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00:30Our father was an artist. Our uncle was also an artist.
00:43Almost from the very beginning, it was certain that we would become illuminators.
00:47When my wife and I were still small, we wanted to start a music band.
00:51But Limburg Brothers is a good name for a bank.
00:54That's why we took up the pen.
00:56What does it mean that we are illuminators?
00:59It's a bit like freelancers.
01:01Or like designers.
01:03Unusual hours of work, high salary, a lot of orders.
01:06Instead of working in a corporation, we chose a feudal labor system.
01:10Princes are usually more straightforward than office directors,
01:14but they are more sensitive to the issues of art.
01:18There is nothing in the world that would attract our attention more than funny pictures.
01:23I think that if we created enough of them,
01:27so that a person sitting in front of them would never have enough free time to look at them all,
01:32it would be a definite sign of unrest in the country.
01:35No revolts, no wars, no political upheavals and expressions of religious dissatisfaction.
01:43Only those mindless eyes,
01:48following the next colors and shapes,
01:52the wonders of this world.
01:55Our art is the art of pictures.
01:59It was composed of pictures, of twelve.
02:02Because there are so many months, and so many related to months,
02:05there are illustrations in our very rich volumes.
02:09In twelve scenes, we will tell you twelve years of our life,
02:12starting from the arrival at the court of Prince de Berry in 1404,
02:17until the death of all of us in 1416.
02:25PART THREE
02:36There is no killing on the wall.
02:39There is peace in the room.
02:42The knives of the Burgundian lords are aimed at the table.
02:47The grenadier's belt is on the heart.
02:51Greetings, honorable Duke.
02:54Greetings, honorable Duke.
02:56We stand humbly before your Majesty, sir.
02:59Greetings to you, too.
03:02Paul.
03:04Jean.
03:06Herman.
03:07Gentlemen, what brings you here?
03:10The greatness of your Duke's might.
03:12The wisdom of your Duke's might.
03:14The glory of your Duke's might.
03:19Fate.
03:20The will to earn money.
03:21The plot of a drama.
03:22No, no, no, no, no, no, no.
03:25Come in again.
03:34Gentlemen, what brings you here?
03:37Legs.
03:38Teeth.
03:39The calculation of probability and fact,
03:41that since we left the place where we were before,
03:44we had to find ourselves in some other aura.
03:46My brother would like to say
03:48that we offer our services to your Duke's might.
03:51And what do you have to offer me?
03:55Hands.
04:02It's probably the right part of the body,
04:05looking at the rest of your apparition.
04:09We heard, sir,
04:11that you appreciate every beautiful art,
04:14and above all, books.
04:16Books, my child.
04:21I read from them no worse than from your common faces.
04:27We are illuminators, sir.
04:28Your brother, Duke Philip, sent us.
04:30The great one was content with our services.
04:39Down!
04:42Our brother, Duke Philip, is dead.
04:50He was content with us when he was still alive, sir.
04:54He liked our prayers very much.
04:57Where are you from?
05:00From the Netherlands, sir.
05:03From the Netherlands.
05:07A country full of grass and herbs.
05:12In a sense, yes, sir.
05:15But in a different way, a bit more baggy.
05:17I hope you will bring me more
05:20excitement and joy than the things
05:23that have been brought to me from the Netherlands so far.
05:27Perhaps you don't deal with it as you should, sir.
05:29You should be drawn not only to it, but to burn it.
05:33My child, in the Middle Ages,
05:37everything can only be burned.
05:44All right.
05:46I will assign you a workshop and funds for the first assignment.
05:50If I am satisfied with your work, I will reward you
05:54and give you the following tasks.
05:57If not...
06:04I'm sorry, gentlemen.
06:07I'm sorry.
06:09I'm going to war.
06:23It's good that we have a ready-made gun.
06:26We will be able to catch up with the others.
06:29It's good that we have a ready-made gun.
06:32We will be able to catch up with the others.
06:34Show me.
06:50I'm missing something here.
06:53Let's add a cat.
06:57Who would like to watch cats?
07:02Let's add a few girls.
07:03And who would like to watch...
07:06No, no, in a bad tone.
07:12After a longer thought, I find that
07:16our work is full of minimalism.
07:19That's what someone who doesn't want to draw a couple of female breasts says.
07:22Our work is full of minimalism.
07:24I'm back from the war.
07:26So early?
07:28We had few enemies today.
07:31Gentlemen, we...
07:35Here are beautifully decorated watches for your princess.
07:41Really?
07:52Angel,
07:55how sweet.
07:57We didn't know if the prince would like them.
08:00We made a Mary's Announcement inside.
08:03It's really beautiful.
08:05I already have many announcements,
08:07but I don't have one like this yet.
08:09The latest Nideran trends.
08:11No, it's a fairy tale.
08:13I will read and watch.
08:17It's probably better than the next sweater for the Christmas tree, isn't it?
08:19Shut up, Jean.
08:21Go straight ahead, sir.
08:23Are you satisfied with our work?
08:26No.
08:28It's boring.
08:32Get back to work.
08:35But now!
08:39The peasants warm their legs
08:42and defrost their genitals.
08:44It's hard for us to understand this pattern of medieval custom today.
08:49But its incomprehension would be a sign of ignorance.
08:53There will be a lot of crows here.
08:55The crows will eat the plums.
08:58There will be a lot of sheep here.
09:00The sheep won't do anything.
09:02There will be a lumberjack with an axe here.
09:05The axe will hang over his shoulder.
09:08There will be a lot of trees here.
09:11The trees will finally be cut down.
09:15There will be a distant city here.
09:20We don't stop drawing.
09:22As long as we draw, we have a job.
09:24As long as we have a job, we have money.
09:26And as long as we have money, we have something to draw for.
09:29It's a wrong circle.
09:31But if you look at all these parables
09:34that we have managed to immortalize during this time,
09:38I am glad that we are immortalizing them, and not them immortalizing us.
09:50So we have to make the Book of Hours,
09:53richer and more magnificent than all the previous ones,
09:56regardless of the costs and the duration of the work.
10:00The initial design was liked by the prince.
10:05We showed the prince the manuscript, and he was very impressed.
10:08He said that the Hours were so rich,
10:11that wow, that respectable, that he liked it more than he liked it.
10:14Look, he looked at us and said,
10:18You have made the Hours rich for me.
10:21Now make the Hours very rich for me.
10:24I am afraid to think about what he will ask next time.
10:27Look, please.
10:29I have invented a new type of illumination.
10:32There are no new types of illumination.
10:35Each illumination is a flat imagination of a certain spatial shape.
10:42This is their only common feature.
10:44Therefore, each of them is of their own kind.
10:49This one is different.
10:51Everything has already been, Herman.
10:53Nothing changes and will not change.
10:55Illumination is an inadequate form of discourse.
10:58It is impossible to draw after the Battle of Asenkaer.
11:02The Battle of Asenkaer has not yet taken place.
11:06That is why we are still drawing.
11:08But the story is over.
11:10God is dead.
11:12The great narratives are gone.
11:14The gothic-luminist has compromised.
11:16This illumination is of a different kind.
11:18That is, it differs from the others in such a way
11:21that they themselves do not differ from each other.
11:24Everything flows, Herman.
11:26Nothing happens twice.
11:29And it will not happen, Herman.
11:32It is an almost provable statement, logically,
11:35that having a sufficiently large collection of illustrations of a certain size,
11:39if we divide the whole illustration into miniature points
11:42from which each can be filled with any color,
11:45the number of combinations of colors and shapes
11:47means that in our collection there are all the pictures you can think of.
11:51Or, to put it simply,
11:53there is an infinite collection of pictures of a certain size.
11:56And it is, it should be admitted, large.
12:00Practically infinite.
12:02However, let's stay theorists for a moment.
12:04Infinite?
12:06And this theoretically means
12:09that you can still create something original.
12:12However, people are very predictable in choosing their own topics.
12:16I just asked someone to see my project.
12:18I thought that it would be possible to place many illustrations
12:21on one page, without text,
12:23in small rectangles read from the left side up to the right side down,
12:27and each subsequent rectangle would show a certain flow of time
12:30on the presented...
12:31What is this?
12:33Smoke.
12:35What kind of smoke?
12:37Well, smoke with the text that the characters are talking about.
12:40Aha.
12:41And this?
12:43This?
12:44A duck.
12:45What kind of duck?
12:47Well, Donald Duck and his three sisters.
12:51Show it to me.
12:54Is this how you waste our parchment and our colors again?
12:58Well, it's funny to me.
12:59But I came up with one more, more serious one,
13:01about a knight, not a bat, who lost his parents in his childhood.
13:04Paul.
13:06A knight, not a bat.
13:08You were supposed to make a bordure for a card with a vision of St. Hildegard
13:12and you draw a knight, not a bat.
13:15Do you think anyone will ever be interested in such nonsense?
13:18Paul, Paul, but this is...
13:21This is really funny.
13:23Magister Donaldus Clamat.
13:26Show it to me.
13:29You know what?
13:31Let's make one more smoke in an hour.
13:34But discreetly.
13:36In January, over the figure under the skull,
13:39let him say,
13:41approach, approach,
13:43come closer, come closer.
13:49On the foreground, there are peasants working.
13:52And the way they work should explain
13:55why Duke of Debury is always in debt.
13:58On the background, there is a dragon flying,
14:01which is too special, because the brain of the recipient
14:04accepted it right away.
14:06That's why the first thing we see
14:09is the center of the composition.
14:11And on it, the boring architecture of the castle.
14:18Go away!
14:28My dear Limburg brothers,
14:31how is the work going on my watch?
14:34They are getting richer, sir.
14:36You could be poorer, sir,
14:38and they would still get rich with their shine.
14:41No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no!
14:45Ouch!
14:49I want you to make me a theater.
14:52A theater.
14:57Yes, yes, yes, yes, yes, yes, yes, yes, yes.
15:00Yes.
15:02You didn't hear me.
15:04I want you to make me a theater.
15:07They did.
15:08A theater for him.
15:10Sir, among many things one man is used to doing to another man,
15:14whether to please him or for reasons of the opposite,
15:17the theater is placed on a rather distant position
15:19in the ranking of obvious connotations.
15:21I want you to make me a theater.
15:23Do we, dear sir, look like actors?
15:30Your wish, before it is said,
15:32changes into an object of our will, sir.
15:35Let us prepare a spectacle
15:37that your eyes have not seen.
15:39When it is ready,
15:41we will return.
15:46Already?
15:49Already.
15:50Already.
15:52After a long and lively discussion
15:56about a concept that would satisfy
16:00the desired tastes of your princess Mościa...
16:04He straightened the flight of the mind.
16:06But he did not boast of the extent of his intellect.
16:09We have decided to present
16:13teaching biblical stories,
16:16whose moralizing tone
16:18and consistency with the letter of the Scripture
16:21will make the viewer the most astounded.
16:23If you intend to proclaim a sermon,
16:27even with a division into roles,
16:31then I will personally enter Herod's body
16:34and I will perform the incision of innocence.
16:37Excellent.
16:38In no case.
16:40Our intention was equally distant
16:42from similar concepts
16:44as a little finger at the tip of the head
16:48assuming that someone is standing in a vertical position.
16:51We have decided,
16:53in order to incite imagination,
16:55to reach the Old Testament,
16:58to the history of creation.
17:00You know, sir, my perversity.
17:03So I will be a narrator and a snake.
17:06Joan will play Adam,
17:08while Herman,
17:10a young man with the most delicate face,
17:13will play Eve.
17:19No, no, no!
17:21No!
17:22For Christ's sake!
17:24No pornography.
17:26You are just as harsh as the Creator in the Garden of Eden,
17:28but He did not defend himself against innocence.
17:30Herman!
17:31You wanted to say Eve.
17:32Herman!
17:34All right, all right.
17:35Let's play another story.
17:39Now?
17:40Now!
17:41Well, the story of King Mrod,
17:43the first ruler of the land
17:45and the greatest hunter
17:47who killed a wild animal
17:49at the time of the birth of Your Highness.
18:00Is there any creature
18:02that can guard the bird of my eye?
18:07Fight with me,
18:09mighty one!
18:10Where are you, creature?
18:13Here.
18:14What are you, monster?
18:16Defender of animal rights!
18:18Take off this fur,
18:19murderer!
18:24I do not remember
18:26that the Bible
18:28presented such events.
18:30Indeed, my lord,
18:31however, our faith
18:33is based on tradition.
18:35It will tell us different stories.
18:37My dears, my dears,
18:38calm down.
18:40Let Nimrod triumph.
18:42After my corpse,
18:43take off this fur, hunter!
18:46King Nimrod,
18:48who settled in the valley of Euphrates,
18:50gathered people from all over the world
18:53to build the highest animal.
18:57Enough! Enough! Enough! Enough! Enough!
19:00Enough! Enough! Enough! Enough!
19:03I want...
19:05I...
19:06I...
19:08I desire...
19:10a theater that...
19:16would be closer to life.
19:24No poet will say anything good about April.
19:28Let's just stop
19:30seeing the castle of Durda,
19:32fishermen,
19:34lords
19:36and ladies.
19:59What are you doing, Paul?
20:03I'm preparing
20:04a preliminary sketch for the illustration.
20:11Sometimes, when I draw,
20:14I feel like I'm bringing the world back to life.
20:17A little smaller?
20:18And a little more flat.
20:20It's sad lately,
20:21especially when it comes to girls.
20:22Leave me alone!
20:25I mean...
20:28finding shapes,
20:30giving forms,
20:33closing the cosmos
20:35in one illustration.
20:37It's a boring cosmos.
20:39It's not like ours is more interesting.
20:41Jean Herman,
20:42just think about it.
20:45An artist finds the most appropriate form
20:48for his work.
20:51And when he finds the right one,
20:55he starts working.
20:58Don't you think
21:00this is how the world had to be created?
21:02It's a more comforting thought
21:04than accepting that the world
21:06hasn't been created at all,
21:07that it's eternal and will never end.
21:09Eternity terrifies me.
21:11Paul, Paul!
21:12I'm drawing!
21:13I'm going to fuck you
21:15in the promising leg!
21:17Paul, because I thought...
21:19Paul, he thinks!
21:21I fucked the devil!
21:23That's what it's about, Paul.
21:25No!
21:26No, no, no, no!
21:28Don't be angry, Paul.
21:30He thought.
21:31If it happened to him more often,
21:33maybe I wouldn't react so nervously,
21:35because I would get used to it.
21:37A deer with a crooked leg!
21:39An imperfect detail.
21:41In the final work, a fragment.
21:43It could have been a really beautiful deer.
21:46And now the dress will be
21:48a ball to the end of the world.
21:50Isn't our world imperfect,
21:52even though its creator
21:54is perfect?
21:56It could have been the most beautiful
21:58deer in my life.
22:00If you create and you see
22:02that one of the elements doesn't fit,
22:04you don't sacrifice the work
22:06to eliminate this one imperfection,
22:08but you'd rather try to smuggle it
22:10to save the work.
22:11There are a lot of imperfections
22:13if you're talking about our world.
22:15This deer would be perfect
22:17if you didn't talk.
22:19Do you think someone was talking about our creator?
22:21Maybe it's true that our world
22:23is the most perfect possible.
22:25If the universe expands every time
22:27an alternative occurs
22:29at the lowest level.
22:31Did you see my goat?
22:33Assuming, of course,
22:35that it's a binary alternative,
22:37that the universe can be divided
22:39into only two parts.
22:41Here. Gentlemen, give me a break.
22:43Maybe I could...
22:45This question is about
22:47which world we live in.
22:49Maybe our light exists
22:51in which we will live the longest.
22:53I pierced this damn parchment.
22:55You used gold for three pounds.
22:57In this sense,
22:59each of us lives in the best of worlds,
23:01but the best only because
23:03of the length of our own existence.
23:05Maybe we're even immortal.
23:07Jean,
23:09if you put your eloquence
23:11into these common human
23:13and deer parts of the body
23:15that I never have to illustrate...
23:17Ho, ho, ho, ho, brother.
23:19Brother, taste!
23:21From this point of view,
23:23if there is a creator,
23:25he is a total creator.
23:27That is, he is a perfect analyst
23:29who takes into account every possible situation.
23:31He is a cold and terrifying scourge
23:33who branches out his work indefinitely.
23:35It was through you that I pierced
23:37this parchment, Jean.
23:39And what about the space?
23:41You'll see what about the space in a moment.
23:43On the pictures of the ancient masters,
23:45the dogs always made me laugh.
23:47And the evil nature of nature
23:49tested the art of the ancient masters.
23:51If the dogs seemed
23:53to be alive enough,
23:55a desire to kick them
23:57was born in me.
23:59In the imagination of
24:01the brothers Limburg,
24:03in addition to the ladies and gentlemen
24:05dressed in robes,
24:07there are two little dogs
24:09of an unknown miracle.
24:11I would gladly tear them
24:13out of my ears.
24:25Dear sir
24:27and worthy prince,
24:29honorable viewers,
24:31believing that history
24:33from ancient times
24:35can be instructive for us
24:37if we find in it
24:39a story about us
24:41alone,
24:43with unparalleled joy
24:45and great humility
24:47we present to you
24:49your dignified faces
24:51one more biblical scene.
24:53Its title is
24:55What is
24:57Holofernes?
25:03What do I have with these men?
25:05Breaking my head.
25:07I tear, I take, I go out.
25:09So in every baroque painting,
25:11so in every illustrated Bible.
25:13I'm really fed up with it.
25:15I want it to be at least one
25:17and the same Holofernes, but no.
25:19Every time I see a different face.
25:21Most often they are big bearded faces
25:23of big bearded men.
25:25But it also happens
25:27that they are big bearded faces
25:29of big bearded men
25:31with whom some painter
25:33has not made a living.
25:35In the sphere of iconography.
25:37Do you hate your past?
25:39Paint it, how Judith decapitates it.
25:41When we give up our most vulgar instincts
25:43we lose a good taste.
25:45Or a head.
25:47That's how Holofernes behaved.
25:51When I entered this tent
25:55I was probably the happiest man
25:57in the world.
25:59Now,
26:01years from my tragic death
26:03I know for sure
26:05that women are able to forgive
26:07men a lot of things.
26:09Most probably
26:13a woman is able to forgive
26:15a man a lot of things.
26:17Except one thing.
26:21The fact that he fell in love with her.
26:27I admit that it was not only about politics.
26:29When Holofernes
26:31sat next to me
26:33on the wedding bed
26:35I thought
26:37that I would wake up the next day
26:39and see a body of a stranger
26:41next to me.
26:43A living body.
26:47You probably know this game
26:49in which we repeat a word
26:51for a while
26:53until it finally
26:55disappears from its original meaning
26:57with an empty and terrifying sound
26:59that reaches us
27:01in all its absurdity.
27:03And perhaps
27:05these situations happen to you
27:07without repetition.
27:09That is, a word
27:11disappears from its original meaning
27:13and we are powerless against it.
27:15And perhaps
27:17these situations happen to you
27:19the most terrifying situations
27:21when words disappear from reality.
27:23I was not afraid of anything in the world
27:25more than the fact that
27:27it will happen to me with a man
27:29and that this fraction of a second
27:31when I will not be able to recognize Holofernes
27:33will drive me crazy.
27:35Enough!
27:37Didn't I say
27:39that only a story taken from life
27:41will please me?
27:43It was, my lord.
27:45I was expecting a story
27:47based on your own life experience.
27:49It was, my lord.
27:51I assure you, my lord,
27:53that Hermann wrote for this very purpose.
27:55Well, well, well...
27:57Go on.
27:59It's complicated
28:01because I took my story from life
28:03in two stages.
28:05That is, if you refrain from explanations
28:07then you probably assume
28:09that I either lack understanding or time
28:11to overcome the difficulties
28:13of your explanations.
28:15In the first case, you offend your prince,
28:17and in the second
28:19you use your excuse
28:21to deprive him of valuable minutes.
28:23My lord...
28:25Paul, Paul, Paul, our little brother
28:27looks beautiful in this bride's dress.
28:31The first stage of experience
28:33is based on the fact
28:35that I was once with a woman
28:37and...
28:39and I'm not with her anymore.
28:41Once, when we were together,
28:43I wanted to kiss her
28:45but
28:47she started to cry
28:49when I asked her
28:51for the reason
28:53she admitted
28:55that she seems to be a strange person.
28:57And what is the second stage of experience?
28:59I become a hero.
29:01Sometimes I feel
29:03like I have something from a woman.
29:05I even have dreams about this
29:07after which I have
29:09a great longing.
29:11Maybe it's because of this desire
29:13that I get along with women,
29:15because she is of a vulgar nature.
29:17I am of the opinion that men are similar to dogs,
29:19women to cats...
29:21Enough!
29:25Leave the theatre alone.
29:27Get back to your normal work.
29:31Get back to your manuscripts.
29:39My dear prince,
29:41I think
29:43it's very difficult
29:45to get rid of this role.
29:47Three farmers in the field
29:49are walking barefoot.
29:51Their choreographer
29:53had to be Bob Fosse.
29:55And yet,
29:57each of them looks like death.
29:59The women,
30:01one of whom is holding a fork,
30:03and the other one is robbing,
30:05were rather learning from Pina Bausch.
30:07In the background,
30:09people are crowding
30:11and the performance
30:13of less imaginative movements
30:15has already begun.
30:31We live in the Middle Ages.
30:37When do we live?
30:39In the Middle Ages.
30:41Before the New Testament,
30:43and especially before the Modern.
30:47All the good deeds of the Industrial Era
30:49have passed away.
30:51Paul? Herman?
30:53It doesn't matter.
30:55What matters is that the Middle Ages,
30:57as we know,
30:59is an epoch
31:01with a high rate of mortality.
31:05In every epoch,
31:07the rate of mortality
31:09is the same, Herman.
31:11It's high for everyone.
31:13To put it simply,
31:15looking from the perspective of time,
31:17the rate of mortality
31:19is 100% in every epoch.
31:21In every epoch,
31:23all its representatives die.
31:25Unless one of them
31:27dies in the next one.
31:29I mean, if you wait long enough,
31:31everyone who was born in a given epoch
31:33will die.
31:35I just wanted to say that...
31:37Wait, I asked Paul what's so funny about it.
31:39The only epoch
31:41we can't be sure about
31:43is the one
31:45we live in.
31:47It's not funny.
31:49It's trivial.
31:51When I said that the Middle Ages
31:53is an epoch with a high rate of mortality,
31:55I meant that
31:57a lot of people fall victim
31:59to the Black Death.
32:01They die of an infection,
32:03or starvation.
32:05I die of starvation.
32:09At any moment,
32:11the Black Death
32:13could take us.
32:15I'm not an enthusiast of the Black Death.
32:17Or...
32:19a plague of air.
32:21Don't you think
32:23it's quite abstract
32:25to say that
32:27it takes someone's air?
32:29A rescue of a rescue?
32:31The plague of air
32:33was taken by...
32:35my brother.
32:37But I didn't see where.
32:41It's a language, that's what they say.
32:43That's why I always
32:45preferred to draw.
32:49Geometry is the subject
32:51of this work.
32:53Geometry is the subject
32:55of the palaces of Poitiers.
32:57Geometry is
32:59the subject
33:01of trees, swans,
33:03oaks and bridges.
33:05Two peasants
33:07are pulling out of the sheep
33:09the element of a square wool.
33:11Two other peasants
33:13are counting the fields
33:15to make it easier
33:17by equating them
33:19with serps.
33:29What is an artist?
33:51What is an artist?
33:53What is an artist?
33:59He knows.
34:03A field?
34:05Yes.
34:07Who knows?
34:09That's what I just said.
34:11It's a really interesting question.
34:13You said
34:15the first word wasn't who.
34:17It was.
34:19So what?
34:21The first word
34:23you used
34:25is considered obsolete.
34:27And what did you hear?
34:29Don't you think it would be
34:31a really good word for an artist?
34:33I didn't say anything.
34:35You did.
34:37I said who.
34:39Exactly.
34:41And who is something.
34:43You meant something else.
34:45Me?
34:47The thing is
34:49something.
34:51You didn't understand the word something
34:53in the most general sense
34:55but a certain, concrete word
34:57that you tried to say
34:59to me earlier.
35:01Would it be something obsolete
35:03if you said it?
35:05Brother, leave me alone.
35:07We're not children.
35:09If so,
35:11I'll go pick a pear.
35:19Jean?
35:21Yes?
35:23What about this artist?
35:27It's easier with a writer.
35:29A writer creates a series of words.
35:31A writer makes words.
35:33We make pictures.
35:37I'm going to boil some water.
35:49What's up with this artist?
35:53The gentlemen and ladies
35:55we met in May
35:57are coming back from hunting
35:59with falcons.
36:01People are gathering
36:03in the fields
36:05in the meadows.
36:07Others are bathing
36:09in the vast water.
36:11There are less gentlemen and ladies
36:13than before.
36:15But they are going
36:17in the same direction
36:19as if they were
36:21going through
36:23a few pages of paper.
36:25The flow of time
36:27can be seen only
36:29in two dogs.
36:33My dear prince,
36:37I would like to marry
36:39one of these single ladies,
36:41Miss Gillette La Merciere.
36:47What's the problem, my child?
36:49She doesn't want to marry me, sir.
36:55I order
36:57to put Miss Gillette
36:59La Merciere
37:01into prison
37:03for an hour.
37:05Miss Gillette
37:07La Merciere
37:09will be released
37:11with her family
37:13when she falls in love.
37:15The next day
37:41My husband stays at home all day long.
37:43Herman, stop it!
37:45He says he can't watch
37:47too much of the world at once
37:49because it causes
37:51a creative blockade.
37:53Herman!
37:55My husband is very angry.
37:57He says that seeing everything
37:59and seeing everything
38:01is ultimately killing the imagination.
38:03Maybe that's why he was so reluctant
38:05to come to bed with me.
38:07And when he finally did,
38:09he insisted that I turn off all the lights.
38:11Are you jealous of me?
38:13Didn't you resist
38:15to marry me out of blind love?
38:17Herman!
38:19You are not my wife!
38:21Let me tell you something.
38:23This man covers his ears
38:25every time he hears a musical piece for the second time.
38:27He says he does it
38:29so that the music doesn't make him sick
38:31and loses its original beauty.
38:33Fortunately, Jean,
38:35Duke de Berry,
38:37loves Pola Limburg
38:39just like his wife,
38:41Gillette La Merciere.
38:43And maybe not less than Pola loves her.
38:45Duke's love remains platonic.
38:47But fortunately, she bore a child
38:49because our beloved Pola
38:51is bored of painting something
38:53for the second time
38:55and never returns to the same topics.
38:57Duke de Berry builds a new castle every year
38:59just so that Pola could
39:01later illustrate it.
39:03Am I wrong, Pola?
39:05No, Herman.
39:07I'm going to bed.
39:09Very well.
39:11Don't wait for me today.
39:13I made an appointment
39:15with my friends.
39:19But don't worry about anything.
39:23Whoever has never watched
39:25Gummis
39:27is ready to think
39:29that before the castle
39:31in Samur
39:33wine-making takes place.
39:37I had a dream last night.
39:39I had a dream
39:41that I was looking through an old codex
39:43beautifully decorated
39:45by a Greek robot.
39:47And suddenly
39:49I felt that someone was watching me.
39:51Someone was standing
39:53at the door of the workshop.
39:55Because it was our workshop.
39:57And at first I thought it was you.
39:59So I asked
40:01Jean?
40:03Yes.
40:05And I asked him in my dream.
40:07Aha. And what about me?
40:09Not you, but him.
40:11Him.
40:13It's me.
40:15But it wasn't you.
40:17This man came up to me,
40:19looked at my work
40:21and said,
40:23Herman, behave as if
40:25nothing had happened.
40:27And what happened?
40:29Nothing.
40:31This man smiled again
40:33Everything you do
40:35do it as if you were doing it normally.
40:37I can't stop thinking about it
40:39since then.
40:41This man's face was also
40:43in the manuscript of this dream.
40:45What does it mean?
40:47As if you were doing it normally.
40:49Of course.
40:51I mean, since the moment
40:53I had this dream
40:55I feel as if
40:57I was pretending to be myself.
40:59Herman,
41:01you've been behaving like this
41:03every day for 25 years.
41:05What's the problem?
41:07Well, the problem is
41:09how I behave every day,
41:11Herman Limburg.
41:13What I feel.
41:15What I think.
41:17I'm thinking about it now
41:19instead of doing it.
41:21And what I come up with,
41:23I'm just doing it.
41:25It's like copying your own work
41:27and having the impression
41:29that the local economy
41:31is not doing its best.
41:33The architecture and fears
41:35of the slums are better
41:37than those of the farmers.
41:39Dogs are fighting,
41:41pigs are eating,
41:43people are eating grain.
41:45Meanwhile, the Limburg brothers
41:47are illustrating indifference.
41:49Acedia.
41:51The state of spiritual helplessness
41:53described by the theologians
41:55and the Church Fathers.
41:57The state of spiritual helplessness
41:59described by the theologians
42:01and the Church Fathers.
42:03Apathy.
42:05Internal peace.
42:07Indifference.
42:09Indifference to the Father.
42:11Indifference to the Father.
42:13A high attitude
42:15indicated by various
42:17schools of ancient philosophy.
42:19Ataraxia.
42:21Indifference.
42:23Indifference to the Father.
42:25Too much of an impression.
42:27The ideal of the Stoic school.
42:31Inertia.
42:33Incompetence.
42:35Lethargy.
42:37Sleepiness.
42:39Achinesia.
42:41Stop it, my head hurts.
42:45The state of motion
42:47of living organisms.
42:49Dizziness
42:51caused by the damage
42:53of the pyramid.
42:55Good.
42:57Very good.
43:01Narcolepsy.
43:09Herman?
43:13I can't do anything because I have depression.
43:15I have depression
43:17because I don't do anything.
43:19This is not a good definition.
43:23You lost.
43:25Can you stop talking?
43:33Although maybe
43:35if it really was depression
43:37it wouldn't be so easy
43:39for me to say it.
43:43Three months have passed
43:45since the plague
43:47and we are sitting here
43:49closed.
43:51Don't look at it.
43:53It's a good moment.
43:55We are not sitting.
43:57We are lying.
44:01I just sat down.
44:05You see?
44:07Hypodepression.
44:11In November
44:13with excessive expression
44:15the old man feeds wild pigs.
44:17Some of them
44:19ungrateful
44:21stood behind the lady
44:23to the viewer.
44:25The old man
44:27feeding the pigs.
44:29Isn't it a perfect
44:31figure of a patron?
44:39They say
44:43that there was
44:45a plague in the country.
44:49People are breathing
44:51and dying while breathing.
44:53Look who said
44:55it's the air's fault.
45:03Breathing and dying
45:05is the characteristic
45:07of all beings.
45:15This time we are dealing
45:17with a temporary degeneration
45:19of these deaths.
45:21More people die than are born.
45:23A lot more,
45:25if not more.
45:27To the extent
45:29that they are taken
45:31on wheelbarrows outside the city.
45:33At least until the one
45:35who pushes the wheelbarrows
45:37doesn't fall victim to the plague.
45:39And your love
45:41believes in life after death?
45:47Yes.
46:09Jean.
46:11My friend.
46:13My friend.
46:19I have a request for you.
46:21My dear friend.
46:23Die.
46:33Jean.
46:37Get up.
46:39Die.
46:41Get up.
46:45Die.
46:47Get up.
46:49Get up.
46:51Get up.
46:53Get up.
46:55Get up.
46:57Get up.
46:59Get up.
47:01Get up.
47:03Get up.
47:05Get up.
47:07Jean.
47:11Jean, you can get up.
47:15Jean.
47:27Jean, my friend.
47:33My dear friend.
47:37Jean.
47:47The time of death
47:49is 13.50.
47:55Dear Limburgians,
47:57I think it's time
47:59to pray
48:01for the soul
48:03of Jean de Limburg,
48:05the illuminator
48:07of my dearest friend
48:09and your
48:11unrepentant brother.
48:35I have prepared an epitaph, sir.
48:37Bravo.
48:39Read it, please.
48:49The one who drew the letters
48:51on the sand,
48:53Jesus Christ, God
48:55and the iconoclasts,
48:57created by you,
48:59turned into a work,
49:01into colourful spots
49:03and into lines,
49:05contours and shadows,
49:07from which your name,
49:09the creator, began.
49:11Let him close the performance
49:13with the last words.
49:15Let him want to look
49:17at Jean,
49:19Jesus Christ, Lord.
49:21Let his face
49:23be a fiat.
49:25Let it happen.
49:29All right.
49:31All right, I'll be your Christ.
49:37Paul, it was a really interesting text.
49:41Jean is dead.
49:4340 years ago,
49:45it could have been taken
49:47as a decent poem.
49:49He's dead, Herman.
49:51Not anymore.
49:53In fact, it was heard
49:55unbearably,
49:57but I don't feel sorry for you.
50:01All right.
50:03Jean, sit down.
50:05Jean, you can stand up.
50:07I'm sorry,
50:09but right now I'm
50:11dealing with dying.
50:17As for December,
50:21killing is a boring job.
50:31Oh, you!
50:41Isn't it the ultimate
50:43downfall of humanity
50:45that a civilized man
50:47has only one thing left
50:49to do?
50:51To look.
50:57Recently,
50:59we found a lot of words
51:01from our dictionaries
51:03to be empty.
51:05Recently,
51:09we read less and less books
51:11because you can find
51:13a lot of empty words
51:15in those books.
51:21Recently,
51:23we don't have time.
51:25Pictures
51:27devour it.
51:31Recently,
51:33keyboards have become
51:35our paradise gardens.
51:39Recently, we believed
51:41that we could find every picture
51:43by typing the right word
51:45on the keyboard.
51:47Recently,
51:49because we threw out
51:51a lot of words,
51:53we found a lot of pictures
51:55that we could
51:57find.
52:01Recently,
52:03all these pictures
52:05have become more and more
52:07similar to each other.
52:09Recently, we create
52:11a picture and a likeness.
52:13A likeness becomes a picture
52:15and everything that is not a picture
52:17becomes a likeness.
52:23Recently,
52:27we did a lot of
52:29ugly things.
52:33We turned people
52:35into things.
52:39We are increasing
52:41human resources.
52:43Recently,
52:45and I will add
52:47that I like this word very much,
52:49resources.
52:53Recently,
53:01we can look
53:03backwards.
53:07What did we leave behind?
53:11What did we leave behind?
53:15Yes, my dears,
53:17let's look at the pictures
53:19because
53:21it is a pure and uninteresting
53:23pleasure that
53:25Aristotle associated
53:27with philosophical contemplation
53:29and Kant
53:31with aesthetic experience.
53:35Let's look at the pictures.
53:41Recently, my dears,
53:43we found ourselves
53:45in the paradise of philosophers
53:49Comfortable?
54:19Comfortable?
54:23Comfortable?
54:27Comfortable?
54:31Comfortable?
54:35Comfortable?
54:39Comfortable?
54:43Comfortable?
54:49Comfortable?
54:55Comfortable?
55:01Comfortable?
55:07Comfortable?
55:13Comfortable?
55:19Comfortable?
55:25Comfortable?
55:31Comfortable?