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.
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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