Dreamfactory (2019) - full transcript

LOIRE VALLEY,
FRANCE

Grandpa, no grown-ups allowed!

Then I'm in luck.

What's the young lady's name then?

Camille.

Camille.

And...

- Does she like you back?
- I don't know.

Well, I would definitely tell her

that you like her.

The worst thing is not knowing
how the other person feels about you.



None of that matters now.
I go back to Mom and Dad's tomorrow.

I'll never see her again!

You'll see her again,
next time you come on vacation.

She'll have forgotten me by then.

You know...

if you really like each other,

for real,

then nothing and nobody
can stand between you two.

But you have to fight for it.

And you can never give up,

or she really will forget you.

Great.
What do I do now?

Well...

I used to know a guy.



He had the same problem as you.

- But he never gave up.
- Who? What did he do?

Well...

Your old grandpa's gonna
have to think about that.

That was a very long time ago!

So...

Where shall we begin?

BABELSBERG, GDR, 1961

DEFA
STUDIO FOR FEATURE FILMS

Excuse me.

I'm looking for Alexander Hellberg.
He works here?

Yes, set construction.
Building 301.

Tell the bastard
he owes me a little owl.

And I know he sneaks out the back
to avoid me!

DEFA
STUDIO FOR FEATURE FILMS

Excuse me, building 301?

Straight ahead.

Left, left, left...

- Hey, watch it!
- Sorry.

Hey, handsome fella.

Attention!

Absolute silence, we're filming!

Camera rolling, and action!

Come on, get moving.

Thank you. Cut!

Welcome to the movies.

Sorry I couldn't pick you up.

It's a madhouse, as you can see.

Come on, I'm in a hurry.

It's great to see you!

- Thank God I'm out of there.
- You'll like it here.

We're shooting eight movies at once.

- And the new one with Beatrice Morée.
- Never heard of her.

- Oh boy.
- Watch the shoes!

The Russians are real soldiers.
They're extras.

They're nice guys
when they're sober.

Here we are.

- Movie people sure are thirsty.
- Come on, grab it.

This is Omega, for the space movie.

Later it'll look like the real thing.

Now get to work.

- What?
- You start right away. Dismissed.

- But I just got here.
- Out the door, take a right,

third building on the left:
extras department.

You just stand in the background.
It's perfect for you.

Undress.

Hey, cutie.

We know what you want
just by looking at you!

Venerable ladies

and outlaw scoundrels,
I present you

the lady thief
who'll prey on your senses,

Mia Lorena!

And... stop!

Cut! Cut! Cut!

I'll only say it one more time!

I don't like the light one bit!

More light, darn it!

Okay, let's do a light test.

Omar, I'm sorry,

but the lighting is a catastrophe.

Ten minutes, please. Okay?

I need a light double for Omar,
and make it snappy!

You! Come with me.

You're the light double.

Stand on this mark.

We don't have all day.
Get over here.

See that?

What's there?

Nothing!
But something should be there!

A spotlight!

So the Black Pirate
isn't just a black shadow!

Okay?

There we go!

Let's keep going.

They're standing face to face,

looking deep into each other's eyes.

He gently brushes

a strand of hair from her face.

And something magical
happens between them.

Then he kisses her.

And in order for me to see that,

what do I need?

Light, dammit!

Light!

What the heck?

What are you doing?

What are you doing?

I... I thought I was supposed to...

- You said, "The pirate kisses..."
- The pirate, not you!

You're just there for the light.

How can anyone be so stupid?

Get out of here.
Get lost!

Get this idiot out of here!

The last thing I need

is an extra
who's too dumb to stand around.

I need more light from that side!

- I need it!
- More light!

Where is he?
Where is that idiot?

Kill him!

What's going on?

How long

will this stupid dance scene take?

I've been waiting an hour
in this uncomfortable dress.

I'm sorry, Beatrice,
but we have a...

little problem with the set,
as you can see.

Then we can do my close-ups now.

We don't need a set for that.

Yes, yes.

- You're absolutely right.
- Naturally.

Get ready for the close-ups.

I'm done with you, dance double.

Go on. Get lost.
Let's do the close-ups.

- Put the fire out.
- Put the fire out!

Milou?

Get them to bring the car.
I want to go to the hotel right away.

Yes, Madame.

Milou, wait by the car.

You kissed Beatrice Morée
on the mouth?

Yes, I've got to meet her.

- I'll ask her to dinner.
- Half the world wants to ask her out.

Don't you see?
You'll never get near her again.

You don't get it!
We made eye contact this morning.

We had long,
intense eye contact!

- And then she smiled at you?
- Not exactly.

But she did this.

Incredible!
Love at first sight!

- Go ahead and laugh. You'll see.
- Emil, don't do anything stupid.

They'll fire you.

Oh yeah, I may have caused
a tiny problem.

Good evening, General Director!

- General Director...
- Some insane extra left behind

a swath of destruction
on the outdoor set.

Get your men out there.

- Rebuild it all!
- Right you are,

General Director.

"A swath of destruction!"

One day.

You've been here one day, Emil!

One day.

Oh well.

We tried.

Can't you get me a new job?

Please, Alex!

I have to stay here.

I'll do anything, no matter what.

But I have to see her again.

He can watch the geese.

The Russians like to steal them
and eat them.

I'm already missing six of them.

- Thanks.
- Don't mention it.

- Geese?
- Don't do anything stupid for once.

Take good care of them.

And when I come back,
they'd better all still be alive.

Beatrice?

Oh no, who is it now?

I asked not to be disturbed!

- Send him away!
- I'll go look, Madame.

What can I do for you?

I wanted to apologize.

For the...

- Yeah, for the kiss.
- That's right.

Although, it was just a half-kiss.

Because the other half,

your half of the kiss,
was missing.

But anyway, I wanted to apologize
for the half-kiss.

And on behalf of
the entire motion picture industry,

I'd like to welcome you
to DEFA studios.

It's a huge honor for us

to welcome a world-class,

actor... ress like you

- to our studios.
- That's very kind,

but I've been here two months
and I leave tomorrow.

- Well, before you go...
- I have a question.

- Is everything okay over there?
- Yes.

- Of course.
- And what's that?

- Peanuts.
- Peanuts?

I love peanuts.

Speaking of food...

I'd really love to take you to dinner
before you leave.

Are these your geese?

- My set is full of feathers!
- They're not my geese.

What are you doing with my geese?

What's going on here?

How can I rest
with these vultures everywhere?

I said "send them away",

not "stand around talking drivel"!

- You're useless!
- Shut up!

My God! Have a little respect!
Who do you think you are?

Mr Beck, General Director Beck,

I'm very sorry about the geese.

I was negligently reckless
in my goose-watching responsibilities.

Recklessly negligent.
Tongue twister.

And Madame Morée,

everything I said to you...

I meant every word.

Every single word.

I'd rather die
than make a film here ever again!

Don't you dare

even set one foot
on this property ever again.

If I ever see your face again,
even just once,

I'll make your life a living hell.

Move it!

- Yes?
- Excuse me?

Come on! In here!

Freeze!

Get them!

Out of the way!

Sorry!

Hide!

They must've gone out the back!

What's your name?

Milou.

You?

Emil.

- Hello.
- Hello.

There! Hey!
There they are!

Freeze!

Freeze, damn it!

Come on.
They're under us.

Come on.

Well...

It's all I could do on such short notice,

but I heard you like peanuts.

Have a seat.

I should've cleared up
the misunderstanding earlier,

but I had to get my revenge.
You ruined my dance scene.

I'm sorry.

I'm afraid this whole movie world
just isn't for me.

Well, you wanted
to have dinner with me?

Here it is.

A good year, don't you think?

- It's good.
- We should come here more often.

That was really very delicious.

But I think a toast was missing.

We clinked glasses,
but you didn't make a romantic toast.

Yeah, I'm...

- I'm not such a romantic guy.
- Oh no?

I'm more tough and aloof.

And a little superficial?

Why ask a woman to dinner
when you know nothing about her?

- You only care about looks.
- You underestimate my judge of character.

- Do I?
- Yes.

- Maybe I know you more than you'd like.
- Maybe.

No offense,
but I don't think you're capable of it.

I see.

You don't belong here and you know it.

Right?

You're actually a professional dancer,
a damn good one.

You probably saw some musical
as a child,

and have dreamed of a career
on the big stage ever since.

But you're not tall enough.

And so...

you gave up your dream
to become Beatrice's shadow.

You're bending so far
you're about to break.

That's why you were
crying in the car that day.

The fact that you're gorgeous
is of little importance to me.

I assume your silence means
that I wasn't too far off?

I'm deciding if I should share
what I think of you, or if it's too...

mean.

Shoot.

Firstly, you don't belong here
any more than I do.

Secondly, you already know that.

Thirdly, you have no idea what
you want to do with your life, right?

I've never seen anyone less proud
to be wearing a uniform.

Why were you in the army?

I bet it was the only thing
you could think of.

And it's pretty obvious
that the movie world isn't for you,

and yet you're here.

So the problem isn't the movie world,
it's the world outside.

You're not searching
for your place in the world anymore.

You're wondering if one even exists.

I really wonder...

What's worse:

a dream that never comes true,

or not having a dream at all?

You're right, that was pretty mean.

You didn't even
hide a compliment in there.

I know!

No.

I have to go, unfortunately.

I'm sorry.

How was the kiss?

It's hard to say.

It was only half...

a kiss.

Acceptable.

Now we're even.

No, we're not.

I still owe you a romantic toast.

Tomorrow is our last day,
then we fly back to Paris.

Was I right?

I first saw "The Jungle Book"
when I was five.

The princess dances with elephants.

I've wanted to dance with elephants
ever since.

That was the moment.
Did I guess right, too?

I'll tell you
if you come to Hall 7 at sunrise.

I want to show you something.

Will you come?

Peut-être.

Peut-être?

I'm sorry!

- Watch out.
- I'm really late, I know.

It won't happen again.

You're darn right
it won't happen again.

Huguenot,

- what does "peut-être" mean?
- You're here?

Want your beer?

- Do you know?
- Maybe.

Do you know or not?

"Peut-être" means "maybe."

- "Peut-être" means "maybe"!
- Can you peut-être tell me

what you're doing here?
If they catch you...

My dear brother,
if it's the last thing you ever do,

I need your help.
I need all your help!

It's a matter of life and death!

Well, almost.

Are you with me?

PROP ROOM

This is more than a little favor.

Good morning.

- Where to?
- Babelsberg, please.

- You mean DEFA?
- Yes.

I know it.
I bring actors there all the time.

What? What's going on?

No idea.

- Excuse me.
- Stay back!

- Turn your car around and go.
- But I need to get to...

Get back!

- Or I'll shoot!
- But you can't just...

Stop!

Please turn back.
We have orders to shoot.

Miss, come on!

Come back! Now!

- What's going on?
- ... at all the border crossings:

barbed wire
and armed Volkspolizei guards.

Apparently the flood of refugees
to the West made it necessary

- to seal off the Soviet Sector...
- I'll take you back to the hotel.

That was RIAS Berlin.

Peut-être...

I want to get out of here
before a war breaks out.

There are no flights until tomorrow.

What bullshit!

This country makes me sick!

General Director?

I'm afraid I have to inform you that
filming has stopped in all our studios.

All employees from the West
are absent today,

as well as many from the East.

Tragedies are happening out there.

- What can we do now?
- It will make us stronger.

I have the utmost confidence
in our party's decisions.

We have to make an inventory
of the remaining employees.

We'll make do without staff
from the West, and hire new staff.

- Good morning.
- Morning.

- The car is waiting.
- Go ahead, I'll be right there.

Excuse me?

- Please try to call Babelsberg again.
- I'm sorry, it's no use.

All lines to the East are still dead.

Milou, we're leaving.

I'm not waiting a second longer for you.

Long night, eh?

The guy who sat there
ain't coming in no more.

Is this your office now?

Is this your office?

Do me a favor and tell me

your name.

For the sign.

Karl...

Bo... Borgmann.

Got it.

We have good medicine...

for lovesickness.

You're free! Go on!

Run!

Escape oppression!

Fly to freedom! Fly!

This is the pilot speaking.

We are leaving GDR airspace.

You are now in safety.

We will be landing in Paris
in about two hours.

Where is everybody?

Where do you think?

No idea.

It was all for nothing.

- Milou didn't come.
- Of course not.

No one crossed the border.

- What border?
- Are you kidding me?

Berlin is in a state of emergency!

They closed the East-West border.
Barbed wire, armed soldiers...

They took jackhammers to the roads,

nobody can get through!

Of course!

That's it!

She couldn't get over the border!

Her hotel is in West Berlin.
She couldn't cross the border!

- Don't you see what's happening?
- Yes!

Alex, she didn't stand me up!
Get it?

I bet she wanted to come, but then...

I knew something was wrong.
I knew it!

Of course she wanted to come.
I knew it!

They cut the lines.

- I have to go to her.
- Emil!

You can't go to the West anymore.

She's already on her plane, anyway.

She's gone.

Why didn't you call her mobile?

Because...
Wait, I didn't say it was me.

I'm not dumb, Grandpa.
It's your story.

Yes, yes.

Why didn't you send her a text?

- That stuff didn't exist back then.
- Crazy.

- Did you go to see her in Paris?
- Oh, you know...

I tried everything I could
to see her again.

Then they built a 10-foot wall

between East and West Germany.

And suddenly I was trapped
in my own country.

Yeah, the situation was hopeless.

Like with you and Camille.

What a stupid story!

Not so fast, young man.
Let your grandpa finish his story.

Because suddenly,

the story took
an unforeseeable twist.

All she said was "peut-être."

Maybe you're right, and I just have to
get her out of my head.

Let me help.

- General Director, Prager.
- May I?

EXECUTIVE PRODUCER
KARL BOBORKMANN

Can I help you?

- This is the office of...
- Mr. Karl Boborkmann.

- And you are?
- Rosemarie Albrecht, the secretary

of Mr. Boborkmann.

But he's not here.
And I've only been here three days, so...

I don't even know what he looks like.

- I hear he's pretty tall.
- Oh?

Yes, about this tall.

Blond, blue-eyed.

Pretty slim, I'd say.

Quite young for his title.

- Extremely charming.
- Oh gosh!

You're Mr. Boborkmann?

That's me.

I'm incredibly sorry, Mr. Boborkmann!

I didn't know.

I've only been here three days, and...

But I figured you were
out shooting somewhere

- on location.
- That's right. I was on location.

- It was very urgent!
- Naturally, Mr. Boborkmann.

But...

You'll be happy to see that your office

has been renovated.

Come with me!

I took the liberty
of ordering you a new desk

and a new chair.

And here is your mail.

These scripts here
are being considered for production.

And here's your new studio ID.

I won't keep you any longer.

If you need anything,

just push this button.

- Rosemarie, can I get a coffee?
- Of course, Mr. Boborkmann.

One moment.

STUDIO ID
EXECUTIVE PRODUCER

Rosemarie?

Please ask Mr. Hellberg from Set Design
to come to my office.

It's urgent. Tell him to hurry.

I'll take care of it right away.

Come in.

Your idiot brother
destroyed the outdoor set

and you knew about it.

Are you nuts?

Alex, I figured out
how I can see Milou again!

You can't be serious, you...

- Your coffee, Mr. Boborkmann.
- Thanks, Rosie.

- May I call you Rosie?
- Of course, Mr. Boborkmann.

- Not bad for a banned goose-herder.
- What the hell is this!

You won't get across the border
as Karl Boborkmann either.

And I don't want to.

Milou will come to Babelsberg.

Oh? And how?

When Beatrice Morée
shoots a movie here again.

And Karl Boborkmann will write a movie
that Beatrice Morée can't resist.

- You're going to make a movie?
- Yes.

If anyone finds out about this,
you'll end up in jail.

Only Beck and Prager
have me on their radar.

No one else knows I exist.

All I have to do is avoid them.

We just have to convince
Beatrice Morée to make this movie.

Once she bites,
everything will fall into place

and Beck will have no choice
but to... agree.

What kind of movie?

Who cares!

- A little, easy one.
- Emil...

Trust me.
It'll be a tiny, teeny-weeny,

itsy-bitsy movie.

Emil...

You know I always help you.

- Yes.
- Always.

But the best way I can help you now
is to tell you:

It's the stupidest idea I've ever heard!
You know nothing about filmmaking!

You want to risk everything
just to see a girl

who might not even want to see you!

There is no Karl Boborkmann.

And there never will be.

I know it sounds like I'm totally nuts,

and I know it's a crazy plan,

but I have to see her again!

I've seen a lot in my 40 years
in the movie business,

but that's the craziest,

stupidest...

and most beautiful thing
I've ever heard.

I'll help you do it.

So, if Beatrice has a dream role,

it's got to be Cleopatra.

Cleopatra?
Yes, Cleopatra is good. It's perfect.

- What do we need?
- A film crew.

You can't make a movie alone.

But we need the very best.

And people who won't tell Beck.

People in top positions have earned it,
but what we need are

people we can trust,
good people, passionate about movies.

Are you in?

Helmut has been
assistant cameraman for 40 years

and dreams of finally
being the cameraman.

Perfect.

Yeah, but I'm color-blind!

- Which colors?
- Red and green.

No problem.

It's set in the desert.
Everything's yellow.

- Welcome to the team, Helmut.
- Thanks!

- Who else?
- I can think of a few more.

But you can never tell them
who you really are

and that it's all just for a girl.

Quiet! Quiet!

- One at a time.
- We need at least

1,500 extras.

A huge hall
and a gigantic throne.

- Props like gold treasures and so on.
- Good idea.

And tons of elaborate costumes.

We need columns,

sculptures,

busts, and of course...

pyramids!

Why are you helping me?

I'm retiring next year.

One last adventure.

But most importantly,

we have to keep it top secret.

Project Cleopatra cannot leave this room.

We're shooting
a Cleopatra movie here soon.

In every studio at once.
Tons of sets, thousands of extras,

epic battles!

It'll be
the greatest film ever made.

And the director, Boborkmann,

- I know him personally.
- Really?

But...

Confidential.

COMMUNISTS SHOOT
MONUMENTAL FILM

Comrade Beck, why are we hearing this
from a class-enemy tabloid?

Huh?

Screw it!
Congratulations on this huge success!

It's exactly what we need.

A prestigious project for socialism.

But you have to
inform us of these things.

Yes, um...

It was all still up in the air.

I didn't want to rock the boat.
I have no idea how the West...

It's good they know
we're not fiddling our thumbs.

So, how is the project progressing?

- It looks good.
- It looks good? That sounds bad.

Problems with young staff?

According to our sources,

the 24-year-old

Karl Boborkmann,

will be directing the movie.
In the Soviet Zone he's considered

an extraordinary young talent.

Yes, of course,
Comrade Boborkmann,

my up-and-coming director.

A first-class product

of our local filmmaking education.

Prager,

find Comrade Boborkmann

and bring him here.

Pardon the interruption.

Someone wants to see you.

Mr. Boborkmann...

Mr. Boborkmann!

Comrades, Mr. Boborkmann is here.

Comrade Director,

the up-and-coming talent.

Mr. Boborkmann,

don't be shy, come in.

Comrade Grote.

You have the Party's full support.

Comrade Beck, tell us about the kid.

Yes, where do I begin?

Hard work, discipline and talent.

That's what I see in Mr. Boborkmann.

But what delights me the most about him

is his ability to keep me on my toes.

Very good.

It's great that Beatrice Morée
will star in it.

Scriptwriter and director.

Respect, Comrade Boborkmann.

Our main priority
is that production runs smoothly.

Can you guarantee that?

Yes, yes.

But it's of the utmost importance
that I make the film with my own crew.

Naturally, as long as
the cameraman isn't blind!

Headquarters wants
the script tomorrow.

Comrade Beck,

Comrade Boborkmann.

I'd better get started on that script.

Shit, Emil.

You're in really deep shit
this time!

Really deep!

Who cares.

Okay, let's type as we go.
Come on.

Write as often as possible:

Close-up on Cleopatra.

That's all Beatrice cares about.

...A huge ship with 1.5 million...

That's good! That's good!

Then a close-up!

I see a ship! A sunrise!

Oh, that's good! That's good!

Well?

This is the worst garbage
I've ever read in my life!

"Cleopatra",
by Karl Bobork-mann.

Boborkmann?

- What a stupid name!
- Totally ridiculous.

No matter. Keep reading.

"The sun rises over the pyramids..."

Skip right to my first scene.

"Close-up on Cleopatra."

Madame Beatrice,
before you say anything,

let me... I mean...

- That script is...
- The best I've read in my whole life!

I want that film!
I accept your apology.

I'll see you on the set.

Of course, Madame.

Unbelievable.

"Cleopatra" is approved.

Prager, keep a close eye
on this production.

Hellberg is nothing but a stupid extra.

He won't survive one day.

Call Comrade Director Jansen.
He'll take over as director

as soon as Hellberg is fired.

I don't believe you.

I bet you made it all up.

Maybe I did,

maybe I didn't.

But it's a cool story.

Is that right?

Okay, in that case,
you want to hear the rest?

Did it work out with Cleopatra?

Oh, more or less.

I had no idea
what I'd set in motion.

A movie shoot like that is...

"PALACE OF TEARS" BORDER CROSSING
JULY 1962

It's a very complicated business.
The preparations alone!

Months and months passed
before we were finally ready to shoot.

But what I didn't know then,

is that the passing of time

can change a whole lot.

Madame Morée?

On behalf of Director Beck
and DEFA Studios,

I welcome you,

and you, Monsieur Schalu,
here, to our studios.

- Merci.
- Your car is waiting.

Where do we know each other from?

- I know you.
- No, I don't think we know each other.

I should've just forgotten her.

You were right.

The whole film idea was ridiculous.

It's a little late for that now.

- You still have to shoot this movie.
- There's no reason to now!

No matter what I do,
it was doomed from the start.

Listen up, little brother.

Get off your ass
and go finish what you started!

Understand?

I'm sorry.

You won't let those people down!

You won't let me down!

Beck can't wait for you to fail.
Then he'll turn you in,

and you'll land in jail
as the biggest crook in the GDR!

Do you want that?

Come on.

That's your seat.

Should we use the 35 mm

or the 50 mm lens?

You decide.
I have blind faith in you.

"Blind"...

- Which do you like?
- This one.

Perfect.
I think so too.

Is this a good position, Mr...

Boborkmann?

That's a great position.

Sound.

- Sound rolling.
- Camera.

- Clapperboard.
- Scene 48, take 1.

And...

...action.

Stop!

I've seen enough.

This scene is all wrong.

- What?
- Cleopatra

shouldn't dance like a prostitute
to seduce Cesar.

We can do all that with glances

and close-ups of Beatrice.

- No, wait!
- Right, Beatrice?

Of course. He's right.

How can you sabotage my scene?

- That dress is tacky.
- It's my dance!

- You know how hard I've worked.
- No...

discussion.

It's a very important scene.
We can't just...

What can't we do?

I...

I agree.

We don't need the scene.

Stay away from her.

That's a wrap.

We'll film Beatrice tomorrow.

That's a wrap!

Hellberg is in way over his head.

He won't last through tomorrow.
The replacement director is ready.

I want you to make sure.
Tomorrow is the coronation scene.

- You know what you have to do.
- Yes.

There were rumors you slept on set.

I had to see it for myself.

The man who lives in the movie world
because he has no place in the real one.

You think I'm an idiot?
I can see you!

What the heck?

Oh, Mr Boborkmann!
I thought you were someone else!

- Have you seen my friend, Emil?
- You woke me up. That's rude.

- Not saying hello is rude.
- You threw a shoe at my head!

Because you're ignoring me!

Are you mad that I didn't show up

back then?

Don't be ridiculous!

If I remember correctly,
you only said: maybe.

I didn't even expect you to come.

But you wanted to show me something.

What was it?

I don't remember.

No idea.

A lot has happened since then.

That's for sure.
A lot has happened.

The last time I saw you,
you were a banned extra.

And now you're
Director Karl Boborkmann!

Yeah, I got lucky.
And I took a chance.

I needed an alias, of course.

I'm still a bit unsure of myself,
in case you hadn't noticed.

Careful.

There's film left,
since we didn't shoot that scene.

Right.

- I really wanted to shoot...
- Dance scenes get cut a lot.

I'm used to it.

Yeah, but it would've been
really special.

We found a way to rain rose petals
for the finale of the dance.

I would've gone over to the lever,

pulled it and...

- It would've been beautiful.
- Yup.

It was my favorite part of the script.

We can still shoot the scene.

We can.

Just get in position.

Come on.

Mademoiselle Lambert,
to your position please.

Or is it Madame?
I wasn't sure.

Mademoiselle.

For now.

To your position, please.

I didn't know that you and Omar...

- That you two...
- Yes.

- I'm happy for you both.
- Thanks.

Congrats.

- I called the studio.
- Okay.

- Attention.
- They said no Emil worked here.

I thought I'd never see you again.

Quiet please. Sound.

Sound rolling.

Camera. Camera's...

rolling.

Cleopatra dance scene, take one.
And action.

I think I should go.

Yes, I should go to bed, too.

- Big day tomorrow.
- I want you to know, I'm happy for you.

For all this.

Maybe there's a place for you
in this world after all.

Maybe it's here.

Peut-être.

I wanted to come, back then.

Did you prepare everything?
Of course, General Director.

Could you zip me up?

Sure. The dress looks great on you.

Boborkmann?

Our comrades are coming
to watch the rushes.

Good luck.

I'll see you tonight at the cinema.

Madame Beatrice,
you look fantastic!

Are you ready
to be crowned Queen of Egypt?

Very good.

Get the extras.

We need the place
full of Romans.

Helmut, buddy,

fire her up.

We're filming.

Hey, Prager.

Get out your notebook.
We're about to make movie history.

The extras are ready.

Good.
Get them ready to shoot.

There's just one problem.

They celebrated something last night.
I didn't quite understand.

Stop!

Movie history!

Guys! What's going on?

Everything fine.
Can shoot.

Turn the camera on.
We can do it.

We're filming the crowning scene!

We discussed this!

The guy with the glasses...

he said no shooting today.

Said was cancelled,
but no problem.

What are we crowning?

Okay, just stand up straight, okay?

I'll stand straight as a tree!

We have to cancel.
It's no use.

If we cancel now, we can forget
the whole thing!

We're filming
- We're filming.

Everybody to their positions!

You're kidding me.

- Sound.
- Sound rolling.

- Camera.
- Camera rolling.

Action!

This is ridiculous!

How am I supposed to act?

What are you doing?

It's an earthquake.
An earthquake!

Keep shaking it.

It's an earthquake! Earthquake!

Earthquake!

Earthquake!

Earthquake! You all have to shake!
Earthquake!

Earthquake!
You all have to shake!

Throw dirt! Earthquake!

Throw dirt! Earthquake!
Throw dirt! Throw everything!

Come on! You heard him!
It's an earthquake!

It's an earthquake!

Throw something!

No way.

Come on!

Earthquake!

Okay. Yes!

It's an earthquake!
Wave your arms, come on!

No earthquake happened
at her crowning!

It's a movie!

Shake! Come on!

Omar, protect her with your arms!

Helmut, closer, closer!

Closer!

Closer, closer!

- Hold me tight!
- Closer!

- Good evening, comrades.
- General Director Beck.

We can hardly wait to see

what Boborkmann came up with.

Yes, me too.
Unfortunately, without my permission,

he went off script, but...

let's keep an open mind.

Allow me to introduce Mr. Jansen,
a very experienced director.

He'll be acting as a consultant.

- Yes. A pleasure to meet you.
- Yes.

I'm sure Comrade Boborkmann
will join us shortly.

- After you.
- Mr. Jansen.

Absolutely ridiculous!

What can I say?

Very good work.

But that's what we expected.

That earthquake! The special effects!

The West will be in awe.

An excellent director.
You have a bright future.

I realized something today.

It's not about if what we see
on the screen is real or not.

It's about what you feel
when you're sitting in the cinema.

The feelings you have
when you see it.

They're real.

And that's what really counts.

The comrades...

The comrades
watched the material today.

And they're...

What can I say?

They're delighted.

Totally delighted.
It's working.

It's working!

We continue tomorrow.

Let's make this movie!

Julius, no!

No!

Lower, lower!

Everybody look in the camera
and smile!

No.

No! I missed my car!

- No!
- Come on, I'll drive you.

You don't have a car.

With that thing?

Look, no hands!

So...

Keep it balanced.

Don't be scared, I'm here.

We'd better watch the road.

- Straight ahead.
- Wait, watch this.

- Don't be scared. You ready?
- Yes.

What was that?

No idea.

Shit. We're out of gas.

Then...

We'll walk.

Come on.

It's always so dark here.

- It's night. Of course it's dark.
- No, I mean in general.

Too little light,
too few people in the streets.

At home
there'd be colorful lights,

music all around,
lots of people.

What's it like in Paris?
Tell me about it.

I love Paris!
You'd really like it.

My father used to say,

"When God gets bored of heaven,
he looks down at the streets of Paris."

But it's true!
You're always outside,

dancing, singing.
You're just...

- Free.
- Yes, free.

It sounds wonderful.

Who knows,

maybe I'll go there one day.

Come on!

Oh God!

Tell me more.
What are the people like?

Warm, open somehow.

You...

You laugh a lot

you talk loudly
and all the same time.

You look each other in the eye.

You...

touch each other more.

Identity check.
IDs please, both of you.

- What's this about?
- We asked to see your ID, citizens.

Yes, sure. Of course.

Here you go.

- You're a French citizen?
- Yes.

Stay right there and be quiet.

We didn't do anything!
How can they...

Silence!

Why do you have identification

- for two different people?
- An ID for Emil Hellberg,

and a Babelsberg Film Studios ID
for a certain

- Karl Boborkmann?
- Yes, I...

Answer!

- Yes, Boborkmann is...
- Hands behind your back.

- What?
- You heard me!

- Why?
- How come?

Let's talk about this!

Silence!

- Stay here or we'll arrest you too!
- But why? Let him go!

Emil! Let me go!

- Leave her alone!
- No!

No! Emil!

Stop it!

- He didn't do anything!
- It's okay, Milou!

- Emil!
- It's okay!

Milou, everything will be fine!

What can I do?

Milou?

Open up for a second. Milou?

- I'm changing. I'll be right out.
- Where were you?

The photo took...

longer than I thought.
I'm sorry.

Stop avoiding me!

You think I'm an idiot?

Where were you?

You were with him.

You're seeing him at night now, too.

I knew it!

I saw it coming but I kept my mouth shut.
I thought:

She'd never fall for some

- wannabe director.
- It's not like that.

It's not like that!

Then how is it?

I see.

Are you going to leave me now?

Give up your life in France
for a flirt?

Trade your safe, good life

for one with someone
you hardly know?

In a land like a prison?

People are getting shot at the border!

I won't let you ruin your life.

You're coming with me to Paris.

Understand?

Get in there!

May I have your attention, please?

As many of you surely know,

Director Boborkmann is no longer able
to continue working

on this movie.

So I'd like to introduce you
to your new director, Comrade Jansen.

His expertise will benefit the project

and produce a successful outcome.

Let him know where you left off

and get back to work
as soon as possible.

Hello, first I'll need to speak to
the head of each department.

I will be making several changes.

Here's Christa, make-up artist.
But you know her already.

Of course. Hello, Christa.
I have a few changes

for Cleopatra's make-up,

but I think that can wait.

Hello? Anybody there?

Are you listening?

Christa?

- Mr. Jansen?
- Helmut.

I'm sorry.

Bosner, come back this instant!

Think it through!

There will be consequences!

You'll all lose your jobs.

If you leave now,
you never come back!

Have you all gone nuts?
Hellberg!

Dammit!

Try explaining that
to your comrades.

- Is that Prisoner Hellberg?
- Yes. He's being transferred.

Open the door.

Comrade General Director,
is this the man?

Finish the movie

and don't screw up.

Alex?

Where's Milou?

That's a piece for our movie.

Don't go.

Don't go back to Paris.

It's complicated.

I have a life.

- With him?
- Yes.

- With him in Paris.
- He just lives in the right place.

You don't even know him.

You hardly know me.
You just made some lucky guesses.

- Want me to guess again?
- If you must.

You're only with him
for a little security, right?

What's the alternative?

You, who've built your life
on naive, impulsive decisions?

You just follow whims,
like this movie!

Being a fraud director with one foot
in jail doesn't seem to bother you!

You think that ring on your finger means
there's more to life than...

than love... and dreams.

You know full well
they're the only two things

that really matter!

But you'd rather throw it all away.
You'd throw your dream away for him,

just for a little security.

You don't get it.
You've had your dream for a few weeks.

I've fought for mine for 15 years.

Fought till my feet bled!

And now you blame me
for wanting a little security?

What do you expect?
What do you demand of me?

- We've known each other six weeks!
- We met a year ago.

I've been waiting for you ever since!

Waiting?

Till six weeks ago, you didn't know
if we'd ever see each other again.

It's a coincidence that I'm here,
and now you ask me

to give up everything for you?

I'm sorry.

You're right.

Alex?

Changes for the shoot tomorrow.
I need everything on the list.

- No exceptions.
- What are you talking about?

- Where will we get it all?
- It's the dance scene that got cut.

Shooting it on a grand scale!

Wait a second.

- We can't. It's too short notice.
- Why? It's all there.

It's choreographed, we've got the set,
we all know the scene.

We're just expanding the scene a bit.

It's not going to make her stay.

I know.

But I made a movie for a dancer.

I won't let her go
before she gets her dance.

Pardon me, Miss Lambert.

Changes for tomorrow's shoot.

You're not dancing this scene!

FOR MILOU

If you keep her here,
you'll destroy her life!

- Stop!
- You have nothing to offer her!

- In this walled-in country.
- Enough!

Igor!

Listen up, everybody.

Report to make-up.
15 minutes till rehearsal.

Karl!

What is this?

Changes for today's shoot.

But we were going
to shoot my scene today!

- We don't need it. It's cut.
- You didn't run it by me first!

With all due respect,
it's not for you to decide.

You're a great actress,

and it was an honor working with you.

But I didn't write this film for you.

Thank you for...

the scene.

Emil,

these were
the most beautiful weeks of my life.

But right after today's shoot

Omar and Beatrice
are flying back to Paris, and...

I'm...

going to be sitting on that plane.

I can't stay here.
I'm sorry.

And...

you have to find a replacement for me.

I can't dance. I can't.

I know that...

it'd be totally insane
for you to stay here.

I know that.

But you have to dance.

You have to dance.
And not for me.

- You have to dance for yourself!
- I only came to pick up Beatrice's stuff.

So, here it is.

Oh God, I'm so nervous!
I can't believe they're letting me dance!

- I hope the dress fits. It's gorgeous.
- Yes.

And the director is really cute.

You can forget about him.

Why?

Married?

Worse.

Hopelessly in love.

- With who?
- The French dancer.

Beatrice's double?
But she's engaged to Omar.

Yes, that's the tragic part.

She was here for a production last year.

That's when he fell in love with her.

The day they closed the border,

they were going to meet here.

He'd built a set for her all night long.

A scene from her favorite movie.

He wanted to surprise her.

But she never came.

Her hotel was in West Berlin,

and she couldn't get across the border.

Oh no.

It gets worse.

Boborkmann is not Boborkmann.

He's not a director at all.

He was an extra.

He had no way to see her again.

No address, nothing.

He even wanted to escape
across the border.

But then he had a better idea.

Here in the studio,
under a fake name,

- he conned his way into an office.
- No!

He convinced the administration
he was an executive producer.

And listen to this!

He and his brother
wrote the Cleopatra script

and got the whole movie going

just to lure Beatrice back to Babelsberg.

- Because Beatrice would bring her double.
- Exactly.

Can you imagine?

This whole movie only exists

because an extra fell in love
with a dance double.

Yes.

Milou.

Okay, please get in position.

Sound.

Sound rolling.

Camera.

Camera's rolling.

Music.

Let's fly!

And action.

Just keep the camera rolling.

You danced beautifully.

I shouldn't have stood in your way.

IDs please.

Okay, you're free to go.

Milou!

Milou!

- She gave you the middle finger again?
- Yeah!

Grandma was always pretty sassy.

Huh? Grandma?

What's your grandma's first name?

Grandma?

Your grandma's

first name is...

Milou.

- I have to talk to Grandma!
- Wait, wait.

You can do that later.

I think you have something
more important to do, right?

Oh yeah!

DARE TO DREAM

DIRECTOR KARL BOBORKMANN
LEAVES THE GDR

NEW PRIMA BALLERINA
OF THE TELEVISION BALLET