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This series is loosely inspired
by the life of Karl Lagerfeld.

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00:00:02,080 --> 00:00:03,080
Some of the characters, their intimate
and professional relationships,

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00:00:03,160 --> 00:00:04,160
their actions and statements,
places, incidents and events,

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as well as artistic creations

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have been invented or altered
by the authors for dramatic purposes.

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In the case
of such invention or alteration,

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any similarity to the actual character
or history of any person

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is entirely for dramatic purposes

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and is not intended to reflect
an actual character or their history.

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SPRING
1978

11
00:00:16,800 --> 00:00:18,480
Karl Lagerfeld, hello.

12
00:00:18,560 --> 00:00:22,040
One could say that you're now
the star of international fashion.

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00:00:22,120 --> 00:00:24,040
Star? I don't know, but it's true

14
00:00:24,120 --> 00:00:26,680
I've been sleeping in planes
more often than my own bed lately.

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Nice bag, huh?

16
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-Was that one of yours?
-Certo.

17
00:00:46,800 --> 00:00:48,440
-Here?
-Yes.

18
00:00:48,520 --> 00:00:50,360
I'm nothing but a streetwalker.

19
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I am. And it's nearly impossible

20
00:00:53,680 --> 00:00:56,160
to be so busy,
always promoting one's product.

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00:00:56,760 --> 00:01:00,120
How long have you
been on this worldwide promotional tour?

22
00:01:00,200 --> 00:01:03,680
It was supposed to be
ten days. Now it's been three weeks.

23
00:01:03,760 --> 00:01:06,560
All the big cities
want to have their Chloé shop.

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Yesterday, bagels in New York.
Today, pasticcino in Rome.

25
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The real cure for jet lag, hmm?

26
00:01:14,400 --> 00:01:15,400
Hmm.

27
00:01:17,520 --> 00:01:20,000
So will that be
Miss Picasso's wedding dress?

28
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Yes, the evening one.

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It's theatrical.

30
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Yeah, well, I'm just getting started.

31
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This isn't a wedding dress.

32
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It's a manifesto.

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Perfect.

34
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Beautiful.

35
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Do you know what Saint Laurent's
doing for his day dress?

36
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I'm not worried.

37
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Oh.

38
00:01:46,240 --> 00:01:48,480
-We'll be late. Time to go.
-I'll let you go ahead.

39
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I'll stay for a bit.

40
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But what about the Fendis?

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I need to run an errand. They can wait.

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Fine. I'll see you over there.

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Hmm.

44
00:02:01,600 --> 00:02:04,200
And you never
forget that fashion needs to sell

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above anything else.

46
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Of course.
I make dresses, not poetry.

47
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The main problem
is not that you might run out of ideas,

48
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but that you have
to be stopped.

49
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No. Uh, back when I
was working on haute couture,

50
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I turned up 50 dresses twice a year,
it wasn't enough for me.

51
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I was bored to death.

52
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I need to work.

53
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Drawing is like breathing to me.

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I have no responsibility but my work.

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And I like to do only that.

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You're here.

57
00:03:03,520 --> 00:03:05,600
Between three flights
and two appointments.

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You mentioned this was your canteen.

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-So I took a chance.
-Of course.

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Do you know Xavier de Castella?
He's with Kenzo.

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-Ah, yes, of course.
-Hello, Karl.

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And here's Gianni.
He's our friend for the day.

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Can't understand him
because he only speaks Italian,

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but he's pretty, so there you go.

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Can we talk a bit?

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Sure.

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How's it going with Xavier?

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He's like a brother.

69
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I'm just asking how the trip has been.

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Good.

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And you?

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Impromptu visits are surprising.

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YOU ARE INVITED
TO THE WEDDING OF PALOMA AND RAFAEL

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A Picasso wedding invite. Wow.

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Well, I didn't give her a choice.

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The reception is at my place.

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And I want you there.

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Will Pierre and Yves be there?

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They're at the head table with us, yes.

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I'll make them feast on my success
as an entrée, main and dessert.

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I hope they can digest it.

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I'm good.

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I'm keeping my promises.

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I'm not asking you to stop traveling,
or to give up your friends.

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We're good, aren't we, Karl?

86
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We're at the right distance.
Not too far or close.

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This isn't a step back.

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This is revenge. For us.

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I have no success
to feed Pierre and Yves, Karl.

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And what have I achieved

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if I keep nothing around me?

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If you're not there,
then Pierre and Yves have won.

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I'll go one day.

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She won't be getting married
every month. Paloma.

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I'm still here for you, okay?

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Just like you were there for me
through the death of my father.

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Don't ask me to go back
into your shadow, Karl.

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The day I finally come back
to the crab basket,

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I want it to be after I've done
something I'm proud of,

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so when I'm still with you,
I can exist on my own.

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So when is that?

102
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Karl. You're number one in the U.S.,
rich as Croesus.

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You don't need me.

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So you're not in my shadow,
but you'll take my money?

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Do you want it back?

106
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Because Xavier is filthy rich.

107
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No.

108
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I have to go anyway.

109
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No, I don't mind this one.

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-Do you know where he is?
-Oh, he's just a little late, yes.

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Oh! There he is...

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Excuse me.

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- I was unexpectedly delayed.
- Nothing important?

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No, the only important thing
is work.

115
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Is Rosemarie here?

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Uh, she went to answer a call from someone
trying to reach you in Paris.

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All right.
The campaign for the collection.

118
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Who do we want as the photographer?

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Rosemarie told us that you were going to
design a wedding gown for Paloma Picasso.

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Mmm-hmm.

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In competition with Yves Saint Laurent.

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Never compare, never compete, hmm?

123
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Yes, but we both know
your dress will be better.

124
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The whole world will be watching.

125
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Not the whole world, unfortunately.

126
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I really like this one.

127
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Ah.

128
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I think we need to go back to Paris.

129
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Paris?

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Thank you all. This means a lot.

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How is Madame?

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For right now, she's been placed in a coma

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so that her body can get enough rest
and we'll wake her up tomorrow.

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If it goes well,
then we'll know the extent of the damage.

135
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The house will be ready, Monsieur.

136
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All right. We all have our things to do.

137
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Let's get to work. Merci.

138
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-Uh, Monika.
-Yes, Monsieur?

139
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I know that every second counts
when it comes to a stroke.

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If she pulls through without too many
side effects, it'll be thanks to you.

141
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We're never truly prepared.

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No.

143
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Monsieur, you have Mademoiselle Picasso
and her fiancé waiting for you.

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They're here for the wedding preparations.

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- Ah!
- Look at you, you're absolutely glowing.

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I thought you'd forgotten about us.

147
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Absolutely.

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So much so that...

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-Rafael...
-Si.

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One, two, three.

151
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I had my assistant throw this together.

152
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You see the little cards?

153
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Give me the guest list when it's ready,
and we'll place them.

154
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The list?

155
00:09:08,120 --> 00:09:09,600
Look, that's us.

156
00:09:09,680 --> 00:09:11,880
Mmm-hmm. Loulou and Alexandre, perfect.

157
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I wanted them to meet.

158
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Family there. And Mother...

159
00:09:26,800 --> 00:09:29,000
Let us know if Jacques is coming.

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What about this?

161
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Hello?

162
00:09:50,720 --> 00:09:51,800
What?

163
00:09:54,000 --> 00:09:56,880
Scuzi, scuzi, uh, I don't understand.

164
00:09:56,960 --> 00:09:58,280
Who's calling me?

165
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Bene. Italiano? English?

166
00:10:44,160 --> 00:10:45,160
Uh, English.

167
00:10:45,240 --> 00:10:47,720
Someone got you
something to drink?

168
00:10:47,800 --> 00:10:49,000
-Coffee?
-Coffee, yeah.

169
00:10:49,080 --> 00:10:51,560
-It's good.
-Great. Carla Fendi. Sister number four.

170
00:10:52,480 --> 00:10:53,480
Jacques.

171
00:10:53,560 --> 00:10:55,360
Thank you
for coming all this way.

172
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Are you enjoying Rome?

173
00:10:57,160 --> 00:10:58,440
Yes.

174
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So...

175
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We are about to start the ad campaign
to launch our Ready-to-wear clothing line.

176
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Oh.

177
00:11:12,400 --> 00:11:14,600
You are familiar with the brand?

178
00:11:16,120 --> 00:11:17,800
Somewhat, yeah.

179
00:11:19,720 --> 00:11:23,880
We want to update our image.
Something more modern, more unexpected.

180
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Mmm.

181
00:11:25,040 --> 00:11:29,520
We are looking for a new photographer,
someone with a fresh pair of eyes.

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00:11:29,600 --> 00:11:33,440
Young, but in line
with the Fendi tradition, of course.

183
00:11:33,520 --> 00:11:34,680
Okay.

184
00:11:37,000 --> 00:11:41,000
And you are asking me
if I know a photographer or...

185
00:11:41,800 --> 00:11:43,080
No.

186
00:11:43,160 --> 00:11:46,080
Karl called me last night
and he suggested you.

187
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Okay, me?

188
00:11:50,680 --> 00:11:54,520
He thinks you're the perfect person
to reinvent the image of Fendi.

189
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- Okay.
- His words.

190
00:11:58,320 --> 00:12:02,320
I mean, I know nothing of photography,
so it's, uh...

191
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That's what I understand.

192
00:12:11,120 --> 00:12:12,280
So...

193
00:12:14,000 --> 00:12:16,480
Karl has been our stylist
for more than ten years.

194
00:12:16,960 --> 00:12:17,960
Hmm.

195
00:12:18,040 --> 00:12:20,880
And Fendi wouldn't be
where it is without him.

196
00:12:22,160 --> 00:12:25,960
So, there is not much I can deny him.

197
00:12:48,520 --> 00:12:51,600
It's the wedding of the century.
It has to make an impression.

198
00:12:51,680 --> 00:12:53,080
But it doesn't need to be pretty.

199
00:12:53,160 --> 00:12:54,640
It's not a Saint Laurent.

200
00:12:57,320 --> 00:12:59,720
I want the shoulders puffier
and the hips, too.

201
00:12:59,800 --> 00:13:01,280
Do you like the waist?

202
00:13:01,360 --> 00:13:03,120
More tight, more everything.

203
00:13:03,200 --> 00:13:05,520
I don't want something bourgeois.
I want it to stand out.

204
00:13:06,240 --> 00:13:08,560
Monsieur, there's a telephone call
for you.

205
00:13:15,960 --> 00:13:17,000
Hello?

206
00:13:17,080 --> 00:13:18,920
Did you ask Carla Fendi
to hire me?

207
00:13:19,000 --> 00:13:20,760
But... Why are you taking that tone?

208
00:13:20,840 --> 00:13:22,600
Who do you think you are, Karl?

209
00:13:22,680 --> 00:13:25,040
- I'm offering you a job.
- No. No, no, no, no.

210
00:13:25,120 --> 00:13:28,760
You're setting me up for a job
that everyone knows I'm not qualified for.

211
00:13:28,840 --> 00:13:30,080
Starting with your poor boss

212
00:13:30,160 --> 00:13:32,640
who you're forcing
to hire me against her will.

213
00:13:32,720 --> 00:13:35,320
I am not your puppet

214
00:13:35,400 --> 00:13:37,600
that you can make
do whatever you want, okay?

215
00:13:37,680 --> 00:13:39,680
I don't need you and I don't need a job.

216
00:13:39,760 --> 00:13:41,480
I write. That's it.

217
00:13:41,560 --> 00:13:43,040
I write.

218
00:13:43,120 --> 00:13:46,600
You honestly believe I don't care
about the launch of a line at Fendi?

219
00:13:46,680 --> 00:13:49,080
I, I... I'm taking a risk for you.

220
00:13:49,160 --> 00:13:52,000
I'm offering you this job
because I think you can do it.

221
00:13:52,080 --> 00:13:54,880
Yes, but I'm not a photographer, Karl!

222
00:13:56,680 --> 00:13:59,560
All we ask of you is to have an idea,

223
00:13:59,640 --> 00:14:01,560
and you've got plenty of ideas.

224
00:14:01,640 --> 00:14:04,960
What you need is to finally
finish a thing you began.

225
00:14:07,000 --> 00:14:08,520
It'll make you proud.

226
00:14:08,600 --> 00:14:09,640
So accept it.

227
00:14:10,720 --> 00:14:14,000
Come to Paris with your head held high
for the wedding.

228
00:14:16,480 --> 00:14:17,680
For me.

229
00:14:20,160 --> 00:14:21,560
I need you.

230
00:14:43,480 --> 00:14:44,680
Does that look better?

231
00:14:45,680 --> 00:14:47,760
Hmm. Yes.

232
00:15:09,120 --> 00:15:11,760
Lovely evening, no? Hmm?

233
00:15:11,880 --> 00:15:13,280
Shall we fly now?

234
00:15:14,120 --> 00:15:17,280
Okay, it's done. You told Karl no. Voilà.

235
00:15:19,040 --> 00:15:20,480
-Voilà!
-Voilà!

236
00:15:21,320 --> 00:15:22,480
Voilà!

237
00:15:27,840 --> 00:15:29,640
If you worked, what would you do?

238
00:15:30,800 --> 00:15:32,360
-You know I'm an architect.
-No.

239
00:15:32,800 --> 00:15:34,800
You just designed the house you bought.

240
00:15:34,880 --> 00:15:36,720
Of course, who else is living in it?

241
00:15:40,480 --> 00:15:43,760
Why? What would you do
if you didn't have Karl to support you?

242
00:15:43,840 --> 00:15:45,800
I don't know.

243
00:16:31,960 --> 00:16:33,360
Sorry. Excuse me, sir.

244
00:16:33,440 --> 00:16:36,400
Sorry to disturb you,
but Monsieur de Bascher is insisting.

245
00:16:37,120 --> 00:16:38,520
The telephone, sir.

246
00:16:42,600 --> 00:16:43,960
Hello?

247
00:16:44,040 --> 00:16:46,800
There would be a girl,
a pretty American

248
00:16:46,880 --> 00:16:50,040
who makes her parents think
she's going to a spa in Baden-Baden.

249
00:16:50,120 --> 00:16:51,280
But she's in Rome.

250
00:16:51,360 --> 00:16:53,840
So, she walks around in Fendi clothes.

251
00:16:53,920 --> 00:16:55,040
What are you on about?

252
00:16:55,120 --> 00:16:56,360
The Fendi campaign.

253
00:16:56,440 --> 00:16:59,120
I can't take pictures,
but I can make a movie for you.

254
00:16:59,200 --> 00:17:00,440
It'll be beautiful.

255
00:17:01,080 --> 00:17:02,840
Every image, a tableau.

256
00:17:02,920 --> 00:17:05,320
All the spots of Rome that I love.

257
00:17:06,120 --> 00:17:09,520
So you don't want to photograph.
You're saying you'd rather direct?

258
00:17:09,600 --> 00:17:12,000
To write and direct.

259
00:17:13,200 --> 00:17:15,480
Eh, Jacques. Be reasonable.

260
00:17:16,920 --> 00:17:19,200
What you're asking for is a whole team.

261
00:17:19,280 --> 00:17:22,560
It's a lot, a lot of work
with a real budget.

262
00:17:22,640 --> 00:17:24,320
That's my offer to you, Karl.

263
00:17:24,400 --> 00:17:26,200
It's not a game.

264
00:17:26,280 --> 00:17:28,560
It's a contract
that binds you to the Fendis.

265
00:17:30,400 --> 00:17:31,600
Yes or no?

266
00:17:32,560 --> 00:17:33,640
Fifteen minutes.

267
00:17:35,440 --> 00:17:36,440
Five.

268
00:17:37,840 --> 00:17:38,920
Fifteen.

269
00:17:41,840 --> 00:17:44,040
If it's good, I'll go to the wedding.

270
00:17:45,600 --> 00:17:47,080
Okay.

271
00:18:38,280 --> 00:18:39,840
You'll do her hair every day.

272
00:18:40,520 --> 00:18:43,320
She won't want to be unkempt,
even if no one's here.

273
00:18:43,400 --> 00:18:44,560
Of course, Monsieur.

274
00:19:09,960 --> 00:19:12,360
We'll take you back
if it doesn't work out here.

275
00:19:13,840 --> 00:19:17,080
Whether that's Paris or we'll have
to take you back to the hospital.

276
00:19:17,160 --> 00:19:18,560
We'll do what we have to.

277
00:19:19,480 --> 00:19:22,920
And if there's a problem,
you'll let us know, hmm?

278
00:19:24,080 --> 00:19:25,760
I'll visit as often as I can.

279
00:19:25,840 --> 00:19:26,840
Hmm.

280
00:19:28,400 --> 00:19:29,480
Hmm.

281
00:19:32,000 --> 00:19:33,200
Get to work.

282
00:19:37,200 --> 00:19:38,320
Show all of them.

283
00:19:50,560 --> 00:19:53,160
How am I supposed to be myself
if I don't have you?

284
00:19:55,680 --> 00:19:57,960
Who wants to be oneself?

285
00:20:15,000 --> 00:20:16,280
I'm sad...

286
00:20:22,120 --> 00:20:24,720
Don't...
Don't think about it.

287
00:21:10,400 --> 00:21:12,560
Let's go. Back to Paris.

288
00:21:12,640 --> 00:21:14,120
I have a wedding to prepare.

289
00:21:31,000 --> 00:21:32,000
TWO MONTHS LATER

290
00:21:32,080 --> 00:21:37,560
♪ When you're alone and life
Is making you lonely, you can always go ♪

291
00:21:37,640 --> 00:21:39,120
♪ Downtown ♪

292
00:21:39,200 --> 00:21:42,720
♪ When you've got worries
All the noise and the hurry ♪

293
00:21:42,800 --> 00:21:45,040
♪ Seems to help, I know ♪

294
00:21:45,960 --> 00:21:47,080
♪ Downtown ♪

295
00:21:47,160 --> 00:21:51,360
♪ Just listen to the music
Of the traffic in the city ♪

296
00:21:51,440 --> 00:21:55,240
♪ Linger on the sidewalk
Where the neon signs are pretty ♪

297
00:21:55,320 --> 00:21:57,920
♪ How can you lose? ♪

298
00:21:58,000 --> 00:22:01,040
♪ The lights are much brighter there ♪

299
00:22:01,120 --> 00:22:05,280
♪ You can forget all your troubles
Forget all your cares ♪

300
00:22:05,360 --> 00:22:07,920
♪ So go downtown ♪

301
00:22:08,000 --> 00:22:11,840
♪ Things will be great
When you're downtown ♪

302
00:22:11,920 --> 00:22:17,040
♪ Everything's waiting for you ♪

303
00:22:17,120 --> 00:22:19,880
- Oh, shit, you're early.
- You're not done?

304
00:22:19,960 --> 00:22:21,520
We're terribly behind schedule.

305
00:22:21,600 --> 00:22:24,440
She's not made up. Her hair's not done.
She hasn't changed into her dress.

306
00:22:24,520 --> 00:22:25,840
Betty, who is it?

307
00:22:25,920 --> 00:22:26,920
The evening gown.

308
00:22:29,160 --> 00:22:31,120
We have to be
in town hall in an hour.

309
00:22:31,200 --> 00:22:32,920
I'll go see if I can find an iron.

310
00:22:55,960 --> 00:22:58,160
I was wondering if I might run into you.

311
00:22:59,640 --> 00:23:03,640
I made everyone leave.
The skirt wasn't finished.

312
00:23:04,480 --> 00:23:06,240
It's so worth it.

313
00:23:06,320 --> 00:23:10,600
Having conquered the world, only to end up
as you began in the antique chamber.

314
00:23:10,680 --> 00:23:12,880
Waiting for the lady to put on her dress.

315
00:23:18,120 --> 00:23:20,320
You've got your seven-league boots on.

316
00:23:22,320 --> 00:23:24,920
Are you planning on running away
when you see Pierre?

317
00:23:26,720 --> 00:23:29,360
No. Why should I?

318
00:23:29,440 --> 00:23:31,440
He doesn't run very fast.

319
00:23:48,120 --> 00:23:49,600
How are you doing?

320
00:23:50,520 --> 00:23:52,440
Fine. And you?

321
00:23:52,520 --> 00:23:53,840
Fine.

322
00:23:58,400 --> 00:24:00,800
-You've aged.
-You've put on weight.

323
00:24:01,480 --> 00:24:02,640
Did you miss me?

324
00:24:10,920 --> 00:24:12,760
He left me, you know.

325
00:24:12,840 --> 00:24:14,080
Pierre.

326
00:24:14,160 --> 00:24:17,240
Yes, that's what I have been told.

327
00:24:17,320 --> 00:24:19,200
For an American gardener.

328
00:24:19,280 --> 00:24:21,240
Guess what his name was.

329
00:24:23,040 --> 00:24:24,720
Madison Cox.

330
00:24:26,320 --> 00:24:27,920
Fine summary of Pierre's life.

331
00:24:31,240 --> 00:24:33,440
Now I live with my servants.

332
00:24:34,320 --> 00:24:36,120
There are days when I don't get up.

333
00:24:37,960 --> 00:24:39,640
Those are the best days.

334
00:24:44,280 --> 00:24:46,160
I'd like to be 20 years old again.

335
00:24:47,000 --> 00:24:48,720
Do things for the sake of beauty.

336
00:24:48,800 --> 00:24:50,760
Oh, listen to you.

337
00:24:50,840 --> 00:24:52,280
You sound like an old fart, you know.

338
00:24:52,360 --> 00:24:56,160
I am an old boudoir
Full of withered roses

339
00:24:56,240 --> 00:25:00,120
Where lies a whole litter
Of old-fashioned dresses

340
00:25:02,600 --> 00:25:05,120
There's no way you have
the whole poem memorized.

341
00:25:06,040 --> 00:25:09,400
Only those two lines.
I've never read Baudelaire.

342
00:25:20,280 --> 00:25:22,280
My mother is deteriorating.

343
00:25:38,560 --> 00:25:41,640
And Jacques. How is he?

344
00:25:44,560 --> 00:25:46,040
He's Jacques.

345
00:25:52,520 --> 00:25:54,200
-Ta-da!
-I love it.

346
00:25:57,440 --> 00:25:58,760
Falls well, no?

347
00:25:58,840 --> 00:26:00,160
Impeccable.

348
00:26:00,960 --> 00:26:02,480
You look beautiful, darling.

349
00:26:04,160 --> 00:26:05,320
That's good.

350
00:26:06,640 --> 00:26:09,000
- Should we move on to the hair?
- Let's go.

351
00:26:14,120 --> 00:26:15,280
Is that your day gown?

352
00:26:18,600 --> 00:26:20,520
You try to draw anything with this...

353
00:27:30,000 --> 00:27:33,680
♪ I don't wanna lose you
This good thing ♪

354
00:27:37,520 --> 00:27:39,680
Very beautiful. Very Karl.

355
00:27:39,760 --> 00:27:42,320
-You've seen nothing yet, André.
-I can't wait.

356
00:27:42,400 --> 00:27:44,200
Merci. Good to see you.

357
00:27:51,680 --> 00:27:54,240
Excuse me. Mademoiselle Picasso's ready.

358
00:27:59,080 --> 00:28:00,880
Sir, you're wanted at the entrance.

359
00:28:02,800 --> 00:28:04,920
Uh, stay here when she arrives.
You deserve it.

360
00:28:05,000 --> 00:28:06,000
I'm coming.

361
00:28:06,080 --> 00:28:07,440
-Very good.
-I'll be there.

362
00:28:07,960 --> 00:28:10,000
-Bonsoir, Karl.
-Bonsoir.

363
00:28:25,400 --> 00:28:26,600
Dress me?

364
00:28:28,880 --> 00:28:30,000
Okay.

365
00:28:33,920 --> 00:28:36,280
I ran my whole way.

366
00:28:36,360 --> 00:28:39,520
I was up
all night editing, Karl.

367
00:28:39,600 --> 00:28:42,040
Right out the door and
straight to the airport. Uh, not that one.

368
00:28:42,120 --> 00:28:44,480
Classic like Baron de Charlus.

369
00:28:44,560 --> 00:28:45,760
Pierre and Yves here yet?

370
00:28:45,840 --> 00:28:47,480
Pierre, yes. Yves, not yet.

371
00:28:47,560 --> 00:28:49,720
-Uh, white.
-Mmm-hmm.

372
00:28:51,760 --> 00:28:53,440
How's it look, Paloma's dress?

373
00:28:53,520 --> 00:28:55,120
No special privileges, hmm?

374
00:28:55,200 --> 00:28:57,720
-You'll see her the same time I do.
-No, Karl!

375
00:29:01,720 --> 00:29:03,800
I worked so hard, Karl.

376
00:29:03,880 --> 00:29:05,920
You wouldn't have recognized me at all.

377
00:29:06,000 --> 00:29:07,400
I haven't slept in months.

378
00:29:07,480 --> 00:29:09,280
What the hell am I going to do?

379
00:29:10,160 --> 00:29:13,240
Every morning, I get up and say,
"I'm quitting. I've got to call Karl back.

380
00:29:13,320 --> 00:29:16,480
"I can't do this. It's impossible.
I need to tell him this was a mistake."

381
00:29:16,560 --> 00:29:18,040
That's why I came here.

382
00:29:19,200 --> 00:29:21,160
I didn't wanna make that call.

383
00:29:21,240 --> 00:29:23,160
And here I thought you'd forgotten me.

384
00:29:25,520 --> 00:29:27,600
I have talent.

385
00:29:29,120 --> 00:29:30,520
They said so.

386
00:29:31,520 --> 00:29:34,440
It's true.
Because I had an idea for a shot.

387
00:29:34,520 --> 00:29:37,480
At one point, I could
clearly see this image in my head

388
00:29:37,560 --> 00:29:39,040
of exactly what we needed to do with it.

389
00:29:39,120 --> 00:29:40,760
But I kept insisting,

390
00:29:40,840 --> 00:29:43,560
so they let me play, and it was gorgeous.

391
00:29:43,640 --> 00:29:45,080
Really beautiful.

392
00:29:45,160 --> 00:29:46,440
Then they believed in me.

393
00:29:46,520 --> 00:29:47,800
I knew it.

394
00:29:49,480 --> 00:29:50,680
I told you.

395
00:29:57,000 --> 00:29:58,560
I want to do this now.

396
00:29:59,480 --> 00:30:02,520
-Film things.
-I will help you.

397
00:30:05,720 --> 00:30:07,800
Soon, I won't need you to help me.

398
00:30:13,120 --> 00:30:14,680
- No.
- No?

399
00:30:25,600 --> 00:30:27,200
Thank you.

400
00:30:28,240 --> 00:30:30,400
The freedom has been nice.

401
00:30:56,360 --> 00:30:57,560
Back from Rome.

402
00:30:57,640 --> 00:30:59,040
-Rome?
-Just now, yes.

403
00:30:59,120 --> 00:31:00,200
Just now?

404
00:31:00,280 --> 00:31:01,560
- Literally.
- Oh.

405
00:31:01,640 --> 00:31:03,120
- Why?
- I was directing a film.

406
00:31:03,200 --> 00:31:05,480
That's why. For Fendi.
I can't wait for you to see it.

407
00:31:05,560 --> 00:31:06,880
I wasn't expecting that.

408
00:31:06,960 --> 00:31:08,920
No, see, ah... It was great.

409
00:31:09,000 --> 00:31:11,240
I wrote, I directed, I did it all.

410
00:31:11,320 --> 00:31:13,000
Really, I was working overtime.

411
00:31:16,880 --> 00:31:20,240
The more you create illusions,
the better I see you.

412
00:31:22,200 --> 00:31:23,760
A lonely man.

413
00:31:24,920 --> 00:31:27,200
Oh, there's Anna. Anna!

414
00:31:27,800 --> 00:31:29,760
Jacques!

415
00:31:30,040 --> 00:31:31,480
My friend.

416
00:31:32,080 --> 00:31:33,080
How are you?

417
00:31:33,280 --> 00:31:34,280
You look beautiful.

418
00:32:00,280 --> 00:32:01,960
- Goodbye. Thank you very much.
- Merci.

419
00:32:02,040 --> 00:32:05,000
Karl, what's wrong? You're not changed?
Everybody's going out.

420
00:32:05,080 --> 00:32:07,640
-I think I'm done.
-No, come out with me.

421
00:32:07,720 --> 00:32:09,200
Come on.

422
00:32:09,280 --> 00:32:10,560
Stay, Jacques.

423
00:32:16,120 --> 00:32:18,200
I'll tell you all about it, hmm?

424
00:34:06,400 --> 00:34:08,400
Carla Fendi for Karl Lagerfeld,
per favore.

425
00:34:08,480 --> 00:34:09,880
Hold on.

426
00:34:12,880 --> 00:34:15,680
Well? Have you seen it?
It's good, isn't it?

427
00:34:15,760 --> 00:34:17,800
- Si.
- I was incredulous.

428
00:34:17,880 --> 00:34:21,360
I can say that now.
But it's so light, beautiful, sensual.

429
00:34:21,440 --> 00:34:23,440
He understood the spirit of Fendi.

430
00:34:24,240 --> 00:34:26,800
You were so right.
This film was a very good idea.

431
00:34:26,880 --> 00:34:29,800
We'll show it to journalists
to prepare the launch of the collection.

432
00:34:29,880 --> 00:34:31,280
No. No, no, no, no.

433
00:34:32,280 --> 00:34:33,520
Is it too soon?

434
00:34:33,600 --> 00:34:35,840
I'm so sorry. I have...
I've made a mistake.

435
00:34:36,360 --> 00:34:38,040
We simply cannot use the film.

436
00:34:38,120 --> 00:34:39,120
But why?

437
00:34:39,200 --> 00:34:40,720
It's not professional.

438
00:34:40,800 --> 00:34:42,720
Uh, it looks like it was made
by a student.

439
00:34:42,800 --> 00:34:44,760
But that's what I like about it.

440
00:34:44,840 --> 00:34:47,040
It's surprising and spontaneous.

441
00:34:47,120 --> 00:34:48,680
Do not premiere this.

442
00:34:49,480 --> 00:34:51,360
I'm happy to refund all the expenses.

443
00:34:51,920 --> 00:34:54,880
But he is good, right?

444
00:34:57,280 --> 00:34:58,320
Sure.

445
00:34:59,680 --> 00:35:01,080
He's talented.

446
00:35:10,360 --> 00:35:12,760
♪ Talking away ♪

447
00:35:13,880 --> 00:35:17,160
♪ I don't know what I'm to say ♪

448
00:35:17,240 --> 00:35:19,840
♪ I'll say it anyway ♪

449
00:35:21,040 --> 00:35:24,960
♪ Today is another day to find you ♪

450
00:35:25,040 --> 00:35:27,440
♪ Shying away ♪

451
00:35:28,840 --> 00:35:32,000
♪ I'll be coming for your love, okay? ♪

452
00:35:32,080 --> 00:35:37,320
♪ Take on me ♪

453
00:35:39,560 --> 00:35:45,800
♪ Take me on ♪

454
00:35:46,920 --> 00:35:52,760
♪ I'll be gone ♪

455
00:35:52,840 --> 00:35:58,440
♪ In a day or two ♪

456
00:36:01,280 --> 00:36:05,240
♪ So needless to say ♪

457
00:36:05,320 --> 00:36:07,320
♪ I'm odds and ends ♪

458
00:36:07,400 --> 00:36:11,080
♪ But that's me, I'm stumbling away ♪

459
00:36:12,680 --> 00:36:16,480
♪ Slowly learning that life is okay ♪

460
00:36:16,560 --> 00:36:18,880
♪ Say after me ♪

461
00:36:20,000 --> 00:36:24,200
♪ It's no better to be safe than sorry ♪

462
00:36:24,280 --> 00:36:29,400
♪ Take on me ♪

463
00:36:31,920 --> 00:36:38,600
♪ Take me on ♪

464
00:36:39,440 --> 00:36:45,440
♪ I'll be gone ♪

465
00:36:45,520 --> 00:36:51,520
♪ In a day or two ♪

466
00:36:54,960 --> 00:37:00,680
♪ I'll be gone ♪

467
00:37:00,760 --> 00:37:03,480
♪ In a day or two ♪

468
00:37:03,560 --> 00:37:08,560
ELISABETH LAGERFELD DIED AT PENHOËT
FOUR MONTHS LATER, ON SEPTEMBER 14, 1978,

469
00:37:08,640 --> 00:37:11,640
WITHOUT SEEING HER SON AGAIN.