A failed artist searching strength to move ahead. By a young lady, who might be his daughter, he develops a project that changes his destiny.
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00:06:57Mother,
00:07:00I'm hungry.
00:07:03I'm going to give you a bath.
00:07:06I'm all sweaty.
00:07:09Come here.
00:07:32Come give her a bath.
00:07:35Look at your daughter.
00:07:40Come here.
00:07:48Her name is Cristina.
00:07:51Cris.
00:07:54Don't you like Cris?
00:07:57I do.
00:08:00I do, yes.
00:08:09Come here.
00:08:27Drink me.
00:08:30Your wine mouth over my austere mouth.
00:08:33Drink me now, before...
00:08:36...the flesh disfigures itself into blood.
00:08:39Before death, love, my death.
00:08:42Drink me.
00:08:45Hold your hand.
00:08:48Breathe my breath, my gluteus.
00:08:51The time of the body, this time of hunger.
00:08:54Of the inside, the body getting to know itself.
00:08:57Slow, the sun of diamond feeding the belly.
00:09:00The milk of your flesh,
00:09:03my fugitive.
00:09:06And over us, this future time,
00:09:09weaving the great idea.
00:09:12Over us, life,
00:09:15life spilling out,
00:09:18cyclical,
00:09:21draining.
00:09:24Out, out!
00:09:27This is pure shamelessness.
00:09:30Is there a scandal around here?
00:09:33Is there a disagreeing voice in the audience?
00:09:36Is there a gentleman?
00:09:39Ah, there he is.
00:09:42Who disagrees with the mafioso text given by these two ladies here.
00:09:45To me, this is shit.
00:09:48This is theater, gentlemen.
00:09:51The imminent conflict.
00:09:54Not always.
00:09:57This is good for the theater.
00:10:00Say shit to the people
00:10:03and be always new.
00:10:06Ah, our mouth of wind.
00:10:09Blah, blah, blah.
00:10:12Mouth of wind.
00:10:15Mouth of wind, let me see.
00:10:18Our mouth of wind, which apparently is empty,
00:10:21would be the first moment
00:10:24of an eschatology.
00:10:27Compare it.
00:10:30Our mouth of wind is actually two mouths of wind.
00:10:35Mouth of nothing.
00:10:38Starting from nothing,
00:10:41we will reach infinite conclusions.
00:10:45Dear sir, after nothing,
00:10:48everything comes with a kiss.
00:10:54Out, out, out.
00:10:59Ah, they are crazy.
00:11:02We drive the population crazy.
00:11:05Yes, crazy.
00:11:08My craziness, others take me as if I were crazy.
00:11:11You are crazier than a man, but what a foolishness.
00:11:14Corpse, eradicated, what procreation.
00:11:17Theater is the art of chance.
00:11:20The unpredictable is already in the script.
00:11:25But what is happening?
00:11:29It seems that we have reached the exposed nerve
00:11:32of this nice society.
00:11:36We kicked their ass.
00:11:39Everybody liked it.
00:11:42A catharsis.
00:11:45We provoked a catharsis in these people.
00:11:49Isn't that our function?
00:11:52We free the ghosts,
00:11:55the supernatural forces, the repressed hatreds,
00:11:58the repressed desires.
00:12:01We divide the audience.
00:12:04We drive the audience crazy.
00:12:08How wonderful.
00:12:11What a beautiful example you give.
00:12:14A bunch of vagabonds,
00:12:17trying to convince me that you do theater.
00:12:21Mr. Delegate,
00:12:24can't we postpone the aesthetic discussion for later?
00:12:28What are we accused of?
00:12:31Attempted rape.
00:12:34Are we going to stay here long?
00:12:37Enough time.
00:12:41Do you have food and clothes washed?
00:12:44Did you forget your child?
00:13:15Ladies and gentlemen,
00:13:18passing through here,
00:13:21we decided to delight this distinguished audience
00:13:24and tell a little of the history of our lives.
00:13:28We do theater.
00:13:31Do you know what theater is?
00:13:37Theater is like a mirror.
00:13:40Do you understand?
00:13:43We look at ourselves and see ourselves reflected
00:13:46with a beautiful scenery behind us.
00:13:49Lights, colorful clothes, music.
00:13:52Everything, as if it were life.
00:13:55It's life reflected in the mirror.
00:13:58And you are our scenery.
00:14:01It's life disarranged,
00:14:04and made into pieces.
00:14:08Respected audience,
00:14:11the company of artists from Bambam
00:14:14presents the show entitled
00:14:17The History of the Pieces of Our Lives
00:14:20and How We Were Forbidden to Exercise Our Profession
00:14:23with Amanda,
00:14:26Sônia, Santiago,
00:14:29this one who speaks to you,
00:14:32and Little Cris, of course.
00:14:38THE HISTORY OF THE PIECES OF OUR LIVES
00:14:43You can already hear the sound of the drum.
00:14:46It's time to laugh.
00:14:49It's time to cry, because the show is about to begin.
00:14:54While they arrange the back stage,
00:14:57let me introduce myself.
00:15:00I am a poet.
00:15:03I am the one who creates the characters.
00:15:06I create the dialogues.
00:15:09If you want to do me a favor, shut up.
00:15:12You have to say, the show is about to begin.
00:15:15Yes, sir.
00:15:18And you don't have the right to reveal our secrets.
00:15:21Yes, sir.
00:15:24I don't pay you very well.
00:15:27As for that, I have my doubts, sir.
00:15:30Shut up, or I'll break your face.
00:15:33Say what has to be said for the audience to know the truth.
00:15:38Distinguished audience,
00:15:41the show is a very well paid activity,
00:15:44and the most honorable of professions.
00:15:47And it can't be a bad example for anyone.
00:15:50And it can't be a bad example for anyone.
00:15:53And it can't be a piece of shit, as our delegate said.
00:15:56And it's not a piece of shit, as our delegate said.
00:15:59Very well. How much do I owe you?
00:16:02Five coins, sir.
00:16:05I'll give you one.
00:16:08And now, let's begin!
00:16:17Open the window, my dear comedian.
00:16:20Let's get to work.
00:16:23Wait a minute, my little poet, I'm still putting on my makeup.
00:16:26Dear tragedy, we are waiting.
00:16:29Who's going to give me the cue?
00:16:32This time, let's improvise.
00:16:35What role am I going to play, my love?
00:16:38Your own.
00:16:41Are you going to tell my story?
00:16:44More or less.
00:16:47I don't want to know about drama.
00:16:50I don't want to see anyone crying in front of me.
00:16:53There's no danger. We'll never be together on stage.
00:16:57Come here.
00:17:00What are we going to do?
00:17:03For my Julieta?
00:17:06Stop it.
00:17:09Come here.
00:17:12I need affection.
00:17:27Always running away.
00:17:30That's not it.
00:17:33I'm always on the move.
00:17:36On the move? Where to?
00:17:39I don't know, here and there.
00:17:42We never know.
00:17:45You left me there.
00:17:48No goodbyes.
00:17:51Why say goodbye? What difference does it make?
00:17:55In your shitty world, what difference does it make?
00:17:58It's not a perfumed world.
00:18:01It's the world we live in.
00:18:04I'm fed up with this life.
00:18:07What we do,
00:18:10a lot of people call it art.
00:18:13But it has a virtue.
00:18:16Redemption.
00:18:19What a beautiful drug.
00:18:23It can be a tragedy.
00:18:26If it's a great tragedy, it's better.
00:18:29It can also be
00:18:32the laughingstock of a strong man.
00:18:37Where did you get that?
00:18:40Someone wrote it.
00:18:43A man who's not lucky
00:18:46walks through the streets
00:18:50Who is this man?
00:18:53He's young and poor.
00:18:56Is he an ordinary man
00:18:59or couldn't he walk with ordinary people?
00:19:05He doesn't take dishonest money from anyone.
00:19:08And he doesn't take insolence from anyone.
00:19:13He talks like someone his age.
00:19:19He's rough.
00:19:22He has a sense of grotesque.
00:19:25But he's spiritual.
00:19:28And he speaks
00:19:31with total contempt for other people's poverty.
00:19:36What a beautiful profile.
00:19:39What's his story?
00:19:42His story
00:19:46is the adventure
00:19:49of seeking a hidden truth.
00:19:52It wouldn't be an adventure
00:19:55if it weren't for a man
00:19:58carved for adventure.
00:20:01If everyone were like him
00:20:04this world would be more beautiful.
00:20:07But not interesting
00:20:10to the point of not wanting to live in it.
00:20:13I'd like to love this man.
00:20:16I'd like to meet him.
00:20:43I'd like to meet him.
00:20:46I'd like to meet him.
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01:11:05Cris.
01:11:11My father.
01:11:13How are you?
01:11:15I'm fine, sir.
01:11:16I'm going.
01:11:18Has Cris always been this beautiful girl?
01:11:21Always.
01:11:29Are you pale?
01:11:32My father.
01:11:34My father.
01:11:36You and your care, huh?
01:11:42It's a good kitchen.
01:11:49I feel like I already knew you.
01:11:53Maybe.
01:11:55I'm glad to see you together.
01:11:59Whenever you touch each other,
01:12:02I feel an undisguised stream of tremor,
01:12:06pure emotion.
01:12:09I feel it's going to work.
01:12:17You were an actor until about 20 years ago, right?
01:12:21Yeah.
01:12:23And why did you leave your career during that time?
01:12:27I kept raising chickens.
01:12:31Chickens?
01:12:33Yes, chickens. For those who like chickens.
01:12:35Do you like chickens?
01:12:37Yes, I do.
01:12:38And you killed the chickens?
01:12:40Yes.
01:12:41To sell or to eat?
01:12:45To eat.
01:12:47I took their necks,
01:12:49I took them,
01:12:51I moved them,
01:12:53in my best performance.
01:12:56And what is your usual leisure today?
01:13:01Cinema, beach.
01:13:14How are you?
01:13:16Fine.
01:13:18Tell me a little about your story.
01:13:25My mother died months after I was born,
01:13:28and my father raised me alone.
01:13:31He took me to the theater and let me sleep in the dressing room.
01:13:35We traveled a lot together.
01:13:38I was always with him,
01:13:40through dusty cities.
01:13:42He used to say he would go on stage
01:13:44because he was afraid to hear me cry.
01:13:47I remember once I was on stage
01:13:50playing the role of Barbara Ruiva
01:13:52when I heard the cry in the dressing room.
01:13:55Then I started to sweat, I didn't know what to do.
01:13:58When I left the stage for a few seconds,
01:14:00I got to the dressing room and she was already asleep.
01:14:03I remember once,
01:14:05I was...
01:14:08I was seven years old
01:14:10and we arrived in an Indian village.
01:14:14My father was going to perform the Christmas carol.
01:14:17It was very funny
01:14:19because the boy Jesus,
01:14:21Mary and Joseph,
01:14:23all those who are people,
01:14:25in the play were animals.
01:14:30The boy Jesus was a calf,
01:14:32Mary was a cow,
01:14:34and Joseph, my father, was a ox.
01:14:37It was all the opposite.
01:14:39The animals were people
01:14:41and the humans were extras.
01:14:48The Indians understood everything.
01:14:51I remember that on one of those trips to the countryside
01:14:55she took advantage of me.
01:14:58It wasn't always that she led the show.
01:15:01When I got to the hotel, she was gone.
01:15:04I called the police,
01:15:07the hospitals,
01:15:09nothing.
01:15:11I spent a hellish night.
01:15:13There was a time when I almost hit my head on the wall.
01:15:17At 5 or 6 a.m. she showed up,
01:15:19wet from head to toe.
01:15:22I had fallen into the river
01:15:24near the main street.
01:15:26I was soaked with the water
01:15:28and that humiliated me.
01:15:30I didn't want to go back to the hotel
01:15:32before the clothes dried up.
01:15:34But the clothes were stuck to my body
01:15:36and wouldn't dry.
01:15:38So,
01:15:40I decided to go back to the hotel
01:15:42on my own.
01:15:44Because that was the only way I could go back.
01:15:48I started to make an effort
01:15:51to get out of myself
01:15:53and see from the outside
01:15:55another girl who wasn't me.
01:15:57That would reduce my shame.
01:16:00It was another girl who had fallen into the river,
01:16:03not me.
01:16:05And when I went back to the hotel
01:16:07and my father kissed me,
01:16:10I swear to you,
01:16:13I was so far away from myself,
01:16:16looking at myself from so far away,
01:16:19that I didn't feel my father's arm.
01:16:22I saw that he kissed me,
01:16:24but no one's warmth came on my face.
01:16:27This is so true that I still remember it.
01:16:32The moment my father kissed me,
01:16:35I saw myself fading away.
01:16:39It was as if I hadn't known
01:16:42affection and kisses for a long time.
01:16:47So, I was in doubt.
01:16:50Was the moisture on my face
01:16:53the water of the river
01:16:55or was it me who was sweating?
01:16:59Cris.
01:17:01Yes?
01:17:03Did you like yesterday's show?
01:17:09Yes, Cris.
01:17:11Did you like yesterday's show?
01:17:15Yesterday was a good show.
01:17:24You know,
01:17:26starting tomorrow I'm moving in with him.
01:17:30Who?
01:17:33A guy you met yesterday.
01:17:36He's moving in.
01:17:41Don't be sad.
01:17:43I'm not sad.
01:17:49Are you going?
01:17:51I am.
01:17:53Where to?
01:17:55I don't know yet.
01:17:58What about Cris?
01:18:00She doesn't need me anymore.
01:18:03She can walk on her own.
01:18:05She's an actress.
01:18:27So?
01:18:33Who are you?
01:18:39Are you going to tell me?
01:18:45Your name?
01:18:48Aren't you going to say anything?
01:18:54Look over there.
01:18:56That's your aunt.
01:19:00Boy.
01:19:02Are you going to tell me?
01:19:04I know.
01:19:06I know.
01:19:08You came from one of these slums.
01:19:12And now you don't know how to live, do you?
01:19:15Do you?
01:19:20Aren't you going to tell me?
01:19:22Aren't you going to tell me who your father is?
01:19:25Aren't you going to tell me who I am?
01:19:28Aren't you going to tell me?
01:19:32Aren't you?
01:19:43Tell me.
01:19:45Tell me.
01:19:58Tell me.
01:20:28Tell me.
01:20:39Welcome. I am Pedro Armada.
01:20:59Friends, friends.
01:21:01The time has come.
01:21:03We are here to celebrate the theater.
01:21:06With us again our main actor.
01:21:09Long live the theater!
01:21:11Long live the art of storytellers!
01:21:14Long live freedom!
01:21:16Long live!
01:21:28Long live!
01:21:30Long live!
01:21:32Long live!
01:21:34Long live!
01:21:36Long live!
01:21:38Long live!
01:21:40Long live!
01:21:42Long live!
01:21:44Long live!
01:21:46Long live!
01:21:48Long live!
01:21:50Long live!
01:21:52Long live!
01:21:54Long live!
01:21:56Long live!
01:22:26Long live!
01:22:28Long live!
01:22:30Long live!
01:22:32Long live!
01:22:34Long live!
01:22:36Long live!
01:22:38Long live!
01:22:40Long live!