Dancing on Glass (2022) - full transcript

NETFLIX PRESENTS

A BALLET IN TWO ACTS

ACT I

WEDNESDAY
WEIGHT 46.7

ARM 22.2
HIP 87.2

WAIST 56.1
CHEST 87.3

Today's a great day...

- Irene, we're leaving.
- Can you give me a ride?

That's impossible, honey.
I'm driving your dad. We have a trial.

- Mwah!
- Mwah!

- Good luck today. We'll talk later.
- Thank you.



- Good morning.
- Good morning.

...the opening of a new play
here at the Cavern.

Today, one of the greatest actresses
of Spain

who has acted and danced with
the greatest directors in theater

and who was born January 29th...

- Are you ever gonna rest?
- Yes, when I get my spot.

- You're gonna go crazy, Lidi.
- Yeah, well...

you can't be the only crazy one
in the family, sis.

Hmm?

...fueled that love of animals...

You know Mom will catch you, right?

- I'll open a window.
- What time is it?

Damn it!

Leave it, I'll do it.



- I need the distraction.
- Thank you. I gotta go.

- Today's the day they tell you?
- Mm.

Today, they'll tell me
my life will stay exactly the same.

Don't be like that. Come on.

They might make a mistake
and decide to take a chance on you.

- I don't think so.
- ...chicken farm. And then, what's more...

You look beautiful.

Is it tight?

No, I don't think so.

Well, you just let me know
and I'll fix it right away.

Have everything?

Now I do.

And me?

What about me?

I can go alone, Mom.

It's your first day
with the company, honey.

Do you really think I would miss it?

No.

Let's go. I don't want you to be late.

- ♪ Two, three, four ♪
- ♪ Get quick, go fast ♪

♪ Get good, don't crash ♪

♪ Get get, get up ♪

♪ Get good... ♪

Yes?

- Hello, Irene?
- Hello.

- This is Laura.
- Oh, hi. How are you?

Yes.

Thank you.

- Thank you.
- Thanks a lot.

- Okay.
- See you later.

- Bye.
- Bye-bye.

Mom...

All right. See you later.

You can tell me how it goes.

She didn't even
take her stuff with her.

That must be because
she wanted to come back.

Then what was María doing
in New York?

Shh, stop.

She couldn't handle
the pressure of the company.

It's like, hang on.

So sad, right?

What do you want?

- We'll see.
- Enough already.

See you later.

Bye.

- Bye.
- Bye.

Why would she go to New York?

Because she couldn't
take it anymore.

Hello.

- Hi.
- Hi.

Good morning, Ruth.

It's like when she was gone.
We need more of...

Hello.

Hello.

How are you?

Fine. I'm fine.

Thanks for your text, by the way.
I never answered.

That's all right.

- Listen, I just wanted you to know...
- Yes, it's fucked up. I know.

That's all.

Hey, if you wanna
talk to someone...

Oh my God. I'm fine, really. Okay?

Hey, everybody
get to class on time?

I never...

- Are you sure it's not working?
- So, what?

Do we know about her replacement?

Well, you, Ruth.
It's pretty obvious.

We welcome the newcomers.

You all know it's an honor
to join this company.

I hope it'll also be an honor
having you in it.

I'm sorry.

Sit down with the others.

I make no exceptions.

You must prove to us every day why
you chose to be a part of this company.

Or rather, what for.

Does anyone know?

Does anyone know why they're in this room?

Any of the newcomers?

Maybe to dance?

Dancing is for nightclubs.

You're here for something else.

To turn your years of sacrifice
into a moment of perfection.

Only an instant,

but one that lives forever
in the memory of whoever sees it.

And there is nothing more important
than that, understood?

Nothing.

You all know this year's
main production was Giselle.

It will continue to be
a tribute to María.

It won't be the Giselle
we know from other productions.

This time, it'll be a woman whose death
is capable of sparking a whole revolution.

I guess you know
who has been chosen for that revolution.

I have no idea...
I don't know...

I see she hasn't rushed
to tell anyone.

...do you?
Why tell me? Who told you?

I won't be the one to tell you.

Giselle is a brave woman.

She embraces madness
and stands up for what she believes in.

If the dancer who's just been
promoted to principal dancer

is not able to say it out loud,
to stand up, to lead this company...

Are you serious?

You didn't tell anyone?

I didn't have time.

How could you have time if you were late?

Sorry.

First and last time, Irene.

You can sit down.

The rest of you, don't relax.

In a few days, we'll be holding auditions
for the rest of the characters.

Nothing's decided.

Show us that you want it
more than anything,

as if it were your last wish in life.

Carmen...

Eight and...

One.

Two.

Big.

And fifth.

Now, circle with the head and stand firm.

Raise. One...

Eight, two, three and one...

And fifth position.

Good. Now let's switch groups.

- Come with me?
- Will you... Can you stretch me out?

Good. And put your hair up.

Guys, guys...

You see that?

Let's begin.

Let's go. Music.

Head out...

What is your name?

- Aurora.
- Aurora?

Good, good, very good.

Come on, next group.

And, one, two. And one, two.

One, two, and...

Again. One, two, and...

Two, and one, two and chaîné.

And...

Good.

One, and one...

That's it. And one, two, one...

And the last part. Two, three...

Go on.
Two, and spot on the diagonal.

Congratulations.

Thank you.

- I wanted to tell you...
- But you didn't.

So, what? You thought I wouldn't find out?

- Maybe she's afraid of you.
- Afraid of what, you asshole?

I don't know,
you are the one who's hiding things.

Hey, Giselle, are you coming
to the party tonight?

Or are you afraid
we might put something in your drink?

That's all.

You could wear the green dress
I made you last summer.

You look beautiful in it.

I don't wanna go.

I'm very tired.

You'll rest later.

Today's important,
and these parties are important too.

But, Mom, I don't know anyone.

Aurora.

You're not a little girl.
And it's your place.

You could've been a soloist.
You think I don't know?

I know that dance troupe.

You'll see.
They'll give you what you deserve.

They'll come around, sooner than later.

You have to go wherever they go,
so they get to know you.

You should talk to people.
Don't hide, let them see you.

Go on, I'll wait up for you, all right?

What about me? No, sure.

Come on.

...so many drinks tonight.

Drinks and kissin', that's what
we do. It'll be like New Year's in here.

Hello.

Come out to smoke?

Yeah.

Want one?

Sure.

You don't smoke, do you?

N... no.

You can stay here if you want.

I don't feel like going inside at all.

Throw it away if you don't like it.

Thank you.

Stop saying thanks for everything.

You're in the company,
you have the same right as them

to be inside, outside,
or wherever you want.

I'm fine here.

Ready to go?

At least
she can have a cigarette.

She doesn't matter, anyway.

- She's first dancer.
- We've been here all night.

It's like it doesn't matter to her.

I guess...

Ruth's not a bad girl.

She's just upset about
what happened to María.

Were they friends?

They were always together.

And what was she like?

María was...

Just María.

And how do you feel?

Me? About what?

Well, about being the new first dancer
of the company.

The new Giselle.

What's the problem?

Nothing, just...
no one's asked me about it.

My name's Irene.

I'm Aurora.

Did you meet everyone?

Yes, everyone.

Was the whole company there?

I think so.

Did you talk to the substitute?

- The substitute?
- Mm-hmm.

I only talked to her for a little bit.

How is she?

Is she better than María?

I suppose so.

You won't tell me anything else?

I had a lot of fun, Mom.

I told you it was a good idea.

I'm very proud of you.

Get some rest.

Good night, sweetheart.

IRENE
THIS WAS MARÍA

And you can tell her anything.

- Yeah?
- Why not?

- So good, right?
- Yeah, right?

That's what I heard!

- So great...
- Shh!

Sh, sh.

Shh.

I was going to ask for silence,
but you all went quiet.

Well, you all know that in this company,

we don't have choreographers in residence

because we're always looking for
the best creator for each production.

There isn't anyone in the world of dance
that doesn't know the name

or the incredible work
of Erik Christensen.

He's choreographed the most
revolutionary productions of recent years.

I could rave about his plans for us,

but there's nobody
better than him to tell you.

Erik, they're all yours.

Good morning, everyone.

First of all, to start,
I'd like to ask you to focus on this.

On this instant. Our present moment.

A present that has to be Giselle.

Just Giselle.

Who can tell me something
about this story?

Not even Giselle herself?

Uh, yeah.

Mm... Giselle is a story about a peasant

and about the man Albrecht,
who breaks her heart

and makes her spiral
into madness and death.

Okay. But is that it?

I'm sure you can tell us a little more.

There's also the Wilis. Right?

But what are the Wilis?
What do you think they represent?

The Wilis are the spirits of the woods
that welcome Giselle when she dies.

Their queen's name is Myrtha.
And they're the women that died unmarried.

So, today...

no one dies for that, right?

Our Wilis are going to be dark creatures,
beautiful, but cold.

A mix between a nymph, a vampire...

But don't get me wrong,
because what Irene said is true.

And you are right, too.

But that's all superficial.
Giselle is so much more.

It's also a story about betrayal,
and forgiveness, and death.

That's why I'd like to ask you

to think about what we love.

We love our family.

We love our mothers.

Our partners.

We love dancing.

We're going to start now.

Because I can't wait to see
what you have inside,

and why you should be
a part of this new Giselle.

Shall we?

I actually really like her
for the role of Myrtha.

Stop, stop.

What's up?

Irene?

Yeah?

She hasn't looked at you even once.

Albrecht has to be a powerful force

that destroys everything in his path
unintentionally.

And this Giselle

hasn't looked at you once
while you danced.

Again.

From the entrée.

I want to see a dancer doing his job, now.

Listen. A danseur, not a ballerina.

Those, we already have.

She has the soul
of a Wilis, doesn't she?

Excuse me.

He called again.

- He did?
- Yes.

And he threatened to come here.

I didn't know what to say, Norma.
He was beside himself.

He wouldn't dare.

Don't take any of his calls anymore,
is that understood?

Yes.

Thank you.

You're a perfect Wilis.

What's the matter?

I don't like watching myself.

You make it look so easy.

I have a trick. I've used it for years.

A trick?

Yes, but you have to promise me
that you'll never tell anybody.

I promise you.

Honesty?

Of course.

What's wrong?

I don't want you to make fun of me.

I'd never make fun of you.

Come on, go ahead.

It's just...

when I close my eyes,
it's like I stop thinking.

And I go to a place I've imagined before
and only I know.

Sometimes, I don't wanna come back.

You know that feeling of being in a place
where no one can hurt you?

That doesn't exist.

And why not?

That's my place,
where nothing bad can happen.

Or to you, if you want.

Why would something bad happen?

Irene, because everybody wants
to be Giselle.

But you're the one who is.

- Yeah...
- The shower's free.

Yeah.

It's fine.

Yeah, I don't know. I don't know
where they're going to be.

Mm! How nice.

Hmm.

Hands off. Call your sister, please.

Irene, dinner!

- Did you make salmon?
- Yes, look, here you go.

Mm!

Mm.

- Are you okay?
- Yes.

I'm just tired from rehearsal, that's all.

No, Dad, you know wine doesn't suit me.

Just a little for a toast.

What doesn't suit you
is not learning to enjoy things.

Whatever.

Yeah. And that's what this wine is for.

The other day,
we couldn't celebrate with you.

Yes, well, your father's client, honey,
he insisted on inviting us to dinner.

He was very annoying.

Rosa, it was a difficult trial.
It's normal to be excited.

Just as should you be.
You won, right? That's that.

Well, let's make a toast.

- Yes.
- To Giselle.

- To Giselle.
- To Giselle.

- Mm. It's delicious.
- Mm-hmm.

I have a question.

How long can you dance this Giselle?

As long as Norma lets me, Dad.

But isn't it this character
a teenager or a child?

- Yes. But that doesn't matter in ballet.
- Aah.

Are there any adult characters
in the story, though?

- My mom, but she doesn't dance.
- Ah, I see.

Enjoy everything
that's happening to you.

Because it'll be over in no time,
and then you're gonna miss it.

Hey, Dad? They just chose me and you're
asking me when they'll kick me out?

- Nobody said that.
- Of course not.

But at some point,
you'll have to work on something

that doesn't come to an end
when you turn 30 or something.

Mm. If you want to be a civil servant,
I can give you my notes.

It's a joke.

But Dad has a point.

I don't know what a dancer does
when she retires either.

Seriously, I don't know.

- I thought about being a choreographer.
- Beautiful.

Oh, that's cool.

Choreographer?

- Yes, choreographer. What's wrong?
- Nothing.

How many dancers are in your company?

I don't know, around 50?

Fifty.

And choreographers?

One.

No further questions, your Honor.

Have some wine, come on.

- Psst.
- Here...

Choreographer? Fucking awesome.

- It's spectacular.
- Yeah.

He has vineyards, right?

Well, his family does.

- Mm.
- This wine is delicious.

- Yes, it's... it's very good.
- Mm.

One more, and that's all. I'm still ill.

Agree, it's good. Mm.

- Are you enjoying the wine?
- Mm. Yeah, it's good.

He's your father.

You can't blame him for wanting
the best for his daughter.

He's just a bit worried. It's normal.

What if he's right?

About what?

I don't know. About it ending too soon.

Well, if it's over, it's over.

You do something else.

- Can I be honest with you, honey?
- Mm.

Do you know the only thing
I don't like about the story?

What's that?

That Giselle is a woman
that goes crazy over a man's love.

I don't know.

I know these classic ballets
are like that, but...

in the end, we always seem stupid.

Well.

I'm gonna get some sleep.

Don't be hard on your father.

Sometimes, he might be clumsy with you,
but he loves you so much.

And me as well.

Congratulations.

- They're beautiful.
- Thank you.

These are from my first performances.

Ah! Actually, I made this dress.

- Really?
- Mm-hmm. Yes, it's true.

My mother was a dressmaker and taught me.

And this house was hers.

- Is it?
- I inherited it.

Ah!

We kept everything,
even the laces from the shoes.

This one's very beautiful.

Those were good times.

I was looking forward to meeting you.
Aurora talks about you.

All the time.

Mm.

Majorca.

We were doing The Firebird.

It was a very small production,
very simple,

a very small house,
not like what you guys do.

That school couldn't do more.

You all seem happy here.

We hated each other's guts.

- Oh, really?
- Mm-hmm.

Look. You see this girl on the right?

She got broken glass in her shoes
when she was chosen to be Anna Karenina.

And this is Laura.

They broke her costume
right before she went on stage.

I've even seen mice
put in people's lockers.

I mean, dead ones.

And that's why you left?

I had a bad fall.

I put too much trust in the wrong person.

Did you want to?

Those were good times.

Let's eat.

Up high.

Don't rush.

Hop, accent.

Careful.

Okay, stop. Stop.

Irene, you're rushing
through the preparations.

You need to slow down.

- I'm trying.
- Stop trying and do it.

I'm not changing the choreography for you.
I know perfectly well you can do it.

Okay.

Let's go from the top.

Stop, stop.

Irene, it's still not right.

If you don't watch your preparation,
Israel won't be able to help you.

Okay.

Do I have to find another Giselle?

No, it's not that.
We just need more rehearsal.

No. There's no time.

Either I solve this now
or I have to look for someone else.

Let's go again.

That's it. It was perfect this time.

You went with the music,
and you were in character.

You see? You can do it.

Yes, you got it.

You have to consider the production
as a matter of life or death.

Yes?

It's either that or back
to the ballet corps.

Understood?

Come on. Let's go one last time.

But I don't understand.

There's nothing to understand.
You did it, that's it.

No, but it happened when I saw you.
As if I wasn't afraid anymore.

Afraid of what?

Of disappointing them.

- Of not being able to do what they want.
- Yeah, you see?

Nothing bad can happen to us there.
And now, it both of ours.

You think so?

Yeah, I'm sure.

I am also sure.

No, not sure. Positive.

What are you sure about?

That you're gonna love it.

- What is this?
- Brutal montage.

You have to see it. It's tonight.

You're gonna freak out.

- How are you so sure?
- Because everyone else freaks out.

Yeah, I'm sorry.

But we're not like everyone else.

Okay, special girls,
not like everyone else,

then, I guess, you ladies
have earned a discount.

Oh, yeah?

If you're here, it's because
you're part of the company, right?

- Mm-hmm.
- Yes.

Well, that's it. We have an excuse.

Thank you, but we're really busy
with rehearsals.

Ah, rehearsal at night?

Well, no, but...

- What's the discount?
- Nice. Some initiative.

Well, it's a classic. Two for one.

What's your name?

- Aurora.
- Aurora.

Like the Sleeping Beauty.

I'm Irene.

Hi, Irene. Well, I'm Jon.

Okay, I'll put Sleeping Beauty
on the list. And get ready.

It's a really crazy company.

I warn you, it's not classical. Like
nothing you've ever seen in your life.

How do you know what we've seen, Jon?

No, not this. I'm sure you haven't.

Well, then... at 8:00?

Okay, yeah. At 8:00.

Don't be late, now.

I'll be there.

Bye, Jon.

Bye.

- Hi, there.
- Hi.

Check this out. It's amazing.

- Tonight at Garaje Lumière...
- Really?

NEW GARAJE LUMIÈRE

- Hi, there.
- Hello.

- Names?
- She's on the list. I'll pay.

Aurora Ruiz.

I'm sorry, but my list
doesn't show your name.

And how about Sleeping Beauty?

That one is. Welcome.

Thank you.

♪ Life ♪

♪ Mysterious life ♪

♪ We're movin' around
Dancin' the rhythm of life ♪

♪ Time ♪

♪ Mysterious time ♪

♪ We're counting the hours and days
To the end of all time ♪

♪ And we're feelin' a change
And we don't know why ♪

♪ Choose one direction
Just one for a time ♪

♪ Don't say I'm thinking too much
If you see what's behind ♪

♪ And these are mysterious times ♪

♪ Mysterious times ♪

♪ No trick of the mind ♪

♪ For this moment I feel like
We live in mysterious times ♪

♪ If you see what's behind
These are mysterious times ♪

- And you never met him?
- No, but I don't care.

He disappeared when my mom
told him she was pregnant.

I don't know my father either.

No?

And my mother
never wants to talk about it.

Well, you're in luck,
because I have a method to get over it.

Yeah, I'm sure you do.

- Wanna know what it's called?
- All right.

Hold this.

No, but what are you gonna do?

The method is called...

..."I Say, Fuck It!"

- It's good.
- You like it?

- Yeah!
- It works for so many things.

For example, if your father's
never been to your birthday...

- I say, "Fuck it"?
- You say, "Fuck it." You say, "Fuck it."

If my father never gave me
a single thing in my life...

- You say, "Fuck it."
- I say, "Fuck it."

- You say, "Fuck it."
- I say, "Fuck it!"

- Okay, you try now.
- Okay. Here.

My father's never seen me
dancing up on stage.

- So I say, "Fuck it."
- You say, "Fuck it."

- I say, "Fuck it!"
- Hell, yeah! Do you like it?

- I love it.
- Are you listening, people?

Hey!

She loves it!

She loves it!

Careful with that cambré.

Better. The accent with the head.

Up.

More tension in the hands, Wilis.

And up on your tiptoes.

Mark all those accents well.

Bop, bop, bop.

And on a string.

Strong. Out.

Bop.

And faster.

Bourrée in place.

No rush.

I'm sorry.

Are you okay?

Ruth, you have to be very careful here.

Right now, Myrtha's only walking
around the Wilis while they dance.

- Yeah.
- It's important you don't go in the group.

- I'm sorry, but she was in the middle.
- Ruth.

Ruth, you need to focus
on what we're doing,

otherwise we won't be ready
for the premiere.

- I am focused, Norma.
- No. No, you're not.

You're very angry
and it's distracting you.

So take all that spoiled brat rage,
and pour it into the character.

Myrtha needs it more than you do.

You think you can do that? Or can't you?

Come on, girls.

Let's take it from the top.

I have to see Norma,
for fuck's sake.

- No way. You can't go in there.
- No, I'm going in.

- Sir...
- I'm going in!

I'm going in!

Whoa!

Óscar, why are you here?
You have no right to be here.

Yes, I do. I do have the right.
Of course I have the right.

For three months, I've been calling you.

Three months, trying to get in
to get my daughter's things back.

Are you drunk? You know I'm not about
to let you make a scene in here.

No, me neither, I'm not gonna let you
steal her things away.

She was my...

My daughter.

Not yours.

Give me her things
or I'll call the police.

- Sir, please...
- Don't touch me!

- Don't touch me!
- Okay.

I don't know who the fuck you are, but
this has nothing to do with you.

Are you gonna bully me
like you bullied her?

You know nothing about her.

You are such a bitch.

This woman will ruin your lives.

All of you.

You know it's true.

Continue.

Let's go.

- What just happened?
- What the hell was that?

- Do you know who that was?
- Okay, let's go again from the top.

Excuse me.

Yes?

I just wanted to say
I really admired María.

Thank you.

Excuse me.

You remind me of her a lot.

You really do.

Wait! Wait!

NOTEBOOK FOR GISELLE
MARÍA POZA

LISBON

I don't get how María
could have feelings for this bitch.

She wasn't always like this.

Irene, stop defending her.

Or do you really think
she pushed me on accident?

LISBON

ACT II

This isn't ours.
We should return it to María's father.

If this is Giselle's notebook, it's yours.
Who's Giselle now?

Don't say that.

It's not mine.

It is now.

I'm sure that María left it for you
as some kind of instruction manual.

SANTA MARÍA RESERVOIR

THE FOREST OF THE WILIS

- Wow. Wilis' woods.
- Look at that. Wilis' woods.

Now I understand
why María loved this place so much.

It's really pretty.

- Is this her mother?
- Yeah.

She was American.

She went back to the States
after divorcing María's father.

She adored her.

And did you know her?

A little.

When we went to New York on tour,

she would always come to the shows.

Uh, hey.

Do you like your parents?

I mean, it's just... you can't choose it.

Yeah, but do you like them?

My mom, yes, but...

It's just my dad and I don't
really have a lot to talk about.

And you?

Do you like your mother?

Sometimes.

But I don't know if she likes me,
you know?

She loves you.

My mom loves how I dance.
And that I made the company.

Well, you know what I say?

You say, "Fuck it."

I say, "Fuck it."

I say, "Fuck it!"

You know what?

We could just stay here forever.

It will be our refuge.

We can be whatever we want here.

No one can hurt us here.

I like it here.

This is...

...ours.

And unique.

Forever.

Come on!

Hurry up!

Hurry up, please.

Nothing's gonna happen, relax.
Hold on, okay?

- Irene, hurry up, I beg you.
- Nothing will happen.

Oh my God.

- Now?
- Yes.

- You sure?
- Yes. Done.

How does it feel?

How does it feel when?

Right now?

No, when you're...

Fucking?

Yeah, that.

Fucking.

I don't know.

For me, it's like dancing
at the nightclub,

and I prefer doing it on a stage.

I've never...

- You've never danced at a nightclub?
- Yes, I have. With you.

Maybe you should do it with someone else,
Sleeping Beauty.

Did you give him your number?

Yes.

But he hasn't called.

Did you call him?

Isn't it a bit cold?

- When's the last time you saw him?
- It was that night.

Today's Saturday, right?

Yes, but why?

NEW GARAJE LUMIÈRE

Are you sure this is a good idea?

I'm sure.

What if he says no?

Get out of the car, slowpoke.

Aurora. Aurora!

Your backpack.

You won't be going home tonight.

See you tomorrow.

I'm sorry, we're closing.

Is Jon here?

He'll be right out.
Just wait here, if you don't mind.

Someone help!

Are you okay? Are you okay?

We need help!

Someone call an ambulance!

Help!

ACT II

I'll show you.

Oh my God, stop. No!

Hello, I'm Pedro Ángel Sánchez
from El País.

Hello.

Uh, ready to go? Uh, can you
say something for a soundcheck?

Sure.

Uh, hi, I'm Irene Solís
and this is the National Classical Ballet.

And I am...

Aurora.

Aurora.

How are you feeling?

- Fine.
- Yeah?

How did you spend the last week?

I've been rehearsing a lot.
That is what dancing is.

What do you mean?

Demanding.

Is it demanding, or too hard?

Nothing is ever too hard for you
when you're living your dream.

A dream?

And what was it?

Everyone was made of glass.

But I feel just fine.

Why's that?

Because no one's making fun of me.

Were you alone?

No.

With Irene.

So tell me, who really is Irene?

Irene is a girl who's... normal,

with a family that's... normal,

and a job that's not so normal.

And nothing else.

And Giselle?

Giselle is a woman who...

spirals into madness and death
because of a man's betrayal.

You feel like he betrayed you?

But you barely knew each other, right?

Yeah.

Aurora, you need to understand

that the messages
you've been sending him since then,

aren't okay, that they aren't, uh,

fair.

And that this hurts you even more.

Well, pain is part of the job,

like any emotion
that we have to communicate from up here.

And when you dance,
do you think of anyone in particular

when you feel that pain?

I think...

about how hard it can be to miss someone.

Look.

The problem is that
I can't continue treating your daughter.

Or, at least, I shouldn't.

And why is that?

Well, I've only been treating her
for a month,

but I would venture to say
I think Aurora should see a psychiatrist.

- When did she see Irene for the last time?
- The day of the accident.

Perfect. Keep it that way.

The sooner she breaks the bond,
the sooner she'll be back to normal.

The number you are trying to reach
is not available at this time.

Please leave a message.

Aurora, when you turn your phone on,
call me, okay?

I miss you,
and I need to know you're okay.

I only know what the company told us.

You never forget your first time.

How are you feeling?

I would like to feel better,

but it's like I have vertigo.

Or fear.

- It's not the same?
- No.

No, it isn't.

Come to my house.

Let's have a drink.

I shouldn't. I have class tomorrow.

No. You have class right now.

You were very good today.

The Paris Opera theater.

Went out for 12 curtain calls.

I've never seen anything like it.

Thank you.

Can I ask you a question?

Do you want to?

Why did you choose me?

Because you are the best.

No, I'm not.

- Ruth is the best.
- Ruth is the perfect Myrtha.

In contrast, you,
you're a solitary warrior, like Giselle.

Like me.

How is your mother?

It's been a while
since she came by the company.

Fine. Normal. She works a lot.

My parents didn't
take me seriously either.

They never did.

Even though I ended up directing

the most important
dance company in the country.

But that's why you have to be strong.

Norma,

I don't know if I'm that strong.

Come. I want to show you something. Come.

What do you see?

I don't know. Myself.

And what else?

I don't know.

Stop keeping all of your feelings
inside of you.

You can tell me anything.
This is your place.

María struggled too,
but in the end, she did it.

I don't know if I'm capable.

If you weren't,
I never would have chosen you.

You're the only one that thinks so.

The most important thing
is that we think that.

And that you trust me.

I'll take care of you,
no matter what happens.

I didn't choose you.

María chose you.

The night before she left for New York,

she confessed to me
that you'd be a perfect Giselle.

And she was right.

María was perfect. And I am not.

She would be alive if she were perfect.

María could have been immortal.

She had everything.

Your friend, too.

But no...

They both threw everything away.

It wasn't Aurora's fault.

It's weird, but...

when we were together,
it's as if nothing bad could happen to us.

Stop taking responsibility
for other people's lives.

You are this company's first dancer.

And that means you must learn
to be alone and not depend on anyone.

There's no prima ballerina
who can maintain friendships

in this scenario, Irene.

I'm not glad about what happened to her,

but I am relieved
that you two had to part ways,

because she wasn't
a good influence on you.

Sometimes, things happen for a reason.

Take it.

This is for you.

I want you to write down
all of Giselle's thoughts in there.

How she is.

What she likes.

What she's afraid of,
what helps her get out of bed every day,

what keeps her up at night.

All of that will help you
forget about Irene and turn into Giselle.

Until you're in her head,
you won't be her.

That's your only job.

- Norma...
- Class is dismissed.

Does it hurt?

No. It stings a little.

See? That's because it's healing.

Doctors get it wrong sometimes.

And you're very young, Aurora.

You'll see. In a couple of months,
everything will be back to normal.

And I'll be able to call Irene?

Of course.

But I already told you
that the phone will only cause problems.

So for now, I'll hold onto it for you.

The therapist asked what would happen
if I could never dance again.

That man is useless,
and we're not going back, you hear me?

Why would you see a psychiatrist?
Your tibia's broken, not your head.

What if it's true?

What if he's right
and I can never dance again?

That's not what happened to my daughter.

- You hear?
- Mom!

What?

Now it hurts a bit.

Sorry.

Oh shit, I'm sorry.

What the hell are you doing?
Can't you knock?

- I'm sorry, I thought I could go in.
- Well, you can't, all right?

Okay, all right. I'm sorry.

I'm sorry. I just wanted to know
how you were doing.

Great. I'm marvelous.

I'm glad.

I'm super happy.

About what?

The exam, Irene.

When is it?

Yesterday.

The waist.

- All right, arms down.
- How is it?

You're the same.

Can you finish that later?

Of course. Go on, we'll finish later.

Yes?

Can you please give me Giselle's costume?

- Which act?
- The second.

Okay.

Give me a moment.

- Has she tried it on yet?
- No.

But it's her turn in 20 minutes.

Bring it down a size.

She still doesn't realize what's at stake.

Oh, God.

You gotta be strong.

Be strong, be strong,
be strong, be strong, be strong.

Be strong, be...

Yeah. It'll freak you out.

- It's awesome.
- Is there any food?

No, no.
But there is a cool bar.

- 1 Yeah? Oh, really?
- Yeah.

All right.
Well, maybe see you there.

- Okay, great, see you there.
- All right.

- Okay. Thanks.
- Okay.

- You're welcome. Bye.
- Bye.

Look. An exhibition at Garaje Lumière...

What are you doing?

I'm working.

- Do you have to come here?
- I don't pick the areas.

I can't. I'm very busy, thanks.

Impressive,
seeing yourself like that, huh?

I saw her name was missing.

How is she?

- How do you think?
- I don't know. I asked you.

Is she better?

Irene,

I'm sorry for what happened,
but it wasn't my fault.

I think Aurora's great,
but it was just one night.

One night and two kisses.

Yeah.

You say, "Fuck it." Right?

Irene, I'm not a bad guy,

but it's not fair that after something
that only happened in Aurora's head,

she sent me those messages.

What messages?

You're her friend, she must have told you.

She didn't say anything?

- When was the last time you talked?
- And why do you care, man?

I really don't care, actually.
But I bet she does.

I really have to go. This area's huge.

Oh, and,

have a good show.

Yes?

Pilar, it's Irene.

One moment. I'm coming down.

Hello, Pilar.

Aurora's resting now.

Can I see her?

No.

That's not a good idea.

But why?

You know what happened
the last time you were together.

I just wanted to apologize to her.

I beg you.

Well.

Irene?

Aurora, go back inside!

You came.

Aurora.

Mom, let her in.

- No.
- Please.

Don't you want me
to go back to the company?

Irene can help me with that.

That's why she's here.

Isn't that right?

Yeah.

Mom, please.

Mom.

It doesn't hurt so much anymore.
It's actually a lot better.

And what is this?

It's just for protection.

It's not comfortable to walk with,

but my mother said that if I wear it,
I'll be able to dance again soon.

I missed you a lot.

Me too.

- Why didn't you come sooner?
- I didn't have the time, and...

Norma doesn't want me
distracted by anything.

Or anybody, right?

Irene, it wasn't your fault.

I left you alone. And look what happened.

That's why we can never be apart again.

Norma gave me the same one.

No notebook is like this one.

What does Giselle want?

What does Giselle want?

- What does Giselle want?
- Giselle just wants to dance.

But...

Careful.

Okay.

Ready?

- Yes.
- Yeah?

You have to be with me
on opening night.

I can't do it without you.

They all want me to fail.

I'll be there.

Swear it.

I swear.

I miss our place.

Me too.

But be careful.

They're after you.

Her mom's a judge
and her dad's a lawyer.

- They won't do anything.
- But they must know.

- I mean, she must've told them.
- No.

Hello.

- She's an asshole.
- She heard everything.

- She totally caught us.
- I don't give a shit if she did,

Did you see her face?

No, no, stop. Stop.

Stop. Stop!

I don't like it. Do it again.

Let's start from the imbalance now.

Stop. Stop. Stop!

You don't need to prance.
I need to see you soar.

I need to feel like
you're going to take off.

Like you're going to disappear. Yes?

You dance with your soul.

Don't just follow steps.

Do it again!

Stop. No. Nothing.

it's not working.

No.

Enough. It isn't working.

Why don't we take five minutes, Norma?

No, I don't have five minutes, because
I'm meeting our press manager in ten,

and I don't wanna tell her
we have to postpone the premiere.

This depends on you.

And the work of your peers depends on you.

As does the whole company.

Do it again!

And I don't want any looks.

Can we start at the arabesque,
if you please?

Oh my God.

Shit.

- Are you all right?
- Yes, I think so.

Can you move? Come on, stand up.

Mm?

- Mm.
- And your foot?

- Yeah.
- Yeah?

Irene?

Irene, I'm sorry, I slipped.

- Don't fucking touch me!
- It was unintentional.

- Unintentional?
- I'm sorry. Yeah, unintentional.

- This is what you wanted, right?
- What do you mean?

Tell me you didn't plan this.

Or weren't talking about this
in the fucking locker room.

- You don't know what you're saying.
- Ruth. One second.

Irene, please.

These things happen.

Luckily, it was nothing
and we can continue.

Continue?
You want to continue after this?

Irene, I'm really sorry,
but we have to move on.

You know we have very little time.

The public rehearsal is on Tuesday.

- But don't you see it?
- See what?

Irene, there's nothing to see.

- I told you it was a fucking accident!
- It wasn't a fucking accident, asshole!

You're losing your mind. Don't ever
talk to me like that again, crazy bitch!

What did you say, you son of a bitch?

Irene.

- Norma, tell me you saw it.
- Irene, stop it.

She's after me. And you all know it.

My God, you are as crazy
as your friend.

Irene.

- Did she slap him?
- Did you see that?

Goddammit!

Get off the stage.

- But Norma, tell them why.
- Enough.

Norma, tell them
why you chose me as Giselle!

- I want them to know!
- You say one more word

and you are out of the company.

Your rehearsal is over.

Leave.

You were right.

We were talking about you earlier,
but it's not what you think.

I'm asking Norma
to take Israel out of the A cast.

Israel didn't do anything.

He'd never let you fall,
he's a professional.

You were there. You saw it.

What I saw is a dancer
that doesn't trust her peers.

Who should I trust? You?
Who leaves broken glass in my shower?

I didn't do it.

I told the person who did it
that it wasn't funny, it was stupid.

- I don't believe you.
- Because you don't believe anyone.

You don't even believe in yourself.

You never accepted Norma chose me
to replace María, am I right?

I think you're the one who never did.

If you go on like this,
you'll end up like María.

Like how? Like dead?

I'm sorry.

Do you wanna know
what we were saying before?

That we don't like all the pressure
you're getting from Norma,

and you should do something about it.

You're pissed off 'cause
she didn't pick you for Giselle.

Is that your revenge?

Get rid of the directors
until you find one that picks you?

Look, Irene,
no, I don't like you.

And you don't like me.

And it's clear that we'll never get along.

But I also don't like to see you suffer
like you're suffering.

But who says that I'm suffering?

- Why would I suffer?
- For the same reason María suffered.

Norma uses methods that aren't healthy.

She doesn't care about anyone,
only the fucking stage.

But when we get off the stage,
we have to go back to the world.

Did she tell you
you're better off alone?

María bought it, and isolated herself.

Don't let Norma do to you
what she did to her.

Why are you telling me this?

Because I never told María.

And if I had,
she might still be with me now.

She's not coming.

Oh, I'm sure she is.

Let's just have a little patience.

Mom, we've been waiting
for half an hour. She isn't coming.

Your sister isn't like this.
Something's up.

What's up is that she isn't interested
in what happens in this family.

Did you call her?

She's not answering, it's switched off.

All right, well, let's order, then, okay?
I don't have all day.

I would wait a little more.

Five minutes?

All right.

Rosa, we've waited enough.

We're celebrating that Lidia got her spot,
with or without Irene.

She wasn't gonna eat anyway.

And if she did,
she'd just throw it up like always.

What's that nonsense, Lidia?

Yeah, it's just nonsense, Mom. Sorry.

Forget it.

Uh, can we order?
I already know what I want.

You came to the right place.

Not everyone understands this profession.

The hours you put into it,
how tough the stage is...

What's wrong?

Nothing.

I guess I just miss it.

All done.

Thank you so much.

- Better?
- Yes.

You could come live with us here.

Then we could
sleep together every night.

And what will your mother say?

She'll say yes.

It'll be like nothing happened to me.

Hmm.

Fuck, Mom.

Where were you yesterday?

Go now and apologize
to your sister, please.

I will, but you knew I was rehearsing.

I don't like you barging in.

And I don't like not knowing
where you are for so many days.

What do you wanna know?

I don't know, honey.
Well, how are you doing?

I'm busy, Mom, can't you see?

No, I can't see,
because you're never around.

It's really easy, Mom.
I'm rehearsing today, rehearsing tomorrow,

the next day,
and every day until opening night.

Yeah. Happy now?

Can you stop that, please,
and just look at me for just a second?

Irene.

What do you want?

What's going on at the company?

Are you all right?

- Yes. Normal. Why?
- I don't know.

You never tell me anything.

Do we have to talk now?

I can't be late. Norma told me once.
I don't want to be told twice.

But why?

Is she being too hard on you?

Like always.

Why are you asking me all this, Mom?

Because I just got a call
from one of the ballerinas.

Your friend Ruth.

What?

How are you treated by Norma, Irene?

- Don't lie to me.
- Don't believe anything that bitch says.

- That girl just wants to help you, Irene.
- Help me, Mom?

- You really believe she wants to help me?
- But what would she want?

To fuck with me.
It's what they've always been doing

ever since Norma made me prima.

- Is there anything else?
- No, they don't want to fuck with you.

They just want to help you, honey.

Help me how, Mom?

- Tell me!
- They want to report Norma.

- But report her for what?
- For how she treats you.

Irene, how has Norma been treating you?

Please, honey.

What do you want?
Tell me what you want me to do,

so you will leave me in peace.

You only have to tell the truth.

And what's the truth, Mom? What is?

Because it seems to me that the truth here

is what everyone else says
and not your own daughter!

- Now excuse me, I have to go.
- Honey, please listen to me.

Your father is very worried.
I'm very worried.

Do you know what I'm worried about, Mom?

Opening night.

And no one in this family

has asked me how I feel about that.

No one!

I don't have much time,
but they said that it was urgent.

Do you know what this is?

A notebook with the measurements
of my daughter's belly and hips.

Measurements she takes daily,

as if her life depended on it.

Because her life does depend on it.

So, it's true what they say, then.

What's that?

That you are never satisfied.

Your daughter knew exactly
what I was like since the first day.

Your daughter, and also the whole company.

That's why they give their all
to be part of it.

Because they know
that we are making them better here.

Regardless of the consequences.

What consequences?

Art must be an obsession,

otherwise it's not art,
it's entertainment.

And we're not here to entertain anyone.

That's what monkeys in the zoo are for.

And now, if you'll excuse me...

Norma.

I'm here to talk.

Right now.

But if you refuse, I will take whatever
steps necessary to get you banned.

And I can do it.

You know that.

And why would you ban me, Rosa?
For a notebook?

No.

For the death of María.

And to prevent it from happening again.

I'd appreciate it if you would go away
and leave me in peace.

You know I have a hand
in every court in Madrid.

I can force you to testify.

That is none of your business,
and much less a court of law.

As you wish.

But may I remind you that a court can
sentence you to an eight-year suspension.

Eight years without ever contacting
any dance company,

or any dancer.

Eight years.

That's a long time, Norma.

It's up to you.

Very well.

As you wish.

Rosa. Rosa!

I have two minutes.

Sit down, please.

I'll be quick.

What happened to María Poza?

Why did she do it?

You don't waste any time, do you?

No. I don't have any.

María put pressure on herself.

But she didn't suffer.

She didn't know any other way.

She was pure instinct, pure passion.

Her passion was dancing.

There wasn't room
in her life for anything else,

including friends, or partners,

or a mother that was dying of cancer.

I didn't know.

Not you or anyone.

The very last thing María wanted
was our pity.

She only told me because
she needed my permission

and my word that I'd wait for her.

So she could go to New York
and take care of the woman

who had, according to her doctors,
only days left to live.

She was there for four months.

And never came back.

Maybe she didn't want to.

Of course she wanted to come back.

The only thing María wanted
was to come back and dance.

She wanted it more than anything else.

Have you ever had
a feeling like that, Rosa?

Loving your job over anything else?

Loving it until it hurts?

Until the wounds on your feet are bleeding
and your skin is falling off,

and still, then, you love it even more?

Have you ever felt that way
for any of your trials, Rosa?

No.

Not for a trial., no.

For Irene, yes.

But you don't know that,
because you don't have children.

My children are my dancers.

I hope you're not going
to judge me for that also.

No, I won't do that.

But I couldn't go on if any
of my kids ever jumped off a roof.

Is this how you win your trials?
Manipulation?

Is this how you run this company?

Is this how you directed my daughter?
Is this how you directed María?

Yes, well, yes, of course it is.
Of course I manipulate them.

That is my job!

How do you think you turn María
into a star? Or Irene into a star?

How do you make a common dancer
an unforgettable one?

- How do you think that happens?
- I'm taking you to court, Norma.

Take me wherever you want,
but I didn't kill anyone.

María jumped because of what she did.

What she did?

What did María do?

Norma, what did she do?

This profession isn't kind
to anyone, Rosa.

It takes years to build a career,
and to forget it, only a second.

And four months is a long time.

I set a date.

If María didn't come back,
another Giselle would take her part.

Stop it.

And she got scared.

Mom?

Mom?

Mom.

She was afraid.

She feared the company
would move on without her.

Afraid that she would lose her career.

Of all those years
of hard work turning into nothing.

I can't.

Her mother was only suffering.

She just had to let her go.

So she killed herself
because she felt responsible?

No.

Because she felt like a monster.

No.

You are the monster.

You pressured her.

You imposed the deadline.

Rosa, there are many families
who depend on this company.

Many.

A company like this can't stop.
This isn't a game, Rosa.

How do you know all that?

Why should I believe it?
Because you say so?

You don't have to believe me.

Believe María.

Norma,
I hope you get this message,

because I did something horrible.

I just stared at her.

And her eyes were...

So I... She needed my help
and I just stood there.

I... I don't know what's wrong with me.

But... I need help. I...

I feel so...

You love Irene
because she's your daughter.

I loved María as if she were my daughter.

I wanted to take care of her.

I want her
to be remembered for her talent,

just like all of my dancers.

Do you want to blame me
for the sacrifice it takes to be a dancer?

Perfect.

Let them say I'm a tyrant.

I'd rather they think María jumped
because of me than for what she did.

Don't take this company away from me.

It's the only thing I have.

It's the only thing your daughter has.

I'm just so worried about Irene.

That's normal.

Your job is to take care of her.

And mine is to take care of the company.

And I have to keep doing so.

Allow your daughter one night.

Tomorrow's the premiere.

Tonight, forget about everything
that happened up to this moment.

Now all that matters
is the audience and your Giselle.

And relax.

You'll be great.

Welcome, sir.

- Thank you very much.
- Here you are. Hello.

Thank you.

- Going to the bathroom.
- By yourself?

- Yes, don't worry about me.
- Okay.

I'm sorry, you can't go in.

- I'm with the company.
- I'm sorry, but no one is allowed.

Erik!

Aurora!

- How are you?
- Fine. I'm fine.

- Your leg is better?
- Let me go in.

Aurora, I don't think that's a good idea.

Erik, I'd like to see Irene,
so I can wish her good luck.

It won't do you any good to go in there.
Trust me on this.

Come on, let me in.

It's your call.

Through the door in the back.

- Go on, go in.
- Thank you.

I thought you weren't coming.

I swore I'd be here with you, right?

Stay right here, please.

There's a lot of people.

Relax. She's worked so hard,
I'm sure she'll be great.

Ladies and gentlemen,
the performance is about to begin.

Hey. You bitch, why don't you
dance like that in rehearsals?

- Norma, let go of me.
- Come here.

- Norma, please.
- Sh, sh, sh.

- Norma, I can be here.
- Let's go.

- Norma, you're hurting me. Norma, let go!
- Shh! Calm down!

- What are you doing here?
- Erik let me in.

This area is for only
members of the company.

I am in the company.

Aurora, I have already spoken
with your mother about your new situation.

- What situation?
- We'll discuss it later.

Now, why don't you go back to your seat?
I'm sure she's waiting for you.

No. What did you tell my mother?

That's not important right now.

What's important is for you
to go back to your seat and relax.

You don't get it, do you?

Irene and I are connected.

When she dances, it's like I'm dancing.
She needs me by her side.

Irene needs to be able to focus.

And you need help,
or this will end up hurting all of us.

- For the last time, go back to your seat.
- Norma!

What are you doing here?
You have to change for your next scene.

- Norma, let her stay, please.
- You leave her now and go change.

Do you want to ruin your friend's night?

Do you want to ruin
the premiere with your fantasies?

We need to be together.

- This way, when I come back to dance...
- You are never going to dance again.

That's a lie.

Why are you lying?

You are never going to dance again.

If your mother hasn't told you yet,
it's because she refuses to accept it.

They told us the day of the accident.

- Norma, stop it now. Please.
- Go.

Get changed.
You have to change for your next scene.

You're lying!

Aurora?

I'm sorry, Irene.

Get out, you monster!

- Let go of me!
- Get out of my theater!

- Get out!
- Come on. Let's go.

- Let's go. Aah!
- Go and get changed!

You leave her alone!

Oh no!

Norma. Norma?

Norma!

Irene, you have to go, right now.

You were in the dressing room. Run.

Aurora?

No one will ever
separate us. Ever.

- The audience is loving this.
- Have you seen Norma?

No, not for a while now.

I saw her by the trailers.
She was with that girl.

Excuse me.

IF I COULD TELL YOU WHAT IT MEANT,

THERE WOULD BE NO POINT IN DANCING IT.
- ISADORA DUNCAN