding our various selves.
00:49:38Like Roland, I suddenly felt like I was three different people at the same time.
00:49:39One, the one I thought I was.
00:49:40Two, the one I wanted Sofia to think I was.
00:49:41And three, the one I feared Sofia saw.
00:49:42feared Sophia saw in me. All three combined in the same body posing in front of the camera
00:49:46about to snap. The timer was ticking. I wanted Sophia's idea of me to be the self I thought
00:49:51I was, or in all honesty, the self I thought I could potentially become, but a feeling
00:49:56of inauthenticity started to rush in. I tried to fight it, compensating with a pose that
00:50:00would avoid the idea I feared Sophia had of me, but it was too late. That afternoon the
00:50:05picture was taken.
00:50:35You guys are doing ecstasy? You guys are going to do ecstasy now? No, MDMA. Yeah, it's the
00:50:45same thing. Are we in 1996? Yes, we are. We are? Yes. I thought there was something interesting
00:50:51about this place. Come on. Lick your finger. No, I'm not going to do it. Come on. No. I
00:50:59don't want you to be sober when I'm high, okay? Come on. Here. Be careful, be careful,
00:51:10be careful. No, no, no, no, no, no. I don't want to do that much. Be careful, be careful.
00:51:13Yeah, I don't like drugs. Be careful, be careful, be careful. I don't like drugs.
00:51:16Oh, my God. That's the most amazing thing I've ever seen. Is she the only one that does
00:51:40that?
00:52:05No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
00:52:34no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
00:53:03no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
00:53:32no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no
00:54:02hey
00:54:06are you okay
00:54:10i'm fine just go
00:54:17you don't look fine
00:54:26you're sweet you know
00:54:33everything is so complicated and
00:54:39simple at the same time
00:54:45simple
00:54:46see
00:54:50see
00:55:03sophie i'm so sorry i was like i'm high i feel terrible i i'm sorry because
00:55:09you know i think we are friends and i value you so much and i i'm sorry please please forgive me
00:55:15because i don't i don't i didn't know what i was doing you know i i'm sorry i'm sorry
00:55:24english yeah you should speak in english because alex is here
00:55:33uh
00:55:39i think you guys need to uh talk
00:55:44i'm sorry i'm sorry you guys were talking and i rushed in and made this scene i'm sorry i'm sorry
00:56:03foreign
00:56:28come with me
00:56:32so
00:56:51um
00:57:03oh
00:57:23ah
00:57:32oh
00:57:52foreign
00:58:03foreign
00:58:18okay
00:58:33foreign
00:58:44ciao
00:59:03foreign
00:59:06foreign
00:59:28hey they called you won't have the appointment in the embassy for another week
00:59:36did they give you an exact date yes friday the 14th
00:59:52something wrong
00:59:56well by now you should have a very good picture i don't understand um
01:00:03um what
01:00:08i don't get you i don't i don't get how one second everything can be
01:00:15fine and then what are you talking about no no no no no wait wait no no what are you
01:00:25live these two lives and then not take responsibility when something happens
01:00:33two lives a life here chatting with a guy on the internet is not a life you're not part of
01:00:38all right well what the fuck do you call this right now that i'm i'm here this is happening
01:00:44yes okay so what do you call that i don't know what what do you want i don't understand i'm
01:00:50trying to speak to you what do you want how do i get out of here how do i how do i fucking get
01:00:55out of here what where are you going to i don't care where i'm gonna fucking go okay i have you
01:01:01know what you think i have to be here i mean i have options okay i'm here because i want to be
01:01:07here okay okay use your options i'm watching go go i'll fucking swim i'll swim out of here okay
01:01:15all right i'll swim away from here nice swim nice swing swing swim away go go i'm gonna go get my
01:01:22shit okay
01:01:35i'm right here no i'm good
01:01:53foreign
01:02:08we have to wait
01:02:22so
01:02:29it's really awkward running into your ex here
01:02:34well i can't blame them
01:02:53um
01:03:09what's he what is he saying
01:03:13you're my boyfriend
01:03:15no no she's all yours
01:03:35it's not coming we better go back okay
01:03:44so
01:03:59you have to choose
01:04:02what we have two options
01:04:06tonight i go to sleep in my room we wake up tomorrow we have breakfast and we become friends
01:04:17or we have sex now and we become lovers for the next week until you leave but
01:04:26we won't see each other again
01:04:28how long do i have to decide five four three two one
01:04:48this is what you want yes yes yeah
01:04:52i've never had sex in english before oh god it's like being in a porn movie
01:05:02do you want to fuck me
01:05:05yes yes
01:05:06in english before oh god it's like being in a porn movie
01:05:14do you want to fuck me
01:05:18yes yes
01:05:23words don't have the same semantic importance it's like being someone else
01:05:27it's a very interesting point culturally
01:05:31yes
01:05:35you're doing you're doing great
01:05:40dude energy yogurt wants to write checks are you sitting down
01:05:4420 grand for you 20 for me i'm sending you a preliminary contract
01:05:49sign it and get it back to me asap love you man josh
01:06:01so
01:06:25so you've been working on it for over a year
01:06:27yes has it always been about the same thing well it changed when i met you
01:06:37okay so i inspired your thesis which is based on how internet videos destroyed real art
01:06:46no you didn't inspire it you're so narcissistic
01:06:53i can't work with a single subject
01:06:56because sociology works with emerging patterns and constants you know i don't know why nowadays
01:07:02everybody thinks they have a novel in them or a music album or a movie everybody wants to be
01:07:11an artist and we are left with noise you know like more artists than audiences
01:07:18than audiences and art loses its intrinsical value
01:07:28was that your whole thesis no was that it no did you just you just memorize it and recite it back
01:07:34to me it could be you know i hope you wrote that down so i'm not alone i'm not alone then so so
01:07:42you think we should just do nothing no i mean it's about taking responsibility
01:07:49maybe doing things but without showing them to people
01:08:02so
01:08:14no
01:08:32are you ready i guess i don't know what i'm supposed to be ready for for a ritual
01:08:42okay i'll be the shaman and this is a funeral you have to bury the tomatoes here on the beach
01:08:54as an offering to the river
01:08:57it's going to be hard because i'm a taurus i'm less receptive to black magic what do you think
01:09:02this is some sort of mystical bullshit it's about tricking your unconscious mind
01:09:10with a performance like behavioral science
01:09:19okay well can i say something or yes of course but dig the holes first
01:09:26okay
01:09:32okay you have to start i i alex taylor
01:09:40in body and soul
01:09:48in body and soul i will bury these tomatoes
01:09:52and with them
01:09:59all the visual pollution
01:10:05i contributed to the internet
01:10:15i mean
01:10:19oh man
01:10:22uh
01:10:26now go and bathe yourself in the river and then we shall have sex over the corpses
01:10:52so
01:11:08oh
01:11:22so
01:11:24we stayed very long
01:11:29that light is a vanishing hope
01:11:52to conquer the world by your side
01:12:07because heaven's in danger for you and the rest it's all true
01:12:18if we die i lose
01:12:22you
01:12:25all right how do i do this you have to connect the numbers
01:12:32how can you be ticklish with this tattoo what's the n then is for north north
01:12:41but
01:12:43what's the p a piece for paraná paraná the river the big river here it divides the time too
01:12:55what about the d the d is durazno is the river by the house it's like peach in english
01:13:07is that we're in the peach river yes the peach river i think i'm done
01:13:15do you like it yeah i love it oh shit what that's not that it's not that big a deal
01:13:28i used a permanent marker no yeah oh yeah it's okay hold on no no it's all right
01:13:38no no stop stop no i got it you're fucking kidding me man please tell me josh i'm living
01:13:44i'm living things man that are inspiring okay i can't come home now i'm in love with this girl
01:13:50alice and uh you can't do this to me just sell my shit on ebay and you just keep it just keep
01:13:56the money reverse engineering sofia reverse engineering is the process of disassembling
01:14:01an object to analyze its components and understand its principles up to this point i knew that sofia
01:14:06once had a father who was an architect that she had an island in el tigre where she spent her
01:14:11childhood vacations and that the family stopped visiting when her father died i knew that that
01:14:16summer she decided to spend three months on the island which happened to coincide with the all-time
01:14:20low of her relationship with victor i knew there was a beach a swamp a chicken a river and a boat
01:14:27there was floor and the thesis sofia was writing for over a year now unable to finish
01:14:32in my imagination all these were spare parts that thoroughly analyzed could reconstruct a
01:14:37truth about sofia they could give me a map but map and territory are known to be very different things
01:15:03um
01:15:16go to the living room
01:15:33foreign
01:15:49oh
01:16:03foreign
01:16:17what's going on nothing i think i deserve an explanation
01:16:22what's going on
01:16:33for me
01:16:55okay
01:17:02foreign
01:17:16don't tell me he's tell me he's giving you an explanation right now no no because you know
01:17:20what i saved his ass a minute ago let's give me a minute please
01:17:33what happened
01:17:37he lost we don't even know because there were some rumors that because he presented all this
01:17:42new work he might not get it and he exploded in the middle of the exhibition no yes
01:18:03no
01:18:08yes and then the way back he started saying that he was in love with me
01:18:12what no you want to have kids you know of course you're young
01:18:33foreign
01:18:49foreign
01:19:02oh
01:19:20hey hey
01:19:23so so what so what so what i i just can't i just can't believe
01:19:31how manipulative he is he sabotages his own art exhibition again and we're supposed to
01:19:36pick up the pieces you know that he was hitting on floor on the way back okay who are you now
01:19:41the morality police you're not in a position no you need to tell him about us you don't
01:19:50have the right to make me feel bad about this situation i'm not being a bad person okay
01:20:01so
01:20:22hola
01:20:25hola
01:20:31i don't want to be here anymore
01:20:36me neither
01:21:01so
01:21:31so
01:21:38let me see your drawings sure
01:22:01so
01:22:08you're talented you know
01:22:13you're going to have to concentrate flora
01:22:15that's the yellow
01:22:17I don't say it for the yellow
01:22:31so let's go let's go outside
01:22:37so
01:23:08foreign
01:23:14the fuck is he talking about he's just pissed because i'm helping you
01:23:18he's pissed because you're helping me yes i'm so fed up with this bullshit
01:23:25all right what is it man what is it now buddy what do you need
01:23:37he's asking if you like chicken
01:24:02what what's going on he wants you to kill a chicken with him
01:24:06what
01:24:11are you fucking insane
01:24:14i've never killed anything before in my life i'm not going to start with it put it back man
01:24:35foreign
01:24:55foreign
01:25:05so
01:25:07i don't understand what you're saying man
01:25:27leave her alone
01:25:29i'm not there
01:25:33just leave her alone man
01:25:38hey motherfucker
01:25:44is that
01:25:51settle down okay everything's gonna be all right
01:26:00hey
01:26:17put it down man put it down
01:26:20foreign
01:26:27i don't speak spanish
01:26:38here here here
01:26:46there you go in your native tongue
01:26:50no soy el primo de sofía me la estoy follando no soy el primo de sofía
01:27:15Sofia
01:27:20is private
01:27:25what Emma fell into the river and she didn't know how to swim so i went after her
01:27:43out get out
01:27:50so
01:28:07who is that guy how many how many guys you're fucking around with a hundred
01:28:11leave me alone you're stuck here you're stuck here you're stuck with these people let's get
01:28:15the fuck out of here okay no no you just need to get the fuck out of here i don't know where
01:28:20it doesn't matter where we go where are we going Alex did you get all this wrong we won't be
01:28:26together you're so afraid of doing anything that you make this this fucking this mess and instead
01:28:31of facing your shit you're lying to yourself i'm lying and you tell me the truth what are you doing
01:28:43here in argentina i needed to see you
01:28:55and the interview
01:29:01see at least my lies are more sophisticated than yours
01:29:06oh why do you do that you're such a child you always have to say something clever or witty or
01:29:15funny instead of showing me who you really are who the fuck are you show me who you are
01:29:22for two seconds i'm sorry i'm sorry
01:29:36so
01:30:07Alex, where are you going?
01:30:15i'm leaving i'm leaving too okay i want i want to leave can i go with you
01:30:21i don't sure yes okay the next boat it's at 7 45 that's in that's in 22 minutes
01:30:28okay i'll get my stuff will you wait yes yes
01:30:59okay
01:31:09okay you'll go that way and take a cow okay okay
01:31:14okay you're black and yellow remember i'll see what i can do
01:31:29um
01:31:37no no no no no no no no
01:31:58um
01:32:20was it a
01:32:21the man in a one that's steady going under
01:32:33was it a two wheels
01:32:51so
01:33:10energy and spending in 1946 george bataille wrote a living organism ordinarily receives more energy
01:33:18than is necessary for maintaining life if the excess cannot be completely absorbed in its growth
01:33:23it must be spent willingly or not gloriously or catastrophically it's a matter of metabolism
01:33:31all the experiences i had that summer all these images i received every day were looking for a
01:33:36way out somehow so i went on and painted wrote played sang my story then published it on endless
01:33:42blogs places where fruits dance or something equally trivial is expressed as i said metabolism
01:33:56alex
01:34:00are you okay
01:34:04what are you doing here victor left
01:34:07so and you were right about everything
01:34:14well good i'm glad i could help i have to go i have my appointment hey it's not easy for me to
01:34:19admit things so you have to give me some credit okay congratulations what do you want me to say
01:34:28i want you to come back with me
01:34:30what do you mean today i learned today
01:34:34you can work on your drawings and i can finish my writing
01:34:40you have to see how beautiful is the winter there
01:34:59so
01:35:09welcome
01:35:17mr tiller are you aware of the situation the serious situation that you're in you don't have
01:35:23any documents you lost your passport or you were robbed i don't know if these questions will be
01:35:29answered to me okay any misleading information you're going to jail and not in the united states
01:35:39mr tiller what do you do i'm a filmmaker excuse me i'm a filmmaker can you be more specific please
01:35:46i do animation um i have a uh this project that i'm i'm planning on doing when i get
01:35:52back to new york yeah i saw that um i'm actually working on a um that's what i've been working on
01:36:00you don't have to get nervous i'm sorry okay let's look at this yeah that's i'm going to
01:36:05turn that into an animation project in new york and animate that
01:36:12i'm not interested in what you're planning to do tell me what did you do back when you
01:36:18were in new york give me something now you're going to be in a lot of trouble give me something
01:36:24i could work with um i i i made a short film you made a short yes okay let's get that three years
01:36:31ago um uh uh well the film was called dancing tomatoes dancing and it got a lot of attention
01:36:42yeah it um it uh it was uh you're not pulling my leg are you i couldn't if i tried dancing tomatoes
01:36:51just a second dancing tomatoes you're googling it well the united states we google too that's
01:36:59how we try to help people like you good
01:37:09yo ralph yo man stop what you're doing come here i want you to check this out i ain't never seen
01:37:15this before this is what you do come here man check this out first ralph mr taylor
01:37:23how could he come up with an idea like that just pass please look at that
01:37:34ralphie dance better than you
01:37:38mr taylor welcome to the united states again really that you're gonna let me back in the
01:37:44country we're gonna let you back look at that look at that i never see and look look we have them here
01:37:53so
01:38:24so
01:38:29oh
01:38:59come on
01:39:11move like those trees
01:39:16that patiently wait
01:39:19for me
01:39:41i can suns, moons, rose, clouds, fly for more
01:40:11i
01:40:42do
01:40:47costumed in gold
01:40:51line of blue hen down the brain
01:41:01clenching eyes out weather's way
01:41:11Shred the pavement, hit the place
01:41:17With strikes and jets
01:41:21As the lines reach to a face
01:41:41One black and close
01:41:51Two I kissed her in the shade
01:41:57Nekong and Dawa
01:42:02Till I leveled you away
01:42:06Stale brick black of hearts
01:42:11In a cluster of parade
01:42:17Through winter and winter
01:42:21Out in city far
01:42:25Threshing space
01:42:27And there is a knife
01:42:31There is a knife
01:42:34Slowly I sink and look at you
01:42:37There is a knife