Friday 4 to Sunday 6 February,

6 pm, Forum -1

«Time is the motion of cinema. Time is the motion of the cinema, a time manipulated above all by the city and the mise en scène, violating our perceptions, either by the vertigo of the film or by the and staging, violating our perceptions, either through the vertigo of acceleration, or through the slowing down of languid contemplation of languid contemplation. But it is also a sculpted time, which becomes matter in made more porous by its action. Not the inert buildings, the false cardboard horns not the inert buildings, the fake horns made of cardboard, the streets full of agitation or even the most beautiful landscapes, but the details of the actor's body and in particular of the of the actor's body and especially the areas that register everything. The face, on which the passage of time. The face, on which the step of time - that is, moral thought - finds its most perfect reflection, in the slightest vibration. This time is the true matter of life» Albert Serra 

Since his first film, Honor de cavalleria, in 2006, Albert Serra has paid close attention to the formal aspects of ever more singular filming devices of filming. He has composed a dense body of work, crossed by a taste for literature and providence.
for literature and provocation. Today he alternates between film projects (his latest feature, Liberté was premiered at Un Certain Regard, 2019 Cannes Film Festival) and projects for the art world, but he directs Lluis Carbó, a former tennis teacher from his village, in Catalonia, in all his films and installations, Jean-Pierre Léaud as a dying monarch in of The Death of Louis XIV, in 2016, Benoît Magimel in the film Bora Bora (aka Tourment sur les îles), currently being edited, or the young guard of the of the latest bullfighters in Madrid, in his next project, the film maker is stubbornly tackling the issue of the actor's body in the screen.