Day After Day Page #3

Synopsis: Universal themes like growing up and the banality of everyday life for a young boy, which leads to aggression and suppressed rage. An ordinary day in a kid's life in a small town. An ...
Genre: Drama, Short
Director(s): Kornél Mundruczó
  7 wins.
 
IMDB:
6.4
Year:
2001
24 min
139 Views


Are you staying at home tonight?

Are you going out tonight?|- Tonight? No. Where would I go?

Where's Moshe?|- I wish I knew.

He's late, as usual.|Who knows where he is.

Are you going out tomorrow?

I don't know yet, Mimi.

Maybe so...|Want to come along?

No, I'm working.

And tomorrow morning?

I don't know about|tomorrow morning yet.

We might have a meeting|about the house...

I don't know.

About Yossi's house? -Yes.|- His parents' house?

There's talk about it. I don't know|yet whether to sell or not.

But there's talk about it.

Yes. There's talk.|You must have heard already.

No, I'm interested, that's all.|It's interesting.

Nothing's been decided yet.|- Okay, but where does it stand?

I'm interested.|- I know you are

but I'm telling you|that nothing's been decided yet.

Yussef's not too eager|and I can understand how he feels.

We'll see...|Depends on their offer.

Whose?|Who are you talking to?

Some entrepeneur who wants|to develop the area...

Build a hotel or something.

What a way to treat money!

Arrange it properly.

Let go, let go...

How much did you bet?|- Two hundred.

What on?|- On the seven.

And you?|- Two hundred on low.

No, high.

One more time.|Gimme a kiss, doll...

Roll them.

Low.

Take the money. Go on.

Why are you so restless, Moshe?

I have to go.

Me too.|Last round.

Before mommy comes looking|for her little Moshe.

Last round...

High.

Another hundred.|- One hundred?

Two hundred.|- 850.

Last one.|- Roll them.

Wait, what did I say?|High or low?

I have to go.

That's mine.|- What do you mean, yours?

I put 200 on high.

Here's your 200.|- 200 more.

Why?|- I put 200 on the table.

Moshe, wait!

What are seat-bealts for?|To hold up your pants?

Who do you think you are?|Where were you all day?

You know how I worry about you|when you disappear like that.

Come on!

How could you do that to me?

Do you have nothing to say?

What do you do all day?|Do you want to drive me crazy?

Noon isn't 5 pm.

The phones were out of order.

Where were the phones|out of order?

At the pool.|For my back.

At the pool, for your back,|with Jules.

Moshe, we have to talk.|This can't go on.

Look at me.

How do you do it?

How do you manage|to stay so young?

How?

Hello.

So what do you think?

It looks like sh*t.|- Sh*t?

What's that?

What's what? Those are|the lower level foundations.

What's that monstrosity?

This will be the parking-garage.

I didn't think|it would be like this.

What did you think?

You tore down all the houses,|the whole neighborhood!

Yes, but we're building|a big shopping center.

What you see|is only the parking-garage.

This much construction in 3 months,|who would believe it?

Three months...|Do you remember the old buildings?

Think about what will be here.

You're working three shifts here?|- Three shifts, around the clock.

That's an Italian machine.

One moment.

Accident on the Galilee road...

Police are directing traffic...

Everything's okay there.|What's the problem?

I heard there was a traffic- jam|or some blocking vehicle

so I wanted to know if...

Negative.

This is the Voice of Israel|from Jerusalem.

It's 7 o'clock|and here is the news.

The prime minister has promised...

Didi, come here,|I want to show you something.

Come, look at this filthy sponge|on the floor.

And the soap. And all|the towels are wet. What's this?

An uncared for body|stays sick...

You're mad at me, is that it?

What's so funny?

You have a meeting at 9,|hurry up.

Hurry up, hurry up!

How can I hurry up? How do you|expect me to function during the day

if nothing changes in the morning?

Don't go to work,|don't wake up,

do what you want, Moshe.

I've told you a hundred times.|A couple is like a factory.

If it's not managed properly,|it goes bust. Get it?

And you're telling me that?|- Yes. Everything is going bust.

Wipe that condescending look|off your face.

I'm talking to you.|Answer me.

Keep cutting out papers|and fiddling with your stupid marker!

And turn off that radio! Goddam|news first thing in the morning!

Go complain to your lovers,|not to me.

I don't exist, okay?

You see?|How do you expect it to work out?

Are you fed up? Is that it?|You want to leave me?

Fine, do it.|At least that'll be the end of it.

You're sick.|I'm married to a mental case.

Keep talking,|I don't care...

Moshe, you don't understand|anything.

Just leave me alone.

How are you, Mosh?|- Very well.

I'm glad you came.

See, that's me|with my brother Jules.

Let's go out to the yard,|get some air.

You know, I always|used to tell my wife:

"See him, my brother Jules,

"my own flesh and blood,|but not a bit of sensitivity.

"No feeling, no sensitivity".

Just the opposite of you.

At last I get the chance|to tell you.

You can talk to him,|you can tell him.

At least you're not|ashamed of your parents.

By the way,|how are they?

They're fine. Thanks.

Fine? Why do you think|they refuse to negotiate with me?

Do I scare them?

My father doesn't like you.

We decided to make you an offer|to buy your plot at Golda.

You misunderstand.|I do not sell,

I buy.|Selling doesn't interest me.

I'm buying up the whole area|by the sea, including the house,

and not just part of it.

I see.|But you know our problem.

They want to keep part of the land|as a memento.

They don't have a long-term view.

What's the matter with your father?|Why won't he talk to me?

Does he hate me that much?|- I wouldn't go that far.

That's the way he is.|Doesn't talk no anyone.

Tell your mother|I'm willing to give you everything

but she knows exactly|what I want in return.

Look, he'll sell in the end.

But you have to understand him.

It's all he has left.|It's sentimental issue.

Don't waste my time.|Look, I'm not mad at you.

We're still friends.|But this is impossible.

I can't accept your offer.

I understand.

It's lovely here.|- Thank you.

I'll be off.|My mother will be disappointed.

But never mind.|It's not important.

Come here, let's shake hands.

Say, could I ask you|for 20,000 shekels in advance?

You know, a friendly gesture.|We have a small cash-flow problem.

Are you busy later?|We could go get some coffee.

Maybe.

Why not?

Did you see that guy?

Practically undressed me|with his eyes.

Some guys are like that.

I want to deposit 20,000 shekels.

Account number 287-426-17.

How are you?|- Fine.

Those married men.|Only have one thing on their minds.

Terrible, isn't it?

Are you married?

Yes, but not really.

What do you mean, not really?

Want to come to the movies|with me?

No!

This is a hold-up!|Everyone on the floor!

I said, on the floor!

I'm capable of anything!

Hands up!|Give me the money!

I haven't got any!

Gimme the money!

Coastal highway all jammed up...

This is 129.|It looks like...

Looks like there's a robbery...

in progress at...

I think it's at the Horev Center.

It's all over.

I think someone ought to...

maybe go help out.

Hello.

Hello.

These things happen here too.

Breathe deeply, that'll help.

I'm not in my best shape.

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Kornél Mundruczó

Kornél Mundruczó (Hungarian: [ˈkorneːl ˈmundrut͡soː]; born 3 April 1975) is a Hungarian film and theatre director. He has directed 17 short and feature films between 1998 and 2017. His film Johanna was screened in the Un Certain Regard section of the 2005 Cannes Film Festival. The production of White God, another of his full-length films, was supported by the Hungarian Film Fund. It won the Prize Un Certain Regard at the 2014 Cannes Film Festival and was screened in the Spotlight section of Sundance Film Festival in 2015. more…

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Submitted on August 05, 2018

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