:00:12. > :00:22.From the BFI South Bank in London, this is the BBC Four world cinema
:00:22. > :00:22.
:00:22. > :01:41.Apology for the loss of subtitles for 79 seconds
:01:41. > :01:46.awards. Hole on to your arm chair, Last year 36% of all films release
:01:46. > :01:53.were in a foreign language. Hollywood grabs most of the box
:01:53. > :01:56.office but that doesn't mean to say there are fascinating exceptions.
:01:56. > :02:00.Debang outgrossed Winnie the Pooh for example. You are not as
:02:00. > :02:05.impressed as I was. It is obvious we have a considerable appetite for
:02:05. > :02:15.world cinema. Here are a few movies from last year we loved. One of
:02:15. > :02:30.
:02:30. > :02:35.The Samurai movie returned with a bang courtesy of 13 Assassins. They
:02:35. > :02:45.must take out an evil warlord. Impressive mayhem and explosives
:02:45. > :02:59.
:02:59. > :03:09.At last, the naughty Gallic song Smith got his own biopic and an
:03:09. > :03:10.
:03:10. > :03:17.amazing lookalike. Unusually the director uses a cynical at ever ego
:03:17. > :03:23.to represent the singer's darker side. He off settings this with
:03:23. > :03:32.wonderfully cheeky moments that the sing ewould surely approve of. --
:03:32. > :03:42.off sets this. Not least casting veteran director as a dumbfounded
:03:42. > :04:20.
:04:21. > :04:30.record boss who hears the song for Music of a different vin tadge was
:04:31. > :04:33.
:04:33. > :04:43.the subject of an animated film. It follows the fortunes of jazz
:04:43. > :04:52.
:04:52. > :05:02.pianist chiebg co-and singer rye ta. It is engaining and sexy. -- Chico
:05:02. > :05:04.
:05:04. > :05:14.and Rita. This was one of the first documentarys to be shot in 3-D.
:05:14. > :05:32.
:05:32. > :05:37.This is the less sumptuous 2D In this film a 1970 style Catherine
:05:37. > :05:47.Deneuve is the trophy wife of the title. When her husband becomed ill
:05:47. > :06:08.
:06:08. > :06:16.she has to take over his umbrella Of course she revitalises the
:06:16. > :06:26.company. She also rekindles her relationship with an old flame. A
:06:26. > :06:37.
:06:37. > :06:44.lefty mayor. Cam pest Film of the APPLAUSE She is still many great
:06:44. > :06:49.shape and I like the fact there is more of Gerrard than ever before.
:06:49. > :06:54.We have award here. They are something else. They are a bloody
:06:54. > :06:58.nightmare to get through customs. Trust me, that is three kilograms
:06:59. > :07:05.of bronze. Try lugging back on Ryanair and you will pay the excess.
:07:05. > :07:10.First, the nominations for the BBC Four World Cinema Award. 200 UK
:07:10. > :07:20.film critics were invited to select their favourite foreign language
:07:20. > :07:23.movie of the year. The nominated films are exceptional. Of Gods And
:07:23. > :07:28.Men. Directed by Xavier Beauvois. It is a powerful drama based on the
:07:28. > :07:38.true story of a group of monks. Under threat by terrorists they
:07:38. > :07:44.
:07:44. > :07:49.must decide whether to leave or Pedro Almovodar's thriller The Skin
:07:49. > :07:59.I Live In finds Antonio Banderas playing an obsessive plastic
:07:59. > :07:59.
:07:59. > :08:05.surgeon who creates a synthetic skin for his patient. From deep in
:08:05. > :08:15.the forest of Thailand the enigma tick Uncle Boonmee Who Can Recall
:08:15. > :08:19.
:08:19. > :08:24.His Past Lives is direct for Apichatpong Weerasethakul creation.
:08:24. > :08:34.In A Separation the director tells the story of a married couple whose
:08:34. > :08:39.
:08:39. > :08:43.parting will affect their lives and And finally the Le Quattro Volte is
:08:43. > :08:47.a beautifully observed almost wordless vision of life in a small
:08:47. > :08:57.village. The director pans his camera and life intrudes in
:08:57. > :09:03.
:09:03. > :09:11.APPLAUSE So, those are our five nominated films and these are the
:09:11. > :09:16.four jurors who are the task of trying to select an outright winner.
:09:16. > :09:22.Chairing the jury is David -- Sir David Hare. Theatre and film
:09:22. > :09:31.director whose screenplays for the Reader and Hours were OK car
:09:31. > :09:36.nominated. I disliked what he was saying. Gurinder Chada directed the
:09:36. > :09:46.celebrated features Bend it like Beckham and Bride and Prejudice.
:09:46. > :09:47.
:09:47. > :09:49.This is an example of why cinema is important. John is a dock gruement
:09:49. > :09:57.triproducer. -- documentary producer. There is nothing of any
:09:57. > :10:03.interest in this film whatsoever. And finally, Kazuo Ishiguro is a
:10:03. > :10:13.Booker Prize winning author whose novels the Remains Of The Day was
:10:13. > :10:18.
:10:18. > :10:22.adapted for film. I can't fall it. Jurors. Now our first nomination.
:10:22. > :10:31.The Skin I Live In reunited Pedro Almovodar and his former leading
:10:31. > :10:41.man Antonio Banderas. The band ras plays a surgeon who has an operator
:10:41. > :10:42.
:10:42. > :10:52.and a prisoner. Who is this person, the beneficiary of the experiments.
:10:52. > :11:19.
:11:19. > :11:25.It find the director toying with I was really interested in the
:11:25. > :11:35.situation that in the movie that someone, that takes another person,
:11:35. > :11:40.
:11:40. > :11:48.to create a new skin, and to be a I felt it was a science fiction,
:11:48. > :11:58.but with a time, the science it happens so quick, that everyone is
:11:58. > :11:58.
:11:58. > :13:48.Apology for the loss of subtitles for 79 seconds
:13:48. > :13:58.. She is the one with the real power. This is, that was my
:13:58. > :14:14.
:14:14. > :14:22.I feel it is kind of going a bit back to Pedro Almovodar's earlier
:14:23. > :14:32.films, almost histerial championing of sexual marginally. It lacks the
:14:33. > :14:35.
:14:35. > :14:40.maturity of his cent films. It is I kept questioning, why did he make
:14:40. > :14:44.this film? Then I found out it was based on a novel, so it was not his
:14:44. > :14:48.original work. It seemed he was taking someone else's ideas, and
:14:48. > :14:52.then trying to place his own visions of sexuality and desire
:14:52. > :14:56.into this other person's world. I found that a bit disappointing,
:14:56. > :15:00.because he has given us so many great works in the past, that I
:15:00. > :15:04.think this was beneath him, actually. There's almost nothing of
:15:04. > :15:08.any interest in this film whatsoever. Yes, it is well
:15:08. > :15:14.executed and well-acted, but it is just annoying and boring and daft.
:15:15. > :15:19.Piffle. I'm watching every film Pedro Almodovar Migs, I'm never
:15:19. > :15:22.going to miss one. He's like Hitchcock, when he makes a bad one,
:15:22. > :15:26.there are still things which are incredibly pleasurable about them.
:15:26. > :15:30.You just think this film is going to be so pleasurable, it is going
:15:30. > :15:36.to be beautifully shot, it is going to have wonderful actors, and then,
:15:36. > :15:39.it isn't. It is actually very famous and kind of over-
:15:39. > :15:43.complicating in some way, which, because he's a great director,
:15:43. > :15:46.you're always trying to understand. But it does not mean that I will
:15:46. > :15:53.not go to the next one with the same spring in my step, because I
:15:53. > :15:57.will. I do wish the jurors would stop holding back and let us know
:15:57. > :16:05.what they really think. The Swedish have had to put up with a lot from
:16:05. > :16:10.us over the years, endless jokes about Bjorn Borg's headband and
:16:10. > :16:19.Abba to name but a few. But along with other Scandinavians, they have
:16:19. > :16:24.decided they're going to take over the film world. Prove, films like
:16:24. > :16:31.Dancer In The Dark, along with TV programmes like Wallander. What an
:16:31. > :16:35.earth is going on over there? Sweden, home to sweeping landscapes,
:16:35. > :16:41.flat-pack furniture and fishing villages. And blockbuster movie
:16:41. > :16:48.franchises. This is a full-on action thriller, which became one
:16:48. > :16:56.of the most viewed Swedish films ever. It is a full-on action
:16:56. > :17:06.thriller. It was so successful, not one but two sequels have now been
:17:06. > :17:12.made. This is the second. This is a seem about the mob, and at this
:17:12. > :17:20.moment, we are in a basin, and we see how they sell their stuff. --
:17:20. > :17:25.in a basement. It seems this maybe the next Nordic Blockbuster to
:17:25. > :17:29.translate overseas. It is exciting, because suddenly we're getting a
:17:29. > :17:32.new opportunity to tell a story. But how have Sweden and Denmark
:17:32. > :17:42.grown so quickly to become such productive centres for movie-
:17:42. > :17:44.
:17:44. > :17:51.making? Key to this new wave of growth has been the controversial
:17:51. > :18:01.Danish film-maker Lars von Trier, who advocated getting back to
:18:01. > :18:07.
:18:07. > :18:17.visceral film making. It had a great impact on all actors and
:18:17. > :18:21.
:18:21. > :18:31.directors. It was very liberating. It was all following the Dogma wave.
:18:31. > :18:41.
:18:41. > :18:48.It all gave rise to a new studio complex, which was nicknamed...
:18:49. > :18:57.This year we are involved in more than 35 feature films. This is an
:18:57. > :19:01.Oscar-winning film. This one is by Susanne Bier. It has now become the
:19:01. > :19:06.engine room of the Scandinavian film industry, because of its
:19:06. > :19:10.location. And last but not least, Lars von Trier's Melancholia. Last
:19:10. > :19:14.Montreux shot his latest film, Melancholia, here in Trollywood,
:19:14. > :19:20.despite having the pick of international studios. Why? The
:19:20. > :19:24.answer is simple - fear. The thing about Lars von Trier is that he has
:19:24. > :19:29.a fear of being anywhere except on solid ground. He does not fly, he
:19:29. > :19:35.does not go by boat. But he really wanted to make films about America.
:19:35. > :19:38.So he decided to do it another way. He decided to come here to
:19:38. > :19:42.Trollywood and make us imagine that we were in the American South. The
:19:42. > :19:47.main reason is because he does not fly. But that is not the whole
:19:48. > :19:57.story. Other film makers began mining the rich vein of crime
:19:58. > :19:58.
:19:58. > :20:05.novels we now know as Nordic noir. An early success was the brilliant
:20:05. > :20:09.Norwegian thriller Insomnia. What They Say About Swedish people - sex,
:20:09. > :20:14.smorgasbord and suicide. That is what we are raised with, that his
:20:14. > :20:19.our background, and I don't think we will change. But it was on the
:20:19. > :20:26.small screen that the movement would find its perfect, pitch black
:20:26. > :20:30.expression, in The Killing. We are used to the darkness, maybe because
:20:30. > :20:40.of our climate, I don't know, it is pretty dark in Denmark, especially
:20:40. > :20:41.
:20:41. > :20:47.in winter time. Scandinavian producers seem particularly adept
:20:47. > :20:50.at giving genre staples a new twist, evidenced by the enormous box-
:20:50. > :20:54.office success of The Girl With The Dragon Tattoo. I think everybody
:20:54. > :20:59.was very confident that it would work extremely well domestically in
:20:59. > :21:03.Sweden, perhaps also in Denmark and Norway. But that said, I do not
:21:03. > :21:13.believe that anyone involved in those projects from the beginning
:21:13. > :21:19.
:21:19. > :21:23.thought that the international The Girl With The Dragon Tattoo
:21:23. > :21:32.opened the floodgates to a whole lot of new Nordic films, from the
:21:32. > :21:36.sublime to the ridiculous. And if proof were needed of the extent of
:21:36. > :21:44.Nordic ambitions, look no further than this forthcoming lavish
:21:44. > :21:53.costume tour. -- costume drama. It is written by, who else, Lars von
:21:53. > :22:03.Trier. So, watch out, the Scandinavians are coming. By the
:22:03. > :22:05.
:22:05. > :22:10.way, Trollhunter is kind of magnificent. Next, an Iranian film.
:22:10. > :22:14.It tells the story of a wife's decision to leave her spouse. Her
:22:14. > :22:20.husband must now employ someone to look after his father, who has
:22:20. > :22:26.Alzheimer's. Unknown to him, his wife is pregnant. Out of this tense
:22:26. > :22:36.scenario, what emerges is a thriller, but with the freshness
:22:36. > :22:36.
:22:36. > :26:15.Apology for the loss of subtitles for 79 seconds
:26:15. > :26:19.Needless to say, I loved this film. I think it is fantastic. It is
:26:19. > :26:24.everything I wish cinema to be. This is what I would called old-
:26:24. > :26:27.fashioned humanist film-making at its very best in my opinion. It is
:26:27. > :26:32.just sort of graceful and stunningly acted. You also get a
:26:32. > :26:36.sense of the confidence of the director, that he knows exactly
:26:36. > :26:41.what he wants, he knows exactly what his story is, and also, the
:26:42. > :26:45.acting is stunning in it. What is also fantastic is that with Tehran,
:26:45. > :26:50.you have the image of the Ayatollah and everything, we are not normally
:26:50. > :26:55.used to seeing these kind of homes, these families, these streets,
:26:55. > :26:59.women driving, whatever. We are not used to seeing everyday life in
:26:59. > :27:02.downtown Tehran. A tour that was what was exquisite. I think the
:27:02. > :27:07.script is almost invisible, it evolved organically from one kind
:27:07. > :27:10.of crisis to the next. It is only afterwards that you make a list and
:27:10. > :27:15.you think, this film was about Alzheimer's, it is about divorce,
:27:15. > :27:18.it is about parent-child conflict, it is about class conflict, it is
:27:18. > :27:22.about the citizen's relationship to the justice system, violence,
:27:22. > :27:26.unemployment, all of these things. It sounds like a kitchen-sink drama
:27:26. > :27:30.from hell, but it is not, it is a very upbeat film, in a peculiar
:27:30. > :27:40.kind of way. It is a great story, the narrative is incredibly
:27:40. > :27:42.
:27:42. > :27:45.engaging and evolving. It is actually what all films need to be.
:27:46. > :27:50.That was Paul Heffernan's remarkable film, Thorsten Stuckmann.
:27:50. > :28:00.Joe Mattock is a vision of cycles of life in a small village in Iain
:28:00. > :28:00.
:28:00. > :31:29.Apology for the loss of subtitles for 79 seconds
:31:29. > :31:34.Hume. It could almost be mistaken Thought that was a wonderful film.
:31:34. > :31:40.Very original. I thought the images were fantastic, they are not just
:31:40. > :31:44.pretty, I think they do place human beings and animals into sort of
:31:44. > :31:49.landscape context. This film is a clear example of why cinema is
:31:49. > :31:53.still important, because I think you need to watch this film on the
:31:53. > :31:58.big screen. There is so many big wide shots where the camera moves
:31:58. > :32:04.and then it moves back and moves again, stuff that you have to be
:32:04. > :32:10.very brave to those kind of shots. I agree. It's a very bold piece of
:32:10. > :32:15.film-maker, film maiinging. This movie voub mind blowing. It is
:32:15. > :32:20.poetic and slow and dreamy. I am in the minority. I disliked what he
:32:20. > :32:25.was saying. You know, what is most interesting about human beings is
:32:25. > :32:27.they're human beings and unlike animals or mineral or vegetable, so
:32:27. > :32:34.the reduction of human beings to people, that the fact they don't
:32:34. > :32:38.say anything, that you can hear, sort of does mean they are just veg
:32:38. > :32:42.tabls, and so -- vegetable, I just disliked what it was telling me.
:32:42. > :32:49.That is not to say it isn't beautifully shot and very well made,
:32:49. > :32:53.which it is. It is brave of a film- maker to make it that way. I wonder
:32:53. > :32:59.what the script looked like. Some description, a few goats and a
:32:59. > :33:02.coughing man, that was about it. APPLAUSE. Le Quattro Volte.
:33:02. > :33:06.Bringing people together. Now, it is my pleasure to welcome without
:33:06. > :33:16.doubt one of Britain's finest actors to tell us about the first
:33:16. > :33:21.
:33:21. > :33:28.award. Ladies and gentlemen, will It is quite enough! Quite enough.
:33:28. > :33:34.Thank you very much though. The BBC Four world cinema achievement
:33:34. > :33:39.awards, a prize which celebrates the work of an exceptional film-
:33:39. > :33:44.maker. This year's recipient is one of France's finest stage and film
:33:44. > :33:53.actor, with an international reputation to match. I first met
:33:53. > :33:59.her when working on Heaven's Gate. Which some would say was a fiasco,
:33:59. > :34:04.some would say was a work of genius, in France they said it was a
:34:04. > :34:07.masterpiece. When I was working with her I realised here was a very
:34:07. > :34:15.perceptive woman, of course, I would say that because this is
:34:15. > :34:22.someone with whom I shared exactly the same ideas about acting.
:34:22. > :34:29.Unsurprisingly, many great directors such as Goddard have
:34:29. > :34:33.chosen to work with her. She has rightly earned a reputation as a
:34:33. > :34:38.fearless performer, yet seems reluctant to make great claims for
:34:38. > :34:48.her art. Time then, to remind ourselves that the screen says
:34:48. > :35:00.
:35:00. > :35:05.I don't identify with my characters to the, in the sense that I believe
:35:06. > :35:10.that I am the character. I am not interested in really, in portraying
:35:10. > :35:20.character, I am more interested in portraying a real person. That is
:35:20. > :35:24.
:35:24. > :35:31.my quest. Wallpaper? Yeah, well... Civil lices the wilderness. If you
:35:31. > :35:36.know what I mean. It's beautiful. One can feel whether you have
:35:36. > :35:41.tricks, or whether you have truth. And sometimes the truth is not
:35:41. > :35:51.always nice to watch, but I am not interested in only being nice, you
:35:51. > :36:03.
:36:03. > :36:12.In the caste of Madame bovry we portrayed a stronger character than
:36:12. > :36:22.people think she is, you know, but that is the strength of great, to
:36:22. > :36:23.
:36:23. > :36:29.be able to change along different I like the way the director work,
:36:29. > :36:33.because he is a very hard worker, he is very, he is obsessed with
:36:33. > :36:43.precision, he is obsessed with detail, but I I like this kind of
:36:43. > :37:02.
:37:02. > :37:12.It is one of these few encounters in an actress's life, that is
:37:12. > :37:24.
:37:24. > :37:29.I like to do comedies as well. I think that is the great beauty and
:37:29. > :37:39.strength of movie, you know, h they are not all even, but all different,
:37:39. > :38:10.
:38:11. > :38:20.APPLAUSE Ladies and gentlemen, the BBC four World Cinema Achievement
:38:21. > :38:38.
:38:38. > :38:46.Award goes to the great Isabelle APPLAUSE Thank you, thank you very
:38:46. > :38:52.much. I am so deeply touched for this award. Well, I am happy to be
:38:52. > :39:00.here tonight in front of you. Also, I want to do a piece of confidence
:39:00. > :39:07.to you, yes, many movies, I still think, think that in my body of
:39:07. > :39:11.work, one film is missing, apart from many others that are to be, I
:39:11. > :39:21.hope so. It is only half way through. But any way one film is
:39:21. > :39:27.
:39:27. > :39:33.really missing, and that is a British film. Yes. APPLAUSE Yeah. I
:39:33. > :39:38.was lucky enough to be a Queen here, on stage, on the English stage a
:39:38. > :39:46.few year ago, not far away from here, on the South Bank, because I
:39:46. > :39:52.was Mary Queen of Scot, yes, for the English audience. And where
:39:52. > :39:58.else? Well, that was a lot, but yes. I still miss being on a British
:39:58. > :40:06.movie. Thank you very much. Thank you so much. I am really touched
:40:06. > :40:16.for being here, and thank you. I take it in my heart. Thank you.
:40:16. > :40:28.
:40:28. > :40:37.And she doesn't get a part in the next inbetweeners movie I will be
:40:37. > :40:41.very cross indeed! We do make other films. Closely base on real events
:40:41. > :40:45.Of Gods And Men tells the story of a group of monks living in the
:40:45. > :40:48.mountains of Algeria, when faced by a group of terrorists they must
:40:48. > :40:56.decide whether to leave orry main among the community they serve and
:40:56. > :41:06.risk death. It is time for them to examine their fate and -- faith and
:41:06. > :41:06.
:41:06. > :45:07.Apology for the loss of subtitles for 79 seconds
:45:07. > :45:13.I thought this film was fantastic, I thought it was beautifully made,
:45:13. > :45:19.political, courageous, a very spiritual, and ultimately,
:45:19. > :45:22.extremely human. It is the way the film brilliantly extended rates
:45:22. > :45:27.that moment at which you contemplate death. There is almost
:45:27. > :45:30.their in which these monks are waiting to die, it is the way that
:45:31. > :45:34.moment is prolonged, and had see the detail of the moment among the
:45:34. > :45:38.group about how they feel about the prospect of dying. I think it is
:45:38. > :45:43.absolutely brilliant the way that is handled. For me, ultimately, I
:45:43. > :45:49.thought it was out of its debt, in the political and historical
:45:49. > :45:53.minefield it finds itself in. In order to make a film that relates
:45:53. > :45:59.to the French audience, in particular, I think they have had
:45:59. > :46:03.to simplify a lot of things. That, for me, is the flaw in the film.
:46:03. > :46:13.agree with a lot of what you say. I felt like it was a bit slower than
:46:13. > :46:13.
:46:13. > :46:18.it needed to be. I felt like the meal site was a bit melodramatic.
:46:18. > :46:25.thought that was fantastic. I thought that one scene was
:46:25. > :46:29.fantastic, that's why I described the film as courageous. That scene
:46:29. > :46:39.slightly jarred with me, but it is clearly a very, very good film, no
:46:39. > :46:40.
:46:40. > :46:43.question. Our last nomination is the any polemic -- enigmatically
:46:43. > :46:46.titled Uncle Boonmee Who Can Recall His Past Lives. It is a ghost story,
:46:46. > :46:52.but of a very strange kind, directed by Apichatpong
:46:52. > :46:58.Weerasethakul. The protagonist is dying of kidney disease and returns
:46:58. > :47:05.to a forest. Here, he is cared for by the ghost of his dead wife.
:47:05. > :47:15.Unashamedly avant garde, the film considers the nature of
:47:15. > :47:41.
:47:41. > :47:51.It is a belief that I grow up with, in Thailand, that we always think
:47:51. > :48:05.
:48:05. > :48:09.that there's invisible beings around us. But mostly, it is about
:48:09. > :48:15.the audience being surrounded by history. It is a lot of my memories
:48:15. > :48:21.about my father, too, because he actually died of kidney disease. So
:48:21. > :48:28.there is a tribute to my father, and to movies I grew up with. So it
:48:28. > :48:38.became like a movie which was made from a child's point of view, I
:48:38. > :48:51.
:48:51. > :48:56.People are fascinated by this image. When we made the film, I wanted to
:48:56. > :48:58.make it look in between real and a man in a costume. I wanted to
:48:58. > :49:04.man in a costume. I wanted to invoke a feeling of uneasiness in
:49:04. > :49:14.the audience, whether we should laugh at this, or whether we should
:49:14. > :49:15.
:49:15. > :49:19.be scared. The jungle for me his home. When we were living in caves,
:49:19. > :49:25.in historic times, the jungle used to be a place that we were
:49:25. > :49:35.comfortable with. But now, when we go to the jungle, we feel it is an
:49:35. > :49:35.
:49:35. > :49:45.alien place. So, to go back to your roots is really important, it is
:49:45. > :49:50.
:49:50. > :50:00.like going back home. I don't want to explain too much about the movie,
:50:00. > :50:06.
:50:06. > :50:07.but obviously now it is too late. but obviously now it is too late.
:50:07. > :50:12.read a review somewhere which said that the only redeeming feature of
:50:12. > :50:18.this film was the electric fly swat. I do not agree with that. It is a
:50:18. > :50:22.very dreamy, poetic film, that I was able to get drawn in by, it was
:50:22. > :50:28.just not engaging enough for me to really be able to go with it, so
:50:28. > :50:31.that by the end, I was basically glad that it was finished. There is
:50:31. > :50:35.a narrative thread running through it about a guy who is dying from
:50:35. > :50:39.kidney disease and his wish for loved ones to be near him, and they
:50:39. > :50:44.turn up as ghosts and apes and things like this. I thought that
:50:44. > :50:47.thread running through it was quite effective. But very oddly, the film
:50:47. > :50:52.keeps getting interrupted by what to me just looks like a complete
:50:52. > :50:58.non-sequiturs. There is a bit of a folk-tale and so on. I can only
:50:58. > :51:02.think that this is rather like a Tracey Emin-type work of art, where
:51:02. > :51:06.the criteria of what goes in is based on something very private and
:51:06. > :51:11.personal. I don't think it is a film in the classic Western
:51:11. > :51:15.tradition of story, intro, middle, end. It is definitely playing with
:51:16. > :51:20.our minds. And that's interesting, because it is taking a Buddhist
:51:20. > :51:25.view of the world. I'm really trying to believe that it was a
:51:25. > :51:29.failure of my culture to understand. I tried to believe that, I thought,
:51:29. > :51:34.this is like seeing England through the eyes of Mr Bean. This is a
:51:34. > :51:38.version of Buddhism which is being exported through this film, and I
:51:38. > :51:43.just believed it to the degree I believe Mr Bean. It is all very
:51:43. > :51:53.deliberate, he's deliberately trying to play with us.
:51:53. > :51:57.
:51:57. > :52:00.electric flies what did look to be I'm going to stick my neck out and
:52:00. > :52:05.suggest that that is probably the first time that a film by
:52:05. > :52:08.Apichatpong Weerasethakul has been compared to Mr Bean. Before we
:52:08. > :52:18.discover the winner of the BBC World Cinema Award, let's remind
:52:18. > :52:21.
:52:21. > :52:27.ourselves of the five nominated films. Of Gods And Men. The Skin I
:52:28. > :52:36.Live In, by Pedro Almodovar. Uncle Boonmee Who Can Recall His Past
:52:36. > :52:42.Lives, by Apichatpong Weerasethakul. A Separation, directed by Asghar
:52:42. > :52:52.Farhadi. And finally, Le Quattro Volte, Michelangelo Frammartino's
:52:52. > :52:53.
:52:53. > :52:57.work. So, those are the five contenders, and it is now my
:52:57. > :53:07.pleasure to introduce the chair of the jury, to announce the winner.
:53:07. > :53:11.
:53:11. > :53:19.Ladies and gentlemen, Mr David Hare. We had a strong shortlist this year,
:53:19. > :53:22.but there is always something special about a film which is so
:53:22. > :53:27.unforced and accomplished, that you're not even aware of how it is
:53:27. > :53:34.put together, it just is. All Of Us on the jury felt that way about one
:53:34. > :53:44.film in particular. I'm very happy to announce that the winner of the
:53:44. > :53:59.
:53:59. > :54:02.BBC Four World Cinema Award is A Now, unfortunately, Asghar Farhadi
:54:03. > :54:08.has had problems travelling from Paris this evening, and cannot be
:54:08. > :54:18.with us. But I'm pleased to say that the executive producer of A
:54:18. > :54:18.
:54:18. > :55:00.Apology for the loss of subtitles for 79 seconds
:55:00. > :55:02.Separation will collect the award SHE SPEAKS IN FARSI Dear friends, I
:55:02. > :55:07.would like to express my greetings to all of you.
:55:07. > :55:10.Unfortunately, Asghar Farhadi was not able to come and attend, and I
:55:10. > :55:20.incidentally was in London, and he asked me to come and collect the
:55:20. > :55:34.
:55:34. > :55:38.prize on his behalf and to thank I'm happy that a film was made
:55:38. > :55:43.which was able to attract a large audience in Iran, and it was also
:55:43. > :55:53.welcomed internationally, and I'm happy that the name of Iran can be
:55:53. > :55:55.
:55:55. > :56:02.raised with the presentation of I am grateful to all the fans, and
:56:02. > :56:12.also the ones who have sponsored and helped this programme. Thank
:56:12. > :56:45.
:56:45. > :56:52.A round of applause for our worthy winner, Asghar Farhadi's A
:56:52. > :56:57.Separation. Congratulations. So, as we leave our winner to celebrate,
:56:57. > :57:02.all that remains for me to do is to wish you a good night, and police
:57:02. > :57:05.search out some of these films if you have not seen them. Although
:57:05. > :57:15.two I did not like at all, two I would argue are probably
:57:15. > :57:34.
:57:34. > :57:39.masterpieces. You decide. Thanks In my opinion, and I'm sure in the
:57:39. > :57:43.opinion of a lot of people, Isabelle Huppert has got to be one
:57:43. > :57:53.of the great actresses. She still represents the greatest tradition
:57:53. > :57:54.
:57:54. > :58:00.of European acting. And so, I have loved her for 30 years. The minute
:58:01. > :58:04.we announced that A Separation was the winner, then, as a jury, we
:58:04. > :58:09.felt confirmed, because you could feel in the house the incredible
:58:09. > :58:14.warmth towards the film. If 10 people go out and watched A
:58:14. > :58:18.Separation, and those people tell another ten and another ten, that
:58:18. > :58:24.is how we keep cinema alive and films which cannot afford to be
:58:24. > :58:27.distributed and marketed in the same way as Hollywood films.