"Liberte," explains the author in an interview with Efe, "goes deep into this idea and the viewer, instead of giving him ideas, what he does is make him exhausted, leaving him a parallel sensation to that of the characters, his very tired, that impossibility of harmony, of relating the bodies, framed in the utopia of debauchery that is not so easy to carry out, as seen in the film ".
Endorsed by the Special Jury Prize of the section A certain look at the Cannes Festival, "Liberte" is now competing at the Seville European Film Festival, days before its commercial premiere in Spain on Friday, November 15.
"Original" cinema, more than provocative, says Serra, "Liberte" begins with a sunset, a day of the late eighteenth century, with the libertines of the court of Louis XV trying to find the protection of a nobleman to help them maintain their peculiar way of life, without qualms when enjoying the pleasures, be these as they are and with whoever, now that their world has fallen out of favor.
The film advances according to the imagination of those involved: with furious erotic stories at the beginning to move, little by little, to the most delectable action, whether by humiliation, pain or even death.
The libertines are thus given to inexhaustible games that force the spectator to get into the bodies, even in the most hidden corners.
Sadistic, or masochistic, pleasures that men and women share until exhaustion, endless orgy, excessive "cruising" among people without attractive patterns, tall, skinny, fat, beautiful, deformed, old or imberbes, outdoors, with the protected from the trees of a forest that hides small palanquins that also serve as a reserve.
"Liberte" develops an idea that he pointed out in an installation, "Personalien", which first premiered in Berlin and then took Queen Sofia of Madrid, recalls the creator of "The Death of Louis XIV" (2016), which he has chosen for this occasion, he says, a "very sensual montage".
Except for the old Austrian "sex symbol" Helmut Berger, now 74, or the French Marc Susini, the actors are actually friends of the director and fans; It is true that Serra does not usually use a script, or if there is, he does not give it to the actors to read, to create in them "moods" and "hunt" the improvisations that "come out".
"It's all in my head, for me it's like a 'performance' everything," he explains.
Also, remember that most professional actors do not want to make movies with nudes where "controlling one's own image becomes much more difficult; you expose yourself in every way," also psychologically, Serra understands.
Although he finds a certain connection between the exposure of the bodies and that of social networks, he says that "it is not the metaphor, rather – it contributes – it is the impossibility of harmony, which is contemporary (…) before, when people dived into a relationship, it was like entering the unknown and today this is much more difficult, because we have a lot of previous information. "
While the director of "Honor de cavalleria" (2006) speaks with Efe, Pere Portabella approaches to greet him. "The key to great artists is that they don't adapt to the world, impose their aesthetics on the world and, in the long run, the world ends up accepting what at first seemed unacceptable, or ugly, or incomprehensible, and in the end recognizes as valuable. "
This is what Serra says in reference to this year's prize of honor of the SEFF, but it is also a reflection of his own: "That is what the moral commitment of the true artist consists in, imposing his aesthetics and not adapting to what the world asks of him".
That is why "Liberte" speaks of the crossed looks that structure the language of the cinema and that cross all borders, of "the intensity of desire, how this fluctuates and never gets anywhere. For me it is a poem about the night "concludes Serra. EFE
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