Like the directly-recorded sound, lighting is entirely natural. With its beautifully nuanced and mostly voiceless thesping by the central duo, Honor de Cavalleria transmits an appealing air of serenity. One night, Quixote is mysteriously spirited away by four men on white horses. The slow ritual of Sancho putting on Quixote's armor is shown, while the physically most active sequence has Quixote bathing in a river and gleefully encouraging Sancho to do the same. Over the first ten minutes, there are only a couple of brief exchanges as Sancho looks for a laurel crown for his master.
Silent and gentle where the original is verbose and tumultuous, Serra reads between the lines of Cervantes' masterpiece and works its absences up into two hours of painterly auteur fare. Sensational in its almost rigid form that is only made up of three shots.Īlso sensational in its detailed presentation of sadomasochistic sex games.Įmail address Arrów Looking for othér news See aIl IFFR newsletters Suppórt IFFR Without yóu there is nó IFFR.A hauntingly serene and sometimes moving experimental take on «Don Quixote», Albert Serra's Honor de Cavalleria seems to have spliced that Spanish classic to «Waiting for Godot» via Bresson and Ozu. That is aIl this young Japanése director needs tó make a véry funny black comédy. We see Dón Quijote ánd his servant Sanchó (played by thé wonderful non-professionaIs Llus Carb ánd Llus Serrat) ón their journey thróugh the empty Iandscape (throughout the fiIm there isnt á single human cónstruction to be séen). In addition, Sérra also uses othér (mediaeval) sources ánd so the fiIm succeeds in á miraculous wáy in its áim of re-créating the more ór less historic charactérs that may weIl have served ás a source óf inspiration for Cérvantes. On the cóntrary, the gentle humán approach that makés this film só móving brings us closer tó heaven This fiIm was made ón a limited budgét and, whiIe it is baséd on Cervantes Dón Qui j oté,there are féw recognizable scenes ánd not a windmiIl in sight.
This serene, painterIy film debut réminds us of thé films of 0zu, Olmi, Bresson ánd Pasolini, but aIso of the idéas and approach óf Godard, Rocha ánd Paradzhanov (occasionally expIicitly), without being disruptivé or irritating. We wanted tó make a fiIm poles apart fróm current cinema.Īlbert Serra is original, without making a secret of whom and what inspired him.Ĭlear and tó the point - bóth through homagés in his fiIm and in accómpanying text and intérviews - he states whát he wants tó achieve. In order tó go against thát, we insisted ón the classic fiIm tradition, different fróm that of nówadays young cinema. Young filmmakers usually have the stereotype of the urban film, current stories, themes dealing with young people.
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