Эдем и после / Рай и то, что после него / L' Éden et après / Eden and After (Ален Роб-Грийе / Alain Robbe-Grillet) [1970, Франция, Чехословакия, Тунис, драма, сюрреализм, BDRemux 1080p] AVO (А. Алексеев) + DVO (Paper pirates) + Original Fra + Sub (Rus, Eng)

General
Unique ID : 54217301049108099177854414952301583075 (0x28C9DF52F2A525C088B478CAB2BBDAE3)
Complete name : L'Eden.et.apres.1970.1080p.BDRemux.mkv
Format : Matroska
Format version : Version 4
File size : 20.5 GiB
Duration : 1 h 38 min
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Overall bit rate : 29.9 Mb/s
Movie name : L'Éden et après / Eden and After / Эдем и после (1970) – RuTracker
Encoded date : UTC 2024-05-20 21:16:03
Writing application : mkvmerge v84.0 ('Sleeper') 64-bit
Writing library : libebml v1.4.5 + libmatroska v1.7.1
Cover : Yes
Attachments : cover.jpg
Video
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Duration : 1 h 38 min
Bit rate mode : Constant
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Height : 1 080 pixels
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Title : L'éden et après 1970 1080p US Blu-ray AVC LPCM 2.0
Language : French
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Title : AVO – Антон Алексеев
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Title : DVO – Paper pirates
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Title : Redemption
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Menu
00:00:00.000 : en:01. Images and Light
00:09:56.596 : en:02. A Trip
00:18:45.457 : en:03. The Stranger
00:27:28.772 : en:04. Improvised Scenes
00:39:33.954 : en:05. Confusion
00:48:19.938 : en:06. Absurd Game
00:59:01.829 : en:07. The Docks
01:09:59.904 : en:08. Kidnapped
01:20:18.104 : en:09. The Way Out
01:30:17.954 : en:10. Accident

1
00:03:01,891 --> 00:03:07,646
N. TOOK THE DICE
2
00:05:05,973 --> 00:05:07,641
<i>An image.</i>
3
00:05:08,309 --> 00:05:12,021
<i>An image slides back and forth
in my head for some time,</i>
4
00:05:12,104 --> 00:05:13,939
<i>for a long time, no doubt:</i>
5
00:05:14,023 --> 00:05:19,069
<i>that of two girls,
tall, blonde, hair cut short,</i>
6
00:05:19,570 --> 00:05:21,780
<i>and they are like sisters.</i>
7
00:05:22,406 --> 00:05:24,283
<i>I think I know who one of them is:</i>
8
00:05:24,366 --> 00:05:27,536
<i>a third-year student,
seen occasionally at the university.</i>
9
00:05:27,745 --> 00:05:29,413
<i>She is called -</i>
10
00:05:30,205 --> 00:05:32,249
<i>Suddenly I've forgotten her name.</i>
11
00:05:33,917 --> 00:05:36,628
<i>The other
I'm sure I've never seen.</i>
12
00:05:36,712 --> 00:05:40,132
<i>Yet the image slides again,
into my head:</i>
13
00:05:40,424 --> 00:05:42,634
<i>these two girls,
side by side,</i>
14
00:05:42,718 --> 00:05:45,971
<i>with their long legs
and their golden hair.</i>
15
00:05:50,809 --> 00:05:52,519
<i>What has always seemed strange</i>
16
00:05:52,603 --> 00:05:57,232
<i>when I tell a story on TV for example,
which they call a screenplay,</i>
17
00:05:57,649 --> 00:06:01,445
<i>is that things are linked
from start to finish, logically.</i>
18
00:06:01,528 --> 00:06:03,280
<i>Well composed, continuous.</i>
19
00:06:08,118 --> 00:06:11,246
<i>One feels they've made an effort there,
in the studios,</i>
20
00:06:11,330 --> 00:06:16,251
<i>so that everything is in order:
each event exactly in its place.</i>
21
00:06:16,460 --> 00:06:19,671
<i>Bound by the law of cause and effect,</i>
22
00:06:19,755 --> 00:06:22,883
<i>with that which precedes
and that which follows.</i>
23
00:06:22,966 --> 00:06:26,929
<i>And meanwhile, I see once again</i>
24
00:06:27,221 --> 00:06:30,933
<i>these two girls who pass by,
for no reason.</i>
25
00:06:31,308 --> 00:06:33,227
For no reason.
26
00:06:39,274 --> 00:06:41,527
Let me try to explain.
27
00:06:41,819 --> 00:06:45,572
These stories that you see on TV
that are linked in such a way,
28
00:06:45,656 --> 00:06:48,492
so logical, continuous, reassuring,
29
00:06:48,742 --> 00:06:51,578
are made only to put you to sleep.
30
00:06:51,995 --> 00:06:56,250
When real things happen around you,
you notice that everything is different.
31
00:06:56,875 --> 00:06:59,294
A cop show, on TV,
32
00:06:59,378 --> 00:07:03,298
always ends
by putting in its right place
33
00:07:03,715 --> 00:07:06,301
each element of the investigation.
34
00:07:06,552 --> 00:07:09,555
And there is never one missing
or one too many,
35
00:07:09,805 --> 00:07:11,473
however small.
36
00:07:11,849 --> 00:07:14,309
All is explained at the end.
37
00:07:14,393 --> 00:07:16,228
All becomes clear.
38
00:07:17,438 --> 00:07:22,526
The whole is transformed
into an object smooth and closed,
39
00:07:22,943 --> 00:07:24,361
round,
40
00:07:24,695 --> 00:07:29,199
like a sort of egg,
unbreakable and transparent.
41
00:07:32,703 --> 00:07:36,957
Like a kind of food,
sterilized, hygienic and without taste.
42
00:07:37,583 --> 00:07:40,377
The history of France
for schoolchildren...
43
00:07:40,836 --> 00:07:44,006
Something... like death.
44
00:07:45,048 --> 00:07:46,592
In real life or the newspapers,
45
00:07:46,675 --> 00:07:49,261
when you read true stories
of crime or passion,
46
00:07:49,344 --> 00:07:51,889
or everyday news,
it's never like that.
47
00:07:52,097 --> 00:07:54,892
Something always remains
incomprehensible.
48
00:07:54,975 --> 00:07:57,728
People who remain enigmatic,
right to the end.
49
00:07:58,061 --> 00:08:00,898
Stubborn little details
that don't fit with the rest
50
00:08:00,981 --> 00:08:03,734
and that destroy
the construction of the police,
51
00:08:04,067 --> 00:08:06,028
lawyers and psychologists.
52
00:08:06,236 --> 00:08:08,322
Then, most of the time,
53
00:08:08,405 --> 00:08:12,034
one prefers to forget
these fragments that don't match.
54
00:08:12,117 --> 00:08:15,078
<i>One pretends not to have seen them.</i>
55
00:08:15,579 --> 00:08:17,623
<i>One looks away, shyly.</i>
56
00:08:17,706 --> 00:08:21,251
Because otherwise,
there would be no story possible,
57
00:08:21,627 --> 00:08:24,171
neither truth nor justice.
58
00:08:25,255 --> 00:08:28,509
Moreover,
the accused might do it on purpose
59
00:08:28,592 --> 00:08:30,260
to confuse and escape justice.
60
00:08:31,637 --> 00:08:34,056
<i>But I don't do it on purpose.</i>
61
00:08:34,348 --> 00:08:38,602
<i>What attracts me irresistibly when I
watch people and things around me,</i>
62
00:08:38,852 --> 00:08:40,604
<i>unable to look away,</i>
63
00:08:40,687 --> 00:08:43,565
<i>is that which I cannot understand:</i>
64
00:08:43,857 --> 00:08:47,903
<i>words out of context,
suspended gestures,</i>
65
00:08:48,153 --> 00:08:50,531
<i>images taken unawares.</i>
66
00:08:50,822 --> 00:08:54,535
<i>Images whose proximity
appears to be due to chance.</i>
67
00:08:54,910 --> 00:08:57,538
<i>Everything that resists
my explanation.</i>
68
00:08:57,788 --> 00:09:00,999
<i>This story, for example,
that I 'II start to tell,</i>
69
00:09:01,458 --> 00:09:03,669
<i>that I will try to tell -</i>
70
00:09:03,752 --> 00:09:05,170
<i>Tell you.</i>
71
00:09:05,921 --> 00:09:09,299
<i>The guy in the boat
you don't recognize, but it's me.</i>
72
00:09:09,967 --> 00:09:12,553
<i>I have a beard and a big hat,</i>
73
00:09:12,636 --> 00:09:15,305
<i>to hide my face as much as possible.</i>
74
00:09:15,681 --> 00:09:18,934
<i>Or perhaps also,
because of the summer sun.</i>
75
00:09:35,075 --> 00:09:39,663
<i>The lad who has just embarked
from the large sailboat</i>
76
00:09:39,746 --> 00:09:42,583
<i>is one of the Cortez brothers,
the elder of the two.</i>
77
00:09:43,041 --> 00:09:46,461
<i>They look like twins,
apart from the beard.</i>
78
00:09:51,341 --> 00:09:55,178
<i>Me, down there, I watch.</i>
79
00:09:55,804 --> 00:09:59,558
<i>I watch who comes and goes,
never missing a detail.</i>
80
00:09:59,850 --> 00:10:04,021
<i>And now, here, I talk.</i>
81
00:10:08,609 --> 00:10:11,361
<i>I don't know exactly what this man does.</i>
82
00:10:11,445 --> 00:10:13,238
<i>He's not one of us.</i>
83
00:10:13,822 --> 00:10:15,907
<i>Neither relative nor professor.</i>
84
00:10:16,199 --> 00:10:20,037
<i>He wanders around,
lurking everywhere just like a cop.</i>
85
00:10:20,120 --> 00:10:24,750
<i>A private eye, or a TV reporter,
waiting for his camera crew to arrive.</i>
86
00:10:24,833 --> 00:10:28,545
<i>Our city is double,
like most of the cities around here.</i>
87
00:10:28,629 --> 00:10:31,381
<i>Always this man, watching.</i>
88
00:10:31,590 --> 00:10:34,885
<i>As if he were the narrator and not me.</i>
89
00:10:35,719 --> 00:10:39,806
<i>Western construction,
more or less modern, borders the sea</i>
90
00:10:39,890 --> 00:10:41,725
<i>and a vast ancient quarter</i>
91
00:10:41,808 --> 00:10:45,604
<i>that has fully preserved
the traditional Arab architecture.</i>
92
00:10:45,687 --> 00:10:48,273
<i>The same contradictions are found
in the clothing</i>
93
00:10:48,357 --> 00:10:49,900
<i>and daily customs.</i>
94
00:10:51,276 --> 00:10:53,820
<i>This is the other Cortez brother.</i>
95
00:10:53,904 --> 00:10:57,824
<i>He is easily distinguished
from the first, as he has no beard.</i>
96
00:10:57,908 --> 00:11:01,161
<i>My name is N. K.,</i>
97
00:11:01,662 --> 00:11:04,915
<i>but everyone calls me N. for short</i>
98
00:11:05,248 --> 00:11:07,417
<i>as if it were an initial.</i>
99
00:11:07,501 --> 00:11:09,211
<i>Of “Nemo” for example,</i>
100
00:11:09,753 --> 00:11:11,838
<i>or “navigator”
or “narrator”</i>
101
00:11:11,922 --> 00:11:13,882
<i>or wicked “Napoleon. ”</i>
102
00:13:29,726 --> 00:13:32,687
<i>The place where I live
looks directly onto the beach,</i>

---

EDEN AND AFTER
1
00:02:25,647 --> 00:02:27,732
<i>- Headlines.
- Writing.</i>
2
00:02:27,816 --> 00:02:30,318
<i>- Eden.
- Architecture.</i>
3
00:02:31,653 --> 00:02:33,196
<i>Composition.</i>
4
00:02:34,697 --> 00:02:37,200
<i>- Make-up.
- Catherine Jourdan.</i>
5
00:02:37,283 --> 00:02:39,994
<i>- Performance.
- Sharp objects.</i>
6
00:02:40,078 --> 00:02:42,413
<i>- Games.
- Viscous substances.</i>
7
00:02:42,497 --> 00:02:45,124
<i>- Mise-en-scène.
- Flowing blood.</i>
8
00:02:45,208 --> 00:02:48,294
<i>Catherine Jourdan-
Richard Leduc.</i>
9
00:02:48,378 --> 00:02:50,213
- <i>Pierre Zirnmer.
- Sexual violence.</i>
10
00:02:50,296 --> 00:02:51,881
<i>Juraj Kukura.</i>
11
00:02:51,965 --> 00:02:54,217
- <i>In the labyrinth.
- Sylvaih Corfhay.</i>
12
00:02:54,300 --> 00:02:56,594
<i>- Murder.
- Lorraine Rainer.</i>
13
00:02:56,678 --> 00:02:58,471
<i>- Sex.
- Jarmila Kolenicova.</i>
14
00:02:58,555 --> 00:03:00,723
<i>- Playing cards.
- Distance.</i>
15
00:03:00,807 --> 00:03:02,058
<i>- Chess games.
- Ludwik Kroner.</i>
16
00:03:02,141 --> 00:03:03,268
<i>Theatricality.</i>
17
00:03:03,351 --> 00:03:05,728
<i>- Phantasm.
- François Gervai.</i>
18
00:03:05,812 --> 00:03:09,607
<i>Laboratory.
Catherine Robbe-Grillet.</i>
19
00:03:09,691 --> 00:03:12,151
EDEN AND AFTER
20
00:03:12,527 --> 00:03:15,530
Eden and After.
21
00:03:15,613 --> 00:03:17,824
- Eden <i>and After.</i>
- <i>Objective.</i>
22
00:03:17,907 --> 00:03:20,326
<i>- Eden.
- Subjective.</i>
23
00:03:21,452 --> 00:03:23,162
<i>Injective.</i>
24
00:03:23,496 --> 00:03:25,707
<i>Surjective.</i>
25
00:03:25,790 --> 00:03:28,167
<i>Bijective.</i>
26
00:03:33,548 --> 00:03:35,592
<i>Images and lights.</i>
27
00:03:53,067 --> 00:03:54,736
<i>Editing.</i>
28
00:04:01,576 --> 00:04:03,578
<i>Score.</i>
29
00:05:02,136 --> 00:05:05,556
<i>Objects. Pictures.</i>
30
00:05:07,266 --> 00:05:08,935
<i>To imagine.</i>
31
00:05:10,144 --> 00:05:12,146
<i>Imagination.</i>
32
00:05:12,939 --> 00:05:14,607
<i>Ghost.</i>
33
00:05:15,274 --> 00:05:16,734
<i>Phantom.</i>
34
00:05:17,610 --> 00:05:19,612
<i>Haunted house.</i>
35
00:05:20,655 --> 00:05:22,573
<i>Mirror.</i>
36
00:05:23,282 --> 00:05:25,034
<i>Rotary mirror.</i>
37
00:05:26,160 --> 00:05:27,954
<i>Parallel mirror.</i>
38
00:05:29,205 --> 00:05:31,124
<i>Distorting mirror.</i>
39
00:05:32,667 --> 00:05:34,168
<i>Cinema.</i>
40
00:05:35,336 --> 00:05:37,088
<i>Reality.</i>
41
00:05:38,381 --> 00:05:40,008
<i>My life.</i>
42
00:06:42,487 --> 00:06:45,323
Two girls to hold her arms.
43
00:06:52,163 --> 00:06:54,540
Hurt her if she moves too much.
44
00:06:56,751 --> 00:06:58,920
Spread her legs.
45
00:07:07,512 --> 00:07:09,972
Make her stay like that.
46
00:07:33,162 --> 00:07:37,333
Lambda to the power of N
over factorial N.
47
00:07:38,334 --> 00:07:40,545
Multiplied by
48
00:07:41,170 --> 00:07:43,631
sum from V equals zero
49
00:07:43,714 --> 00:07:47,969
up to the infinite of -1 to the power of V.
50
00:07:48,886 --> 00:07:54,475
Factorial N plus 2V
over factorial 3V plus 2.
51
00:07:58,146 --> 00:08:01,816
T to the power of 3V plus 2.
52
00:08:01,899 --> 00:08:06,404
<i>The image of an application F
is a part of the arrival of F</i>
53
00:08:06,487 --> 00:08:10,283
<i>formed by the images of first F elements.</i>
54
00:08:10,867 --> 00:08:14,078
<i>A relation of equivalence
in an entirety E</i>
55
00:08:14,162 --> 00:08:18,457
<i>is a reflexive, transitive
and symmetrical relation.</i>
56
00:08:19,458 --> 00:08:24,005
<i>Number of degrees of freedom
is synonymous with size.</i>
57
00:08:24,380 --> 00:08:26,841
<i>If V is size N</i>
58
00:08:27,175 --> 00:08:32,096
<i>N vector of V constitutes a basis only -</i>
59
00:08:32,180 --> 00:08:34,265
<i>When looking for a geometric spot,</i>
60
00:08:34,348 --> 00:08:37,143
<i>if you have three dots not in a line,</i>
61
00:08:37,226 --> 00:08:40,104
<i>don't think the result is a circle.</i>
62
00:08:40,396 --> 00:08:43,524
<i>For nothing looks more like
a circle than two circles.</i>
63
00:08:44,025 --> 00:08:45,985
<i>And nothing looks more like two circles</i>
64
00:08:46,068 --> 00:08:49,363
<i>than a lemniscate
to a Pascal's snail.</i>
65
00:08:50,114 --> 00:08:54,076
<i>The image of a sum is
the sum of the images.</i>
66
00:10:11,112 --> 00:10:12,863
Here you are.
67
00:10:13,155 --> 00:10:15,658
Six shots.
Just one bullet.
68
00:10:15,741 --> 00:10:17,952
A one in six chance of being killed.
69
00:10:20,496 --> 00:10:22,206
Five.
70
00:10:22,290 --> 00:10:26,210
Four shots in the air,
the fifth a success.
71
00:10:27,628 --> 00:10:30,506
There remains one chance in five.
72
00:10:32,633 --> 00:10:34,802
One in four.
73
00:10:36,804 --> 00:10:38,973
One in three.
74
00:10:39,974 --> 00:10:42,476
One chance in two of dying.
75
00:10:57,408 --> 00:10:58,909
Come on, shoot!
76
00:10:58,993 --> 00:11:01,746
Of course, this is stupid.
77
00:11:01,829 --> 00:11:03,622
Not more stupid than anything else.
78
00:11:07,668 --> 00:11:10,338
He's dead.
79
00:11:25,102 --> 00:11:27,188
How was it?
80
00:11:27,897 --> 00:11:29,982
Average.
81
00:11:30,816 --> 00:11:33,694
It'd be better with real bullets.
82
00:11:34,195 --> 00:11:37,531
There is always the risk
of a splinter in one eye.
83
00:11:37,615 --> 00:11:39,116
Let's go to bed.
84
00:11:40,117 --> 00:11:43,913
- I'm bored!
- Fucking, always fucking.
85
00:11:44,872 --> 00:11:47,958
- Sell that thing.
- What thing?
86
00:11:48,042 --> 00:11:49,919
That daub's
worth a fortune.
87
00:11:52,671 --> 00:11:56,467
- What would we do with the money?
- A voyage.
88
00:11:56,550 --> 00:12:00,137
- Where to?
- Anywhere. Somewhere else.
89
00:12:00,596 --> 00:12:02,473
What does it mean?
90
00:12:03,641 --> 00:12:06,936
It's called <i>Composition No. 234.</i>
91
00:12:07,019 --> 00:12:09,647
Your uncle had some imagination!
92
00:12:09,730 --> 00:12:13,734
We'll go on a trip
to a warm and dry country.
93
00:12:13,818 --> 00:12:15,653
A naked and gleaming country.
94
00:12:15,736 --> 00:12:17,988
- Hard.
- With vigor.
95
00:12:18,072 --> 00:12:20,908
Tough, transparent, rigid.
96
00:12:20,991 --> 00:12:22,618
Et cetera.
97
00:12:22,701 --> 00:12:24,370
The desert.
98
00:12:25,830 --> 00:12:28,249
In order to get money,
99
00:12:28,332 --> 00:12:33,421
we're going to sell the blue square
<i>No. 234</i> to an American museum:
100
00:12:34,171 --> 00:12:39,009
bequeathed to eternal culture
by the deceased uncle of Violette.