(…)

ANNE
Do you mind if I smoke?

PEDRO
No, go ahead.

ANNE goes to the window and lights a cigarette.

JULIA
So, you’ve been watching things at the centre Simone de Beauvoir?

ANNE seems to be talking to herself, staring past JULIA and PEDRO. JULIA and PEDRO continue the conversation, not paying attention to ANNE.

ANNE
Matérialisme hystérique

PEDRO
Yeah, this archive, yeah, I’ve been going there some times.

ANNE
Nous ne nous tairons plus !

JULIA
What kind of things do they have?

PEDRO
Um, they have a lot of different things, but I saw mostly like videos of demonstrations, from the 60s and 70s. But, I have been wondering, like… what my interest in that material is and what those women did… because I can’t really, I know that I’m not going to be this like historian or researcher…

ANNE
Ni faux-cils, ni marteau-piqueur…

PEDRO
First of all because I am not one, and also I think that it’s much more interesting to work with the poetics of it… or rather than trying to present historical facts, because, I mean, there is something in this didacticism that feels kind of like patriarchal… Which would really go against the whole thing about this material.

JULIA
Yeah

ANNE
Nous serons des grains de sable dans l’engrenage du capitalisme

PEDRO
I guess I’m just interested in like what my relation, what our relation, to that history is… Like the way they addressed inequality, I think it’s still relevant.

ANNE
Double boulot sans salaire

PEDRO
And you could even turn this thing around, because actually those women weren’t really, haven’t really been remembered, like not that their work wasn’t worthwhile, but it’s also like, so after one generation it’s kind of gone, and you’re like. well, the problem’s sort of still there, and the fact that we can’t even remember it, that’s also kind of part of the problem. It’s like, why haven’t those things been put, but maybe they will be, like put in the annals the way “male” history has been.

ANNE
Une femme sans homme c’est comme un poisson sans bicyclette.