Albert Serra

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God Sees It is a journey into the creative universe of Oscar Tusquets, one of the most fascinating figures of the last sixty years as well as one-of-a-kind character of the gauche divine, in whose mind art, irony, and rebellion coexist. The film traces an inimitable career, from his beginnings in Barcelona, quietly rebelling against the backdrop of the dictatorship, and his collaborations with Salvador Dalí, to his interventions in the Palau de la Musica Catalana or the unique Toledo metro station in Naples. If this is not enough, the film is filled with reflections and conversations on art with friends like Miquel Barceló, Albert Serra, Mario Vargas Llosa or Julia de Castro.

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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?”

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In “Spaces #3”, 7 internationally acclaimed directors shot, after commissioning by the Thessaloniki International Film Festival, a short film at home, making their own timely comment on the new reality that we live in. The project is inspired by the book “Species of Spaces” by the French novelist, filmmaker, documentalist, and essayist, Georges Perec and the days of quarantine. The idea is to create a film at home, using the environment, the people or the animals in that space. The only outdoor areas that may be used are outdoor living spaces, such as the terrace, the garden, the balcony and the stairwell. “My influences” is Albert Serra’s submission.

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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.

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Catalan director Albert Serra’s follow-up to his magisterial The Death of Louis XIV is another forensic documentation of the Sun King’s final breaths. Here, however, Versailles is replaced with the glow of the gallery.

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A “Cinéma, de notre temps” series episode directed by french film critic André S. Labarthe, originally aired sometime around 2015.

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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.

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Part of the crew of Honor of the Knights travels to La Mancha to see the real settings of Quixote’s life in order to shoot a film.

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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.

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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.

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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.

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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.

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"Polonia" is a humorous space based on political satire. Each week, an analysis of current events is carried out through a series of sketches where the protagonists are politicians, journalists and media people. "Polonia" was released on TV3 on February 16, 2006. In 2007, he won the Ondas Award for the best local television show. In 2011 he won the ATV Make-up Award. In 2012 he won the Zapping award for the best entertainment program. At the moment its eighth season is emitting. The seventh season closed with an average of 595,000 spectators and 18% share of screen. Seven years later, the program has almost 8,400 minutes of gags, more than 350 imitated characters and more than 3,850 sketches written, recorded and emitted. If you want to know more about this program, visit the official website of "Polonia"

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As long as there is cinema, LE CERCLE will be there. It is the only television program of critical debates 100% devoted to cinema. Each week, it offers fiery, joyful and non-condescending jousts on the films on the bill; and invites with "Le questionnaire du CERCLE" directors to come and share their passion for cinema.

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A portrait of the world of contemporary art. A world full of extravagances and colorful characters, but suggestive of the contrast it represents with the normal life of most people. An artificial, theatrical and equivocal world but inhabited by innocence and blind faith in the transforming power of art. The film is a tribute to this world and to these people, with ironic and often provocative borders, but sincere in their admiration for the subversive power of the artists who always question, and in the most unexpected (sometimes involuntary) way, our system of values.

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On the French Riviera, two gangs of kids compete in the perilous game of cliff jumping. Géo, barely five years old, discovers over the course of a summer a world where friendship blends with rivalry, and where the first stirrings of the heart emerge against the dazzling Mediterranean landscape.

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At the dawn of the modern era, Portuguese explorer Ferdinand Magellan leads an expedition under the Spanish crown in search of the first westward route to the Spice Islands. He embarks on a perilous journey across the uncharted Pacific, where his fleet faces starvation, mutiny, and the psychological toll of endless seas. Upon reaching the shores of Cebu, Magellan is pulled into a fatal conflict with the natives by his drive to spread Catholicism, culminating in his tragic doom.

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Now that the centenary of the birth of the painter Antoni Tàpies has passed, Albert Serra dedicates a heartfelt tribute to him with a film that focuses on one of the most emotional and surprising aspects of his work.

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The life of the bullfighter Andrés Roca Rey during a day of bullfighting, from the moment he dresses up to the moment he undresses.

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Island of Tahiti. French government official De Roller is a calculating man with impeccable manners, capable of dealing with both high society and the locals he frequents in shady joints.

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1774, shortly before the French Revolution, somewhere between Potsdam and Berlin. Madame de Dumeval, the Duke de Tesis and the Duke de Wand, libertines expelled from the puritanical court of Louis XVI, seek the support of the legendary Duc de Walchen, German seducer and freethinker, lonely in a country where hypocrisy and false virtue reign. Their mission is to export libertinage, a philosophy of enlightenment founded on the rejection of moral boundaries and authorities, but moreover to find a safe place to pursue their errant games, where the quest for pleasure no longer obeys laws other than those dictated by unfulfilled desires.

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In an ambiance loaded with tension, intellectual doubts and creative frustration, Rainer Werner Fassbinder writes and teaches the staging of a theater piece about the 18th century Libertiage at a great theater in Berlín.

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Catalan director Albert Serra’s follow-up to his magisterial The Death of Louis XIV is another forensic documentation of the Sun King’s final breaths. Here, however, Versailles is replaced with the glow of the gallery.

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August 1715. After going for a walk, Louis XIV feels a pain in his leg. The next days, the king keeps fulfilling his duties and obligations, but his sleep is troubled and he has a serious fever. He barely eats and weakens increasingly. This is the start of the slow agony of the greatest king of France, surrounded by his relatives and doctors.

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The film takes place in Ireland – an Ireland where people speak Catalan with a Fassbinder accent – from the 1930 to today, and follows in several parallel directions the sprawling saga of two rival gold mines, the exploitation of artists by Capital, and the simultaneous opening of a brothel where women do not like men. Because he does things his own way, Albert Serra’s most narrative and wordy film was not meant for cinema: produced by the Venice Biennale, it was part of an installation, its chapters shown simultaneously on several screens. Singularity could very well have been called “Velvet Goldmine”, as it sings the meeting of brothels and tunnels, of a golden stud and lustful bodies (both shown as abstractions).

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Casanova meets a new servant who will witness his last moments in life, from a castle with its libertine 18th century atmosphere to the poor, shadowy Northern lands. There, his rationalist way of thinking and mundane world will succumb to a violent and romantic force, represented by Count Dracula.

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A 101-hour long reflection on the construction of Europe, its cultural identity and its foundations through the complete adaptation of the texts ‘Conversations with Goethe’ by J. P. Eckermann, ‘Hitler’s Table Talks’ and ‘Fassbinder über Fassbinder: Die ungekürzten Interviews’ (a compilation of interviews with the German filmmaker Rainer Werner Fassbinder, which is used as a counterpoint to the first two books). The texts are read, page by page, by non-professional actors.

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Part of the crew of Honor of the Knights travels to La Mancha to see the real settings of Quixote’s life in order to shoot a film.

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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.

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The Three Wise Kings travel in search of the Messiah, with unexpected obstacles on the way.

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A poetic portrait of Lluís Serrat Massanellas, an unprofessional actor and friend of Albert Serra since working with him on Honour of the Knights, and his father, Lluís Serrat Batlle.

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Trusting in fate, Don Quixote and Sancho pursue their travels in search of adventure day and night. They ride through fields, talking about subjects as varied as spirituality, chivalry and daily life. A growing bond of friendship unites them.

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Loving cult film and idiosyncratic musical portrait of summer festivities in the Catalan village of Crespià, with early performances by the well-known faces from the work of Serra.

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An American delegation travels to Russia in the midst of the Ukrainian war to try to find a solution to an economic dispute.

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A successful black theatre and opera stage director, a very demanding and determined person, is going through a prolonged and devastating spiritual ordeal, of unknown origin, to which she seems to have become accustomed. She lives in a permanent drunkenness, shocking and implausible but paradoxically controlled and with hardly any excesses. She has a growing fascination for the talent and magnetism of one of the actresses, whose career she wants to dominate, as she considers herself responsible and owner of her triumph.

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A portrait of the world of contemporary art. A world full of extravagances and colorful characters, but suggestive of the contrast it represents with the normal life of most people. An artificial, theatrical and equivocal world but inhabited by innocence and blind faith in the transforming power of art. The film is a tribute to this world and to these people, with ironic and often provocative borders, but sincere in their admiration for the subversive power of the artists who always question, and in the most unexpected (sometimes involuntary) way, our system of values.

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