Little Ashes

en
00:00:05 Made by Ana Marija
00:00:41 Dry land
00:00:43 Quiet land of immense night
00:00:47 Wind in the olive grove
00:00:49 Wind in the Sierra
00:00:56 For Salvador Dali, of the olive-colored voice
00:01:17 - Here we are, the three musketeers.
00:01:19 - Did you miss us?
00:01:21 - Luis Buñuel.
00:01:23 - It's Louie this term.
00:01:28 - Published?
00:01:29 - I signed it for you.
00:01:30 -And he would never have managed it
00:01:34 -He's waisting his education with bad
00:01:37 My parents were so pleased.
00:01:51 - The soul of the west wind
00:01:57 - Just say what you want to say, Louie.
00:01:59 I was having a lovely time reading about
00:02:03 Oh, look! Here's God!
00:02:07 It's just a bit... andalusian.
00:02:10 - I am andalusian.
00:02:11 - You know what I mean.
00:02:13 - You think it's bad.
00:02:14 - No, not the writing. The writing is
00:02:17 It's the subject.
00:02:19 What does Federico García Lorca feel
00:02:24 What makes him angry?
00:02:25 What turns him on?
00:02:29 Oh, come on. Don't be such a prude.
00:02:31 I am trying to be constructive here.
00:04:28 ... the other flag in between her leg ...
00:04:33 ... and waived the flag ...
00:04:34 ... it was a victory for ...
00:06:14 - Holding all this brilliance isn't very
00:06:18 Name?
00:06:20 - Salvador Felipe Jacinto Dalí Domenech.
00:06:23 - Studying?
00:06:25 - Fine art.
00:06:27 - Clearly.
00:06:28 Interests?
00:06:30 Affiliations?
00:06:33 - Only dada, anarchy and the
00:06:37 - Whose genius?
00:06:39 - My own.
00:06:41 - Bravo.
00:06:43 - Luis Buñuel.
00:06:45 - Pleased to make your acquaintance.
00:06:48 Excuse me for a moment.
00:06:53 Private view at number seven!
00:06:56 Where is everyone? Come on!
00:07:02 This here... Sergio.
00:07:08 Pechuga. Like it?
00:07:12 Ah, look! A strategically placed
00:07:16 Very good, very good, my friend.
00:07:41 That's Federico, resident poet.
00:07:44 - García Lorca.
00:07:47 He's famous.
00:07:49 I wonder if he knows.
00:07:52 Come on, let's tell him. Federico!
00:07:54 My new discovery. Salvador, may I
00:07:59 playwriter and another self-titled genius,
00:08:03 - We've met.
00:08:07 You're a cubist.
00:08:09 - No.
00:08:11 - This is cubist.
00:08:14 You're going to be something else?
00:08:17 I'm putting together a magazine.
00:08:20 Would you let us have this
00:08:29 She is beautiful.
00:08:32 - She's dead.
00:08:35 - Federico, where have you been?
00:08:36 - Have you met Paco?
00:08:39 - Hours ago.
00:08:42 - Trying to find a subject.
00:08:44 Louie thinks I'm a danger of
00:08:46 - Well, you've read the poems, apparently.
00:08:50 - I like them.
00:08:51 - Of course you like them, everybody
00:08:54 I just think you should write about
00:08:58 ...the decapitation of the putrid priest
00:09:01 Come on!
00:09:03 - Eiffel tower.
00:09:08 - Aeroplanes.
00:09:19 - A recent acquisition?
00:09:22 - Salvador Felipe Jacinto Dalí Domenech.
00:09:24 - Catchy.
00:09:25 - New, but showing considerate promise.
00:09:28 This is Adella.
00:09:32 Federico the Famous,
00:09:38 - Federico!
00:09:43 - Your hair!
00:09:44 - It's gone.
00:09:47 I'm very shocking, apparently, because my
00:09:52 - Quite right. I wouldn't.
00:09:54 - I've missed you.
00:09:59 The holidays were terrible! There was no one
00:10:02 I read 80 books!
00:10:05 - 80?
00:10:07 - 40.
00:10:09 10, actually.
00:10:11 - I've missed you, too.
00:10:16 This is Salvador.
00:10:19 He's just arrived. He's a painter,
00:10:22 - Well, ain't we lucky to have you.
00:10:37 - Champagne!
00:10:40 - You all live like kings!
00:10:42 - Surely, you're not suggesting we live like students.
00:10:47 Magdalena is a writer.
00:10:49 - At the women's college.
00:10:51 - What do you write?
00:10:53 I'm getting an apartment!
00:10:54 - How will you ever get your parents to
00:10:57 - By not telling them.
00:10:59 All lies are elaborate deceptions.
00:11:02 Anyone got a match?
00:11:04 - Spain is rotting from the inside.
00:11:06 Fated monarchy crash and dement our
00:11:09 - Something has to give.. Look at
00:11:12 - Look at Paris!
00:11:15 Dance, my dove.
00:11:40 - Manuel de Torre.
00:11:43 Great artist of the * idiot* people.
00:11:46 Once told a singer
00:11:49 You have a voice
00:11:53 You know the styles
00:11:57 But you will never triumph in your art
00:11:59 Because you have no...
00:12:03 A passion, on the very edge
00:12:07 Everywhere else in the world, death comes
00:12:13 But not in Spain.
00:12:15 In Spain... They open them.
00:12:24 - And I tell you this.
00:12:27 There is no beginning and we do not
00:12:32 We are not sentimental.
00:12:35 Like a furious wind, we rip at the fabric
00:12:41 And we shape an epic spectacle.
00:12:46 Of disaster, fire and decomposition.
00:12:50 - Ideal, ideal, ideal.
00:12:59 Dada! Now, that is what I call poetry.
00:13:05 - Yes, you know when I took the exam
00:13:11 ...I worked for three days on the drawing
00:13:15 And I had one hour to get it right, just
00:13:21 .. and I gave it to our professors..
00:13:24 ... and they said "This painting..."...
00:13:27 ... "This painting, Salvador, it's"...
00:13:32 - No, no... Don't worry.
00:13:38 - They told me, this painting...
00:13:42 "It's perfect."
00:13:51 - Whose idea was this?
00:13:53 Federico's.
00:14:03 - Faggots!
00:14:07 Better hide! They're coming
00:14:14 They should be more careful.
00:14:17 The boys are starting a gang,
00:14:20 Going to clean things up!
00:14:24 - Thinking of joining them?
00:14:27 - I prefer to see the marricones
00:14:32 He'll freeze.
00:15:12 I can't stay here much longer, Federico.
00:15:14 Can't breathe.
00:15:17 We should be in Paris, mon ami.
00:15:20 You can write, I can work
00:15:23 - I thought you wanted to be
00:15:25 - That was last term.
00:15:27 - And what about the boxing?
00:15:29 - I've always been persisten
00:15:35 - Well, anyway....
00:15:38 I don't speak French.
00:15:39 - I'll buy you a book.
00:15:46 - I can't leave Spain, Louie.
00:15:48 - Why not?
00:15:52 - I hate new shoes.
00:15:57 When I was a boy, in the Vega...
00:16:04 There was some trouble in a village
00:16:09 There was always something.
00:16:13 But the next thing we heard...
00:16:16 ... had killed them all.
00:16:18 The whole village.
00:16:21 And I remember these carts,
00:16:25 All of the people laid out...
00:16:27 ... feet close together.
00:16:30 Shiny shoes.
00:16:32 As if they were resting.
00:16:36 And sometimes, when I think about it...
00:16:39 ... it's as if everything around me,
00:16:43 ... and the buildings...
00:16:46 ...and the animals...
00:16:48 They are like pieces of cotton.
00:16:52 And they just float away.
00:16:55 And I'm alone.
00:17:00 And that...
00:17:03 ...when I hear it...
00:17:06 Death.
00:17:09 Breathing behind of the wall.
00:17:13 Death, rising up from my
00:17:19 And there is nothing left... but the
00:17:26 Now you tell me, Louie...
00:17:27 ... are those French thoughts?
00:18:47 - This fucking country! I tell you, Federico,
00:18:50 - I know.
00:18:52 This is why you must come with me. We have
00:18:56 - What difference are you going to make
00:18:59 The difference needs to be made here.
00:19:06 - Sensational.
00:19:10 - The girls will go crazy.
00:19:12 - I expect so.
00:19:14 - You don't do any sports, do you?
00:19:17 I run most things.
00:19:20 Fencing?
00:19:21 - Don't stretch a lot, I'm afraid.
00:19:23 But, listen...
00:19:24 I'm a part of this underground movement,
00:19:28 We keep a low profile, wouldn't want
00:19:31 Now come or we'll miss it!
00:19:34 - Puppet show.
00:19:51 - They complain to me about democracy...
00:19:54 Ridiculous.
00:19:57 Everyone in this city lives
00:20:01 Every single man and woman.
00:20:03 Although...
00:20:05 Of course...
00:20:06 Women are free too, but in a slightly
00:20:11 Look at the peasants.
00:20:13 Why, I'd cut off my own leg to have half
00:20:19 Just think, if the harvest is good...
00:20:21 ... they're free to give up over half their
00:20:25 If the harvest is bad, why, they and their
00:20:30 ... to starve to death.
00:20:39 Holy Mother, forgive me, I have sinned.
00:20:44 Help me to resist temptation.
00:21:25 So, once more - forget the rules!
00:21:29 There is no science to art.
00:21:33 Interpret... Interpret and then draw
00:21:38 See with your soul... See what you feel...
00:22:04 Mr. Dalí! Mr. Dalí!
00:22:07 So... They won't publish me.
00:22:10 They won't publish me unless I get
00:22:14 I said to them, "I've got a name for you..."
00:22:17 "Pope bloody Joan"
00:22:19 They were so apologetic, so embarassed...
00:22:23 "Miss Merra, if it were up to us, we'd hire
00:22:28 to make a woman write and think about politics...
00:22:31 I should be at home, cooking for my
00:22:36 It's just so frustrating, Federico.
00:22:39 - You could use my name,
00:22:43 If it would help.
00:22:46 That's probably the best offer anyone is
00:22:49 ... I refuse to give into that bullying.
00:22:52 I'll send them 20 letters a week, I'll
00:22:56 - Really...
00:22:59 I despise hats!
00:23:02 You don't need hats.
00:23:07 Come on. Let's get this thing over with.
00:23:11 - Isn't that Salvador?
00:23:13 Salvador!
00:23:24 Can I have a look?
00:23:32 - It's an experiment in perception.
00:23:37 - It's fascinating.
00:23:39 - It's yours.
00:23:40 - No, no, no.
00:23:43 - No, please. I insist.
00:23:46 - Thanks.
00:23:47 - I'll... I'll have it framed.
00:23:52 - So, where are you going?
00:23:54 Federico is being very kind in agreeing to
00:24:01 My aunt's giving one of her legendarily dull
00:24:06 - No. - Yes! It's vital for my aunt to know
00:24:11 You could show her you picture. - But, you
00:24:15 We don't want to subject poor Salvador.
00:24:19 ... I'd love to.
00:24:28 - Magdalena.
00:24:31 What have you done to your hair?
00:24:34 - These are my friends, I'm going to
00:24:40 - Federico García Lorca.
00:24:42 - I'm so glad you could come.
00:24:47 -There are some very interesting people
00:24:52 -Fernadno de Gavalle and, of course,
00:24:57 Magdalena's been talking about you
00:25:00 I had begun to wonder whether you were
00:25:05 Let me introduce you to... Salvador Dalí.
00:25:11 - I'm trying to get very drunk,
00:25:14 I think soon I might be sick.
00:25:16 - You must be another writer?
00:25:19 - No, Salvador is one of Madrid's famous painters.
00:25:23 - I recently escaped from prison.
00:25:26 - From prison?
00:25:28 - 31 days of absolute incarceration.
00:25:32 I found it, I find it very inspiring.
00:25:36 How do you feel about communal defecation?
00:25:42 So tremendously beneficial for the complexion...
00:25:47 - He's upseting you, isn't he?
00:25:51 - Is it time for my bed, mother?
00:25:58 - Do excuse us.
00:26:14 - Fact remains, that these people are not few people...
00:26:19 - They come over here, living of our charity,
00:26:25 - It is essential to have a unformed approach
00:26:30 Restore a certain autonomy to the Civil Guard.
00:26:33 - Who are those unbearable men?
00:26:35 - The one that looks more like a pig is senor Milagro.
00:26:40 The other one is Fernando Gavalle.
00:26:43 - Why do I know the name?
00:26:44 He's a little *idiot* from Madrid.
00:26:49 - Senor García Lorca, you are from the
00:26:52 - Yes.
00:26:53 - Well, then, you know better than anyone
00:26:57 - And the youngest is 17 and she is engaged to
00:27:05 - Bravo, bravo! Superb.
00:27:10 Oh, how avangard!
00:27:14 Simply superb.
00:27:16 - How dare you?
00:27:20 - How dare I?
00:27:22 How dare you, sir? Then you clearly don't know
00:27:27 The saviour of modern art.
00:27:29 And this man is a genius.
00:27:34 He's a great poet.
00:27:35 Aren't we honoured, ladies and gentlemen?
00:27:38 Saviour of modern art and his friend,
00:27:43 Recite something.
00:27:44 - No.
00:27:46 - Oh, yes, do.
00:27:49 - I'm sorry.
00:27:50 - I don't have anything.
00:27:52 - Go on.
00:27:54 - Federico. Fuck suitable.
00:27:57 - Well, come on then, great poet.
00:28:01 Sing for your supper.
00:28:15 Oh city of the gypsies
00:28:18 Who could see you and not remember you
00:28:21 City of musk and sorrow
00:28:23 City of cinnamon towers
00:28:26 Oh, city of the gypsies
00:28:28 Corners hung with flags
00:28:31 Put your green lights out
00:28:33 The Civil Guard is coming
00:28:37 The city, free of fear
00:28:39 Was multiplying doors
00:28:42 Forty Civil guardsmen
00:28:43 Pour through to sack and burn
00:28:47 Flight of long screams rose
00:28:52 Sabre slashed the breezes
00:28:59 Through the half-lit streets
00:29:02 Old gypsy women
00:29:04 Flee
00:29:06 With their sleepy horses
00:29:07 And enormous jars of coins
00:29:10 Up the steep streets
00:29:15 Leaving behind them brief
00:29:20 Oh, city of the gypsies!
00:29:25 Through a tunnel of silence
00:29:28 While the flames encircle you
00:29:50 - Let's get out of here, hm?
00:29:55 - Viva la revolucion!
00:30:33 - Federico, when I saw you at the dinner...
00:30:40 I saw what you really are.
00:30:45 You're... Raw.
00:30:49 Like some animal that's been skinned.
00:30:58 So, what's she like?
00:31:00 - Who?
00:31:03 - Magdalena, you know.
00:31:05 - No.
00:31:06 What?
00:31:10 - What about with other girls?
00:31:12 - Oh.
00:31:14 You mean...
00:31:17 - Not with Magdalena, but back home...
00:31:22 - Really?
00:31:23 - Haven't you?
00:31:27 - I've had a few.
00:31:37 - All the institutions that prop up this corrupt
00:31:42 - I just think it sounds a bit extreme.
00:31:44 - But it has to be extreme, Paco.
00:31:47 All the churches, all the palaces!
00:31:51 - You know, when I was small...
00:31:54 There was this ruined tower near our house,
00:31:57 You'll see it when you come.
00:31:59 - I'm coming?
00:32:01 - Of course, with the holidays...
00:32:05 You must come.
00:32:07 I would sit in this tower and I draw,
00:32:10 I never came down.
00:32:12 Just imagine this little shrimp of a child, half-starved,
00:32:17 And I wouldn't come down in the winter, in the summer.
00:32:24 I'd sit in it for days.
00:32:26 It's even then I realized that if I'm going
00:32:31 ... than average, if anyone is going to
00:32:35 ... then I need to go further in everything.
00:32:38 In art. In life.
00:32:41 And everything that they think is real - morality,
00:32:47 I... We have to smash that to pieces.
00:32:50 And we have to go beyond that.
00:32:53 We have to be brave, Federico.
00:32:58 - No limit.
00:33:01 - No, no limit.
00:33:07 - What do you think you're doing?
00:33:09 - What?
00:33:10 - I saw you. I bloody saw you!
00:33:13 You had your hand on her leg!
00:33:15 Are you denying that?
00:33:20 Get off me! I can fight my own battles!
00:34:24 - Federico.
00:34:27 - No.
00:35:23 - Look.
00:35:34 It's beautiful.
00:37:51 - I've never seen anything like this before.
00:37:55 - It has all the tones of Tangi, but...
00:37:58 I think it's something new.
00:38:02 - It's extraordinary.
00:38:06 Me!
00:38:10 - You can name it, if you want.
00:38:15 - "Little Ashes".
00:38:18 Because you can paint us into hundred pictures.
00:38:23 We'll still be dust.
00:38:30 - We'll still be in the pictures.
00:38:33 - Not us.
00:38:34 We'll be echoes of ourselves.
00:38:37 Ghosts.
00:38:40 And I don't want to be a ghost.
00:38:44 Come with me to Granada.
00:38:47 - I can't.
00:38:48 - You'll see my family, my home.
00:38:51 Everything I am.
00:38:57 I see you now, Federico.
00:39:21 The afternoon gone mad
00:39:31 Falls upon the rider's wounded thighs.
00:39:38 Black angels were flying on the western breeze.
00:39:46 Angels with long braids and hearts
00:43:05 - Good night.
00:43:08 - Good night.
00:44:33 Salvador.
00:44:35 I think of you and I've never thought
00:44:40 Since our time together...
00:44:42 ... everything I am has been split apart.
00:44:45 I write in a way that I've never
00:44:50 My pen scratches the surface
00:44:53 The masks... And then it goes
00:44:57 Right down to the bones.
00:44:59 Downt to the dark, cold jelly in the
00:45:07 Federico.
00:45:09 From the day you left...
00:45:11 ... I've been in the studio day and night.
00:45:14 I started to work on designs for
00:45:17 I'm doing them gypsy-style.
00:45:19 Andalusian.
00:45:20 Like you.
00:45:22 The unconscious mind, Federico...
00:45:25 ... it rises like a beast within me.
00:45:27 I let it speak and it produces such
00:45:35 It's true.
00:45:36 I touch sea bottom in myself.
00:45:39 And my poems write themselves.
00:45:41 I am, just as you said...
00:45:43 Raw.
00:45:44 Bloody.
00:45:45 Alive.
00:45:47 And I, too, want to be alive.
00:46:28 - How did you get in?
00:46:32 - I stole your key.
00:46:38 - It's going to look superb.
00:46:41 - No.
00:46:45 After Barcelona, we should take it to London and
00:46:51 - Why not?
00:46:53 No limits.
00:46:59 - So why did you come back so early?
00:47:05 You know what you said in your letter?
00:47:09 About everything that you are being split apart?
00:47:35 - Louie.
00:47:36 What an amazing surprise.
00:47:39 - What are you talking about?
00:47:41 - I didn't know when you'll be getting back.
00:47:44 You didn't say when you were coming.
00:47:45 - Are you feeling alright?
00:47:48 Salutations, Mr. Dalí.
00:47:52 - Sit down, sit down.
00:47:54 Would you like some tea?
00:47:57 Your look.
00:47:59 - Sorry?
00:48:05 - What are these?
00:48:07 - Set designs for Mariana Pineda.
00:48:10 - To be performed?
00:48:12 - In Barcelona. Salvador's father got us
00:48:16 - That's... excellent news.
00:48:19 You're doing the sets?
00:48:20 - Nothing wrong with that, is there?
00:48:23 - I didn't say there was.
00:48:32 - How's my new screenplay coming?
00:48:38 My short film.
00:48:40 The one I asked you to write about.
00:48:42 - Yes, of course. I haven't had much time
00:48:45 - Don't worry about it.
00:48:50 - Federico...
00:48:52 Let's play the "putrescent" game.
00:48:55 - The what?
00:48:56 - It's "putrescent".
00:49:00 Meaning?
00:49:03 - Outdated, outmoded.
00:49:05 - Generally out, then.
00:49:09 - Yes, generally.
00:49:13 - Come on, Ferry.
00:49:17 They're histerical. They're...
00:49:22 - Look. Let's skip the tea, let's run out and
00:49:29 - What shall I wear?
00:49:34 - The blue.
00:49:36 - I don't like the blue.
00:49:39 What about the grey, then?
00:49:41 - Oh, I love the grey, yeah.
00:49:48 - I went to see that play with Jorge.
00:49:50 - Which one?
00:49:51 - Jorge is a worm.
00:49:52 - "Salome".
00:49:53 - Oscar Wilde. I thought they banned it.
00:49:58 Marricon.
00:49:59 - Unproved by all accounts.
00:50:01 - Not Wilde, Jorge.
00:50:04 - He's got a girlfriend.
00:50:06 Oh, come on! He screams "queer"
00:50:08 - Keep your voice down, Louie.
00:50:12 Well, I won't!
00:50:14 Because it is illegal. And it is illegal because
00:50:19 They should get more then 15 years
00:50:24 - I never thought I'd see the day that Luis Buñuel
00:50:29 - Dance with me.
00:50:31 - That's enough.
00:50:34 - Oh, I'm sorry, Magdalena.
00:50:36 Did I offend your vaginal sensibilities?
00:50:41 - Look at the big, brave Federico.
00:50:44 What a man.
00:50:46 - You are drunk.
00:50:58 Things have certainly changed around here,
00:51:03 - What do you mean?
00:51:06 - It's the college.
00:51:07 Staying on, year after year. Studying this and that until
00:51:12 It is a fantasy land for spoiled school kids.
00:51:16 Look at Federico.
00:51:17 Oh, I know. He's doing well.
00:51:19 Plays, whatever.
00:51:21 In Paris, they would do a fuck up
00:51:26 It's... What's your word?
00:51:34 - Federico is working on something now.
00:51:39 That will blow everything apart.
00:51:41 - What's it about?
00:51:42 His family?
00:51:44 Butterflies?
00:51:45 God?
00:51:48 - Me.
00:51:59 - It'll be sentimental rubbish.
00:52:02 Always has been, always will be.
00:52:07 Still, if you go around behaving like that...
00:52:13 ...then you have to expect it.
00:52:16 Look.
00:52:18 You don't have to say anything.
00:52:21 But you should really get away from here.
00:52:24 In Paris, with your talents... You could set the
00:52:30 I'm leaving tomorrow.
00:52:33 - What? Why?
00:52:35 - It's over here.
00:52:37 Everything's gone.
00:52:40 To your word.
00:52:45 Now this is more like it! Come on, Dalí.
00:53:09 - It's five o' clock.
00:53:12 - What's that?
00:53:17 - The revolutionary Dali communicator!
00:53:20 I'll be a millionaire!
00:53:22 - I'll buy shares.
00:53:36 Which hand?
00:53:39 - Left.
00:53:42 - For you.
00:53:42 And
00:53:47 For you.
00:54:23 Where are you going?
00:54:25 - To the bathroom.
00:54:27 - With your diary?
00:55:41 If I became a fish?
00:55:43 I'd change into the grave.
00:55:45 If I became the grass?
00:55:48 Change into water.
00:55:50 If a became an angel?
00:55:53 I'd change into an eye.
00:55:55 And if I became an eye?
00:55:57 I'd turn into a knife.
00:56:43 Salvador Dali, with your olive-colored voice...
00:56:46 It's genius.
00:56:48 I mean, everybody says it is.
00:56:50 Tell me the bit about the bicycles, again.
00:57:07 I sing your restless longing for the statue
00:57:10 Your fear of the feeling,
00:57:15 I sing the small sea siren who sings to you
00:57:18 Riding her bicycle of corals and conches
00:57:21 But above all
00:57:23 I sing a common thought
00:57:26 That joins us in the dark and golden hours
00:57:33 The light that blinds our eyes is not art
00:57:37 Rather it is love.
00:57:40 Friendship.
00:57:42 Crossed swords.
00:57:44 - I don't like that line.
00:57:47 - Thanks.
00:57:50 - I love the rest of it.
00:57:52 - Do you?
00:57:54 - Yes.
00:58:41 - Look at me.
00:58:42 Look at me, Salvador.
00:58:44 Look at me.
00:58:52 You see?
00:59:11 - No limit.
00:59:40 - Sorry.
01:00:01 - It doesn't matter.
01:00:04 It's not important.
01:00:12 It's late.
01:00:13 You should sleep.
01:00:16 We'll go for a breakfast at the"Pelican".
01:00:19 And you'll paint all afternoon.
01:00:30 Salvador.
01:00:33 What do you see, when...?
01:00:39 You can tell me.
01:00:42 You can tell me anything.
01:00:50 - I'm going to Paris.
01:00:54 - What?
01:00:55 - I'm going to go and see Louie.
01:01:02 He'll introduce me to... Picasso.
01:01:07 And the surrealists and...
01:01:12 He'll take me to nightclubs.
01:01:15 I'm going now.
01:01:20 Don't, don't try to stop me.
01:02:32 - Federico!
01:02:37 Are you alright?
01:02:39 - What happened?
01:02:43 I just... I need some air.
01:03:03 - I wanted to tell you, but it was
01:03:08 I got a job at the Tribune.
01:03:11 - That's wonderful.
01:03:15 Anyway, it starts in a month, so...
01:03:19 I'm taking a break, I'm going to Italy.
01:03:22 And I thought, maybe you'd like to come.
01:03:26 You could write, I could write and you need to get
01:03:34 - What are you doing here?
01:03:37 - It's a great spectacle, isn't it?
01:03:38 Everyone's here.
01:03:41 - How was Paris?
01:03:44 I didn't know when you were coming back.
01:03:47 Today.
01:03:51 I have an examination.
01:03:56 - Federico?
01:03:59 - I should go, too.
01:04:01 - Okay.
01:04:03 I'll stay.
01:04:05 - What were you saying before? Something
01:04:11 - Nothing.
01:04:25 - You have 20 minutes to deliver an oral
01:04:30 You may begin.
01:04:36 Mr. Dalí?
01:04:40 - Gentlemen...
01:04:42 I returned from Paris with a conclusion that...
01:04:48 The entire amount of real, artistic knowledge
01:04:55 ... is not equal to one half of this.
01:04:59 This - my fingernail.
01:05:01 Not one half, gentlemen.
01:05:04 And I've been insulting myself by letting your shruddy practices, your pathetic, outdated theories...
01:05:09 ... and questionable characters - shit on my genious.
01:05:13 I hope with all my heart that you'll
01:05:18 Give up this foolishness and go back to the pigsties
01:05:38 - Magdalena.
01:05:41 - I know.
01:05:44 I know, Adella.
01:05:50 I have to do something.
01:05:59 Could you...
01:06:03 Could you lend me something?
01:06:06 A dress, to make me irresistible?
01:06:24 - Would you like some tea?
01:06:25 Tea? Only *idiots* drink tea.
01:06:29 I'm surprised we don't drown in the shit.
01:06:35 - So, you got back yesterday?
01:06:37 - Federico, what does yesterday matter?
01:06:40 Yesterday... I didn't exist.
01:06:44 Today, this moment and the bright and
01:06:48 - I'm sorry.
01:06:50 I'm a bit confused.
01:06:52 So, Salvador. Who are you pretending
01:06:55 - Why?
01:06:57 Well, is it Salvador?
01:07:00 The extreme anarchist who's only
01:07:03 Or Salvador Dali, the genius artist of Madrid?
01:07:06 Or Salvador, the lover...
01:07:09 An agent came from Paris to see my new work.
01:07:18 He called me the most exciting young
01:07:23 So, now - goodbye, Spain!
01:07:27 Goodbye, Madrid!
01:07:30 And Paris... Paris - toujours!
01:07:38 Louie introduced me to Picasso and there was
01:07:44 Who gave me a photograph of his wife...
01:07:49 ... and, she's naked.
01:07:52 You won't believe this.
01:07:58 Gala. Galushka.
01:08:03 She's Russian.
01:08:07 I've dreamt of this woman my whole life.
01:08:10 When I have her, nothing will be able to stop me.
01:08:13 I'll bring Paris to its knees.
01:08:16 King... King Salvador!
01:08:19 You should've seen Louie, he's
01:08:24 - Salvador!
01:08:24 When I go back, they won't know what's hit them.
01:08:29 - What's coming?
01:08:32 - What do you mean? Your father said...
01:08:35 I got expelled!
01:08:38 My father can go fuck himself!
01:08:40 - From this point on, my real life begins.
01:08:45 - You can't just abandon everything!
01:08:48 Sitting in an art room all day, going out of my
01:08:53 Drinking myself into a stupor every night?
01:08:57 I'm so sick of it!
01:09:01 Your painting's never been better.
01:09:05 This isn't you, Salvador.
01:09:12 - Why can't you just be happy for me?
01:09:16 - You're just selfish, like Louie says...
01:09:25 You're a selfish fuckin' marricon.
01:09:28 - Oh, really? And what exactly does that
01:10:04 - I can't.
01:10:13 - Federico!
01:10:17 - Let her in.
01:10:27 - Sleeping?
01:10:42 You look as if you are still dreaming.
01:10:50 - Magdalena.
01:11:06 Don't worry about anything, just...
01:13:59 - Salvador?
01:14:36 There are very few angels who sing
01:14:38 There are very few dogs who bark
01:14:42 A thousand violins fit in the palm of my hand
01:14:48 But, the weeping is an enormous dog
01:14:51 The weeping is an enormous angel
01:14:55 The weeping is an enormous violin
01:14:57 Tears have muzzled the wind
01:15:01 And nothing's heard, but the weeping
01:16:37 - Coffee, please.
01:16:43 - Why they've made this film?
01:16:46 Do you know what they called it?
01:16:51 - I don't think they...
01:16:52 - Well, I do. I mean, I'm from - where exactly?
01:16:58 Do they even know anyone else from Andalucia?
01:17:01 - Listen, you need a complete break.
01:17:04 Everyone says so. What about your idea for
01:17:09 You should go.
01:17:11 Get out of Madrid for a while.
01:17:13 Get on with your life, Federico.
01:17:19 Have you spoken to him?
01:17:22 Have you spoken to Salvador?
01:17:24 - I've tried to talk to him...
01:17:26 In letters.
01:17:29 He won't...
01:17:32 He took Luis to Cadaqes. I saw their pictures
01:17:37 And apparently, he's got this woman.
01:17:40 This Gala woman.
01:17:43 God knows what he does with her.
01:17:46 Sorry.
01:17:48 It' just... It's as if nothing ever
01:17:55 Sometimes I feel we've never
01:18:00 - I'm so sorry, Federico.
01:18:03 I'm the one who should be sorry.
01:18:06 I can't let you take the blame for that.
01:18:09 - Magdalena, please understand.
01:18:13 - If we had a choice in these things, which we don't.
01:18:24 - I'm not saying it's gonna be easy, but I don't
01:18:31 I mean, you can. Of course you can,
01:18:37 I think sometimes we just have to risk it.
01:18:44 And you know, it might not turn out well...
01:18:48 ... sometimes it doesn't turn out well at all.
01:18:51 But we have to try. We have to keep on trying.
01:18:59 Otherwise, we just become puppets.
01:19:02 All painted smiles, bare inside.
01:19:05 Nothing.
01:19:07 But jealous.
01:19:11 Anyway, if you miss him more than enough...
01:19:14 I should depart.
01:19:17 Goodbye.
01:21:26 I've come in my overrals, so you know I'm serious.
01:21:34 They've been all over the country.
01:21:36 These overrals.
01:21:37 In the last year, they've wrap shoulders
01:21:42 They've had a set,
01:21:46 They are exhausted.
01:21:47 And they are extremly glad to be here,
01:21:54 But...
01:21:56 We mustn't be deceived by sunshine in Madrid.
01:22:00 Whilst fascism is casting its shadow
01:22:04 Great sacrifices need to be made.
01:22:08 Great risks need to be taken.
01:22:12 So, I have something here to read to you. And if
01:22:23 We, intellect ones, artists and members of the
01:22:31 ... for the democratically elected popular government...
01:22:35 ... and we do so for the aspirations. We...
01:22:42 We do so... I do so...
01:22:47 Not some romantic ideal. Not something for students
01:22:52 That's easy.
01:22:54 That's just a word.
01:22:57 Real freedom is hard.
01:23:04 It's dangerous.
01:23:07 But I want it.
01:23:08 I want to try for it.
01:23:11 Whoever I decide to be.
01:23:15 However I decide to live.
01:23:18 Whomever I choose as my companions.
01:23:22 My friends.
01:23:24 It's my right.
01:23:27 It's our right.
01:23:29 Freedom.
01:23:33 In Spain.
01:24:01 Thanks.
01:24:02 - Come here.
01:24:10 I don't see him anymore.
01:24:13 - No?
01:24:14 - Don't care, too. We no longer speak the same
01:24:20 ... is "money".
01:24:22 - He wrote to me.
01:24:25 And?
01:24:27 I know.
01:24:29 8 years.
01:24:31 He asked me to come and see him.
01:24:35 Bloody witch. Still fucking every artist in Paris,
01:24:41 What else?
01:24:42 He thought we should work together again.
01:24:44 He said we could reach an agreement this time,
01:24:49 He signed it "Buda".
01:24:52 - Will you see him?
01:24:57 Be careful, Federico.
01:25:02 - Where are you off to, brother?
01:25:06 Senor García Lorca!
01:25:09 - I didn't recognize you. Join us at the demonstrations
01:25:14 The troops in Morocco are siding with the fascist.
01:25:43 - Come in.
01:25:45 Come through.
01:25:49 Time and Dalí wait for no man!
01:25:56 Ignore this absolute prutescent travesty of a hotel.
01:26:00 It's temporary surroundings.
01:26:03 Apart from the bear.
01:26:09 It has a reality about it, in this bear...
01:26:14 ... primacy of Eden.
01:26:25 You look the same.
01:26:27 Thanks.
01:26:30 I grew this moustache.
01:26:38 What shall it be? This place? College?
01:26:57 Federico.
01:27:10 All this time.
01:27:14 All this time.
01:27:18 The dark, unfavaned retrospect
01:27:23 ...the teaming gulf.
01:27:29 The sleepers.
01:27:32 And shadows.
01:27:41 Cheri.
01:27:43 It's Federico.
01:27:46 Federico, this is Gala.
01:27:50 Delighted to meet you, at last.
01:27:53 Isn't he charming, cheri?
01:27:55 I've heard so much about you.
01:28:10 Smile.
01:28:16 He went to America.
01:28:19 - I loved it. Well, it's America.
01:28:23 New York was... pitiful.
01:28:27 Poverty and suffering...
01:28:32 Spain just seems so...
01:28:34 - Dangerous?
01:28:34 - Passe.
01:28:38 Anyway, America is the place for our opera.
01:28:42 No. You write, I design.
01:28:48 - Will it?
01:28:50 - Undoubtedly, considering the subject matter.
01:28:52 - Which will be?
01:28:54 - Louis the Second of Bavaria.
01:28:56 He was... He was a deviant, you know.
01:29:02 It'll be the most shocking opera ever staged.
01:29:08 - Louie told me the surrealists threw you out.
01:29:11 - So, the two of you've become friends again.
01:29:14 - I imagine around the time he stopped seeing you.
01:29:17 - The surrealists expelled me from the movement.
01:29:22 Terribly traumatic.
01:29:25 Breton is a genius.
01:29:28 His whole equation with communism
01:29:39 ... puke.
01:29:45 The only viable solution for surrealism -
01:29:53 A cleansing.
01:29:56 A great flood.
01:29:58 Cut through all this dead wood.
01:30:01 Purge the weak elements.
01:30:04 An era of enlightenment.
01:30:12 You used to be an anarchist.
01:30:18 With all the government schemes and your theateral
01:30:24 - Listen. This country is on the blink
01:30:29 And here you are siding with the people who
01:30:32 I know you are not through, but you must see that'd be no freedom
01:30:41 Who strays from the norm...
01:30:43 ... would just be wiped out.
01:30:49 - Would that be a bad thing?
01:30:52 - Naughty boy.
01:30:54 - You're joking.
01:30:57 - Salvador is completely apolitical.
01:31:02 No one knows you
01:31:03 No
01:31:06 I sing, for later on,
01:31:08 Of your profile and your grace
01:31:10 The noble maturity of your understanding
01:31:13 Your appetite for death and the taste of its mouth
01:31:17 The sadness in you valiant gaiety.
01:31:23 - It's nothing to my ode.
01:31:26 Gala, you've heard my ode.
01:31:27 Press went crazy for it.
01:31:31 Oh, Salvador Dali, with your olive-colored voice
01:31:36 Federico, you finish the rest.
01:31:42 - I'm afraid I have to go.
01:31:48 It's been such a pleasure.
01:32:01 - Let me see you out.
01:32:04 - She doesn't mind, you know?
01:32:06 She and I are like twins, not like lovers.
01:32:09 Not like us.
01:32:12 Look at you, you little beast.
01:32:17 I knew you would be.
01:32:22 - And, is everything going according to plan, Salvador?
01:32:26 - Knew you would say that, too.
01:32:30 Listen, it's alright now.
01:32:35 Go pack your things
01:32:37 Say your goodbyes
01:32:39 And we'll conquer America together.
01:32:44 I hurt your pride, I know.
01:32:48 But, I'll make it up to you.
01:32:50 You'll teach me how.
01:32:59 There's someone else?
01:33:01 It doesn't matter. There's Gala...
01:33:08 - Goodbye, Salvador.
01:33:17 You'll come back.
01:33:19 Sweet little tail dangeling between your legs.
01:33:23 You won't be able to think about anything else!
01:33:27 - Senor García Lorca, how was your meeting
01:33:30 Will you work together again?
01:33:32 What do you think of him?
01:33:34 - What do I think of him?
01:33:36 Well... He's a genius.
01:33:40 A genius.
01:33:41 Genius, Salvador Dalí!
01:33:48 - Very charming... Exactly as you've said.
01:33:57 I'm going to my room, Salvador.
01:34:41 See you in the morning, my love.
01:35:25 - I just saw Paco.
01:35:29 - I'm going back to Granada.
01:35:30 - Have you finally lost your mind?
01:35:35 Morocco's fallen. It's only a matter of time
01:35:38 - Listen...
01:35:41 I'll only be there for a few days.
01:35:43 I have to be with my family.
01:35:45 I've got so much do to, Louie.
01:35:49 I feel like.. like.. I could write 6 plays without stopping.
01:35:55 Without eating.
01:35:58 Think about it, Frederico. These people know who you are, what you've
01:36:06 - I have to go home, Louie.
01:36:08 I'll call you as soon as I can.
01:37:19 - Open the door!
01:37:21 - What are you doing?
01:37:25 I'm arresting you in the name of the New Granada.
01:37:28 - What are you talking about?
01:37:31 - García Lorca, it is you, marricon.
01:37:35 -Granada.
01:39:23 - The incredible rumours are preceding from the core of the
01:39:27 Reporting the abduction of the poet, Federico García Lorca,
01:39:37 The guverner of Granada says he does not know the whereabouts of García Lorca.
01:40:40 - Still alive.
01:40:42 Only one way to kill a queer.
01:41:03 - The weil of mystery overshadowing the disappearance
01:41:08 The news is coming this evening that the execution of the poet, Federico García Lorca, has been confirmed.
01:41:55 Federico.
01:42:33 Salvador!
01:42:36 The guests are here.
01:43:19 J'arrive!