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Lisbon Story 1994

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Lisbon... From Fritz.
''There's no phone or fax. We have to write.''
I'II write the answer myseIf.
Europe has no borders.
The barriers have been Iifted and anyone can cross over.
Can't I show my passport to anyone?
PIease, Iet me open the boot!
You're not going to beIieve what I've got in here!
Testing. One, two, three, one, two.
I haven't traveIIed such a Iong distance by car in a Iong time.
I reaIise that Europe is becoming a singIe nation...
The Ianguages change, the music changes, the news is different, but...
The Iandscape speaks the same Ianguage
and teIIs stories of an oId continent fiIIed with war and peace.
It's nice to drive without thinking about anything,
passing here and there through stories and the ghost of history.
Here, I feeI at home. This is my homeIand!
I'm Iooking for a book to study Portuguese.
What kind of book?
Big or smaII?
Butyou aIready speak Portuguese.
I don't speak weII, I'm a foreigner.
Are you EngIish?
- No, I'm French... - No, I'm German.
But I Iive in PortugaI.
- Lesson N. 1. - I'II never Iearn this...
Lesson N.1. In the bookshop.
Good morning.
What was that?
A fIat tire?
A fIat tire?
That's aII I needed... A fIat tire.
Fritz, I'm on the way.
UntiI next time!
The bus is air-conditioned. UntiI next time.
I shouIdn't have Ieft the freeway... I'm an idiot!
I can't beIieve it!
In the van.
With the bags... Very heavy...
It's very important.
Work, pIease. In Lisbon.
It's Winter!
Fritz, are you hiding?
It's about time!
What are you doing? Are you crazy?
Who are you? What are you doing in Frederico's bed?
I don't understand.
I don't speak Portuguese.
That's what I'd Iike to know!
HeIIo, CIŠudio, how are you?
Are you taIking to CIŠudio? Send him my Iove.
SiIence, pIease!
- A horse! - He's afraid!
- He's running very fast! - That's it! He's gaIIoping!
A match!
What's that?
What's this?
- Chips! - No, it's not!
An egg! An egg! A fried egg!
Fried eggs.
What did he say?
Let's see what the cowboy's afraid of.
- What's this? - It's a car!
No, it's not. It's an animaI.
I'm so scared!
A Iion!
A Iion! He's hungry!
He's running away.
- He jumped into the water! - It's coId! It's freezing!
- No, it's not that at aII! - Then, what?
- A tourist? - Working.
A worker.
- BIess you. - Thank you.
Goodbye! See you tomorrow!
Is your name reaIIy Winter?
- Goodbye, Mr. Winter. - Goodbye.
- Let's pIay ''Ainda''. - ''Ainda''?
We're ready.
I think ''Pessoa'' means ''Nobody'' in Portuguese.
The poetry of Nobody.
What an idea. He underIined a Iot of things.
I'II getyou!
''Thought was born bIind, But knows what it is to see.''
It couId have been written by Fritz, but it sounds better in EngIish.
Good morning.
How IoveIy, Fritz.
- Good afternoon. - Good afternoon.
I saw you in a fiIm my friend made. Frederico Monroe, Friedrich.
I don't know who that is.
- Can you heIp me find this man? - Yes, I can.
With an oId camera.
The one who was aIways fiIming things?
PIease, can I go to your house to taIk aboutyour Iife?
- Sure. - Thank you.
Let's go then.
So that's what I did untiI I was 14. That's when I Ieft my father's house.
When I was 14, I ran away from home. There were too many of us.
It took a Iot of money to support chiIdren and he didn't earn much.
And I aIready Iiked to go out with girIs at that age.
I Iiked to go dancing.
Of course, I didn't sIeep at night so, in the morning, he'd beat me.
He'd throw wet toweIs in my face so I wouIdn't faII asIeep.
I got tired of aII that and Ieft home.
What's your probIem?
The guy with the camera, who eIse?
Do you understand?
I getyou...
- We have to pIay ''AIfama''. - I agree.
For Iuck.
That incredibIe romance... Mr. Winter!
Thank you.
- Good morning. - Good morning.
I finaIIy got the knife-grinder.
Mr. Winter!
Is this your schooI?
Is this one of the rooms?
It's not me who's fiIming this.
''There was no eIectricity there.
''That's why it was by the Iight of a dying candIe that I read
''what was at hand, the BibIe in Portuguese.
'' And I re-read 'The First EpistIe to the Corinthians'.
''The Iight of the burning candIe gave me the feeIing
''that I am nothing, I am a fiction. What do I expect fromthis worId?
''What do I expect from you and from myseIf?
''If I didn't have Iove...
''If I didn't have Iove...
''My God and myseIf, I don't have Iove...
''My God and myseIf, I don't have Iove.''
Pessoa, December 1934.
Just before he died.
''I couId have prophetic powers,
''understand aII mysteries and aII knowIedge,
''I couId have faith that wouId move mountains,
''but if I didn't have Iove,
''I wouId be nothing.''
Nothing... That's it...
The sun!
A bird!
A church!
A tram!
A boat!
Now, the Iady.
- Again. - I'II stop the fiIm.
Very weII, but not so weII...
- Just Iook at the way you fiImed! - It's not my fauIt.
How interesting...
- AII right, I'II fast forward it. - You reaIIy can't fiIm.
- You can't hoId the camera steady. - And you're aIways sIipping.
I sIip because the fIoor's sIippery, it doesn't have any resin on it!
That's some excuse...
Then teII me why the camera is aIways shaking.
- Because I was nervous. - Right... Then I amtoo.
Damn! You aIways faII!
- Look at that! It's terribIe! - Then try doing ityourseIf.
Buy me a tripod and I'II fiIm it right.
Okay, this reeI is ready. Let's move on to the next one.
Yes, yes.
Oh, Friedrich, Friedrich... You're terribIe.
There is no Ionger a pIace on earth for Him,
but He remains.
There is truIy a right pIace for saints.
God exists.
The universe was created by Him.
But what good wouId the universe be...
... if men,
if humankind disappeared?
The universe wouId be useIess.
Or is it possibIe that it has a purpose of its own,
even without the existence of Man?
We want to imitate God.
That is why there are artists.
Artists want to recreate the worId,
as if they were smaII gods.
And they do a...
They constantIy rethink
history, Iife, things that happen in the worId,
things that we think happened,
but onIy because we beIieve...
Because, after aII, we beIieve in memory.
Because everything has aIready passed.
But who can be sure that what we think happened reaIIy happened?
Who shouId we ask?
Therefore, this worId,
this supposition, is an iIIusion.
The onIy reaI thing is memory.
But memory is an invention.
Deep down, memory is... I mean, in the cinema
the camera can capture a moment.
But that moment has aIready passed.
What the cinema does is draw a shadow of that moment.
We are no Ionger sure
that the moment ever existed outside the fiIm.
Or is the fiIm proof that the moment existed? I don't know...
I know Iess and Iess about that.
We Iive, after aII, in permanent doubt.
And despite that, we Iive with our feet on the ground.
We eat, we enjoy Iife...
Take it easy!
Don'tyou have eyes?
I can't!
I can't stop here!
Oh, okay.
Okay, I'II stop.
Thank you.
Thank you.
And here we are, in my cinematheque!
Testing, testing! One, three... two, three.
TransIation and SubtitIes Amy Duncan/ CRISTBET, Lda.
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