Cinema de Temporada

Cinema and theatre – two artistic genres in constant dialogue

Giacommo Casanova began his memoires by remembering that good comes from evil and evil comes from good. ‘Història de la meva mort’ by Albert Serra appears to want to capture the essence of Casanova’s words. Serra portrays a world in which freedom and hedonism were possible, until evil came and destroyed it all. The reinvented Casanova and Dracula move between the century of light and obscurantism to remind us that that same atavism continues to threaten the conquests of secular society.

Temporada Alta is proud to hold the premiere of the new film by Albert Serra anywhere in the Spanish state, making it one of the Festival’s main events. To this end, the long-standing collaboration between the Cinema Truffaut and the Temporada Alta festival shall be taken a step further, with the cinema becoming one of the programme’s venues. The premiere of Albert Serra’s film coincides with the presentation of ‘El cuaderno de barro’ by Isaki Lacuesta, a film made to complement ‘Los pasos dobles’ – winner of the Concha de Oro award at the 2011 San Sebastián Festival – which shows the performance that Miquel Barceló and Josef Nadj gave in Mali, after their triumph at Avignon and Teatre Lliure, among other places. Josef Nadj’s presence at the Festival, with his piece ‘Woyzeck’, gives us an opportunity to revive this film. The relationship between cinema and theatre, or perhaps more precisely between dance and cinema, reaches a culmination in the film ‘Pina’ (2011) by Wim Wenders, in which dancers from Wüppertal reconstruct some of the actress’s most emblematic numbers while being filmed by a 3D camera.

The result is a different way to view dance and one of the few films that has explored the possibilities of 3D in depth in order to reconfigure space.

Àngel Quintana

Col·lectiu de Crítics de Cinema de Girona