#Honor de cavalleria albert serra full#

In the current course of films being made around the world that demand new engagement with the essentials of cinema, it is about as important a work as has been made in the past three years.ДЄlready-all too predictably-the comparisons out of Cannes to Pasolini overstate the case. MatthewвЂ™s Gospel to the framework of Bazinian ground, space, and time. Made with the same kind of devotional Catholic belief in the spirituality of the material (and vice versa) and the inviolability of faith that informed Alain CavalierвЂ™s masterpiece, ThГ©rГЁse (1986)-a film hugely admired by Serra- El cant dels ocells delivers and adapts the verses in the first two chapters of St. The Quixotic madman of yore has now been replaced by a trio of Catalan-speaking loons, equally sacred in their own way, and unlike CervantesвЂ™ poignant hero, completely successful in their mission: The Three Wise Men, travelling afar, crossing the Middle Eastern deserts to the Bethlehem outpost of Mary and Joseph protecting the Christ child from HerodвЂ™s invading thug-army.

#Honor de cavalleria albert serra full#

El cant dels ocells (the Cannes English title, Birdsong) continues the trek begun by Honor, and it, too, is happily chock full of little errors and big, teeming visions. There is no European filmmaker to have emerged in the past five years (at least) to make the distinct impression that their art is absolute, inviolate, a discipline, a calling, a quest-certainly something that canвЂ™t and probably wonвЂ™t be tamed. That future is doubtful, and Serra will likely be a living refutation of his own darkest idea.

But itвЂ™s true enough, which has the shadowy effect of Serra foreseeing his own possible taming. When discussing Honor de cavalleria (2006) in Cinema Scope 29, Albert Serra offered an argument that вЂњa film without errors is a bad one.вЂќ And then, rather ominously, he added a general point with the specific example of Aki Kaurismaki: вЂњAnd every director gets tamedвЂ¦вЂќ This is not completely true directors as far and wide as Rossellini, Dreyer, Bresson, Kubrick, SembГЁne, Suzuki, and Antonioni were never tamed (and if they ever were for a moment, they escaped the bonds of their captors).