In 1982, Wim Wenders asked 16 of his fellow directors to speak on the future of cinema, resulting in the film Room 666. Now, 40 years later, in Cannes, director Lubna Playoust asks Wim Wenders himself and a new generation of filmmakers (James Gray, Rebecca Zlotowski, Claire Denis, Olivier Assayas, Nadav Lapid, Asghar Farhadi, Alice Rohrwacher and more) the same question: “is cinema a language about to get lost, an art about to die?”
My mother googles the film hero of her youth: Helmut Berger. She is shocked: only an addicted shadow of the former icon seems to be left. She decides to halt the obvious catastrophic decline of the once “most handsome man in the world”. As a consequence, this one-time god of the screen is suddenly sitting on my mother’s sofa in Nordsehl in Lower Saxony. And he stays put - for several months. While he trustingly rolls out his whole life before us, the dividing lines between film team, world star and family intermingle. This is a film about ageing, rising and falling - and about the fact that it is sometimes possible to regain an element of dignity in life.
A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired sometime around 2015.
An homage from Serra to one of his idols, Rainer Werner Fassbinder, shot in a nightclub full of characters that resemble the ones of Fassbinder films. The title comes from the favourite drink of “Beware of the Holy Whore” characters.
Episodic film, divided into 14 chapters, based on the play De los nombres de Cristo (1586), by Fray Luis de Leon and intended for exhibition "Are You Ready for TV?". Filmed partly in the rooms of MACBA (Museu d'Art Contemporani de Barcelona), is about the difficulty of naming or visually represent abstract concepts.
The exhibition 'The Complete Letters' features epistolary works defined by cinematographic creation. This is an experimental communication format used between pairs of film directors. Although each director is situated in a location geographically distant from that of their partner, they are united by their willingness to share ideas and reflections on all that motivates their work. Within this space of freedom, the directors featured in the exhibition examine their affinities and differences, within an environment of mutual respect and simultaneity of interests and with notable formal variants established in each of the correspondences.
Waiting for Sancho is an ontological investigation into a place where cinema becomes something more than cinema. Filmed in high-definition colour over five days in the Canary Islands of Fuerteventura and Tenerife, Waiting for Sancho is a kind of experimental “making of” the critically acclaimed El cant dels ocells (Birdsong_/_Le chant des oiseaux). A particular take on the Biblical story of The Three Kings en route to the baby Jesus, El cant dels ocells premiered at the Quinzaine des Realisateurs at Cannes 2008.
SYNOPSIS Albert Serra’s piece for and audiovisual tribute to Chaplin the filmmaker… What is Chaplin’s legacy in contemporary cinema? It is not about producing films like Chaplin did, nor remembering the icon in a naïve fashion, but about finding traces of his cinema in their own individual looks.
Albert Serra ([əɫˈβɛrt ˈsɛrə]; born October 10, 1975; Banyoles, Catalonia) is a Spanish filmmaker, contemporary artist and manager of the production company Andergraun Films, set up by Montse Triola primarily to produce Serra’s films. Besides writing, directing and producing films, Albert Serra writes and produces plays. Graduated in Spanish literature and comparative literature at the University of Barcelona, where he also studied art history. Serra has been called “one of the most singular and radical filmmakers working today.” He is also a big fan of classical music and chess. “I’m not interested in forcing a meaning onto a filmic story. In fact I’d even rather the audience know more than I do about the meaning of my films.”
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