Matt Zoller Seitz (The New York Times) wrote:
Elmore Leonard once said that the key to telling an exciting story was leaving out the parts that people skip. The “Don Quixote” adaptation “Quxiotic/Honor de Cavalleria” is composed of little else.

In adapting Miguel de Cervantes’s novel about the senile would-be knight, Don Quixote (Lluís Carbó), and his sidekick, Sancho Panza (Lluís Serrat), the film’s writer and director, Albert Serra, favors landscape imagery and natural sounds over dialogue and music. Read More »

Filmmaker Albert Serra specifically conceived the series The Names of Christ (2010) for the exhibition Are You Ready for TV? It consists of 14 episodes, with a total duration of 193 minutes, and is based on the book The Names of Christ (1572-1586), by Friar Luis de León. Serra constructs a narrative based on a free, poetic structure, which ironically deconstructs the conventions and grammars of the film, art and television worlds. Read More »

In this short named for the cocktail ordered at the hotel bar of Fassbinder’s BEWARE OF A HOLY WHORE, a singer serenades a small crowd in a moody nightclub who all look the part of Fassbinder characters—if not of Fassbinder himself. Serra pays homage not by mimicking Fassbinder’s style but rather by alchemically conjuring the people, places, and modes of performance most identified with him. Read More »

Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, THE DEATH OF LOUIS XIV (2016). ROI SOLEIL features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Read More »

The sublime and the mundane run hand-in-hand in Birdsong, Albert Serra’s stunningly photographed, intensely contemplative re-telling of the biblical journey of the Magi. Much of the sublimity derives from the film’s visuals, superbly tactile black-and-white images alive to the textures of the rocky landscape, which, along with the precise gradations of lighting (each scene seems shot at the one exact moment of day when its creation was possible) and the rustling of wind on the soundtrack, imbues the barren land with a richness of meaning commensurate with the Magi’s divine mission. Read More »

Agust 1715. Coming back from his promenade, Louis XIV feels a pain in his leg. The following days, the king his keeping his obligations but he has agitated nights, and the fever is getting him. He eats little and gets weaker day after day. The agony has just begun for the great king of France, surrounded by his doctors and servants. Read More »

The original dvdr announce wrote:
This filmic exchange is based on two works that reflect on the way each director films, on the crew and the actors, on the way they see and make cinema. Albert Serra took the characters of Honor de Cavalleria and his regular team of collaborators to follow in the steps of Quixote. Lisandro Alonso returned to La Pampa province to film his work, for which he recalls Misael Saavedra, the lead of his first film, La Libertad. Read More »