Loving cult film and idiosyncratic musical portrait of summer festivities in the Catalan village of Crespià, with early performances by the well-known faces from the work of Serra.

Crespia,The Film Not The Village - 2003 -Albert Serra - DVDrip Eng subt.avi

General
Container:	AVI
Runtime:	1h 20mn
Size:	701 MiB
Video
Codec:	XviD
Resolution:	528x304
Aspect ratio:	1.737
Frame rate:	25.000 fps
Bit rate:	1 089 Kbps
Audio
2.0ch MP3 @ 111 Kbps

https://nitro.download/view/546A9773AF69BB7/Crespia,The_Film_Not_The_Village_-_2003_-Albert_Serra_-__DVDrip_Eng_subt.avi

Language(s):Catalan
Subtitles:English hardsubbed

The post Albert Serra – Crespià, the Film not the Village (2003) first appeared on Cinema of the World.

Quote:
Yes, a bullfighting movie

It is increasingly rare, within a very fragmented public opinion, where there are few common facts or experiences, for a work of art to provoke what we could call a cultural event. That is to say, that it becomes an event of sufficient importance to channel public debate and to signify, in a certain sphere, a memorable event. Tardes de soledad, the film by Albert Serra, starring the maestro Roca Rey, has achieved something like this. Since its premiere in San Sebastian, this work has aroused a reflection that goes far beyond the criticism itself and that this is so is explained, I think, because we are facing a creation that places us in a stark and unusual way, to such atavistic questions as what is the value of life, what is man, what is art and what is the freedom of the artist. And all this, of course, without hiding the certain fact of death. Tardes de soledad somehow forces you to think in shock.

In his space in El País, the bullfighting critic Antonio Lorca denied to this work -a mischief, according to him- the condition of being a bullfighting movie. I believe, rather, that what Tardes de soledad is not, is a bullfighting film. On bullfighting cinema, which has true masterpieces -more than Serra acknowledges-, Silvia Caramelo published some years ago a great cultural history, in which she brilliantly revealed the narrative archetypes of the genre, from the nationalist costumbrismo or the romantic epic, to the class struggle. In any case, if the approach to the bullfighting world, to its atmosphere and aesthetics, has given rise to extraordinary works, some of them indispensable to know our cultural history, none of these had overcome what seemed to be a constitutive limit for the cinema with respect to bullfighting: the fact that the bullfight is an artistic trance that does not admit representation. Thus, if bullfighting cinema is a rich subgenre, what it lacked was a work capable of cinematically decrypting the dark tremor of bullfighting. And this is what Serra has done. Shooting, strictly speaking, the first bullfighting film, and I would dare to say that also the last, because to tread this ungraspable ground he has stepped on a formal terrain that does not tolerate repetition. In the words of the great Manuel Lombardo, critic of this newspaper, “Spanish cinema has found the only great filmmaker capable of doing justice to the truth at stake in the bullfighting rite”. Nothing more and nothing less. Hence the event for cinema and, of course, for bullfighting.

Víctor Vázquez, “El Diario de Sevilla”.
March 17, 2025

Afternoons.of.Solitude.2024.WEB-DL.1080p.Dream.mkv

General
Container:  	Matroska
Runtime: 	2 h 5 min
Size: 	5.37 GiB
Video
Codec: 	x264
Resolution: 	2002x1080 
Aspect ratio:  	1.85:1
Frame rate: 	24.000 fps
Bit rate: 	6 100 kb/s
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https://nitro.download/view/3E11B978BD74338/Afternoons.of.Solitude.2024.WEB-DL.1080p.Dream.mkv

Language(s):Spanish
Subtitles:English (hardcoded)

The post Albert Serra – Tardes de soledad AKA Afternoons of Solitude (2024) first appeared on Cinema of the World.

Quote:
Waiting for Sancho is an ontological investigation into a place where cinema becomes something more than cinema. Filmed in high-definition colour over five days in the Canary Islands of Fuerteventura and Tenerife, Waiting for Sancho is a kind of experimental “making of” the critically acclaimed El cant dels ocells (Birdsong_/_Le chant des oiseaux). A particular take on the Biblical story of The Three Kings en route to the baby Jesus, El cant dels ocells premiered at the Quinzaine des Realisateurs at Cannes 2008

Waiting.for.Sancho.2008.mkv

General
Container:  	Matroska
Runtime: 	1h 45mn
Size: 	791 MiB
Video
Codec: 	x264
Resolution: 	720x480 ~> 853x480
Aspect ratio:  	16:9
Frame rate: 	29.970 fps
Bit rate: 	915 Kbps
BPP: 	0.088
Audio
#1:  	MP3 @ 128 Kbps

https://nitro.download/view/E5ADDE213C20B45/Waiting.for.Sancho.2008.mkv

Language(s):Catalan, Spanish, English, Hebrew
Subtitles:English hardcoded

The post Mark Peranson, Albert Serra – Waiting for Sancho (2008) first appeared on Cinema of the World.

The sublime and the mundane run hand-in-hand in Birdsong, Albert Serra’s stunningly photographed, intensely contemplative re-telling of the biblical journey of the Magi. Much of the sublimity derives from the film’s visuals, superbly tactile black-and-white images alive to the textures of the rocky landscape, which, along with the precise gradations of lighting (each scene seems shot at the one exact moment of day when its creation was possible) and the rustling of wind on the soundtrack, imbues the barren land with a richness of meaning commensurate with the Magi’s divine mission.

As the three men make their way across the terrain, Serra devotes huge chunks of time to the simple act of walking, fixing his camera at a distance from the men, turning their routine movements into acts worth contemplating. Much of the film’s sense of the mundane derives from the men themselves, three markedly unglamorous individuals (two are quite fat, one is very old) who bicker calmly, but these inelegant creatures also speak with wonder of angels and, like Serra’s camera, express their admiration for the latent mysteries of the everyday.

Critical comparisons between the Magi and Beckett’s tramps are not inapt, but Serra’s men evince a more subdued clownishness. In one scene, they bed down under a shade three, then complain unemphatically about the discomforts of their relative positioning, all the while barely moving. The scene’s funny, but the humor derives from such minute visual details – deliberately unemphasized in the fixed, overhead shot – as the way one of the men’s faces puffs up as he breathes. Earlier, a mesmerizing bit of underwater photography shot from below the Magi as they pull a boat out into the water starts as a bit of low comedy when one of the overweight men flops around uncouthly in front of the camera before the scene gives way to an unmixed beauty and the exact physicality of the bodies no longer marks the principal point of emphasis.

Finally, the film’s sublime spiritual climax – the men arrive in a Bethlehem so abstracted that it’s constituted by a single stone structure, then prostrate themselves at Mary’s feet, the scene becoming a virtual still while the film’s one bit of non-diegetic music, the piercing strings of the title song (“El Cant del Ocells”) rip through the soundtrack – is immediately followed by the movie’s most deflationary image – an overhead shot of the Magi, stripped to the waist, bathing in a fetid water trough. Birdsong rises to the divine on the quality of its imagery, but it always grounds its spiritual aspirations in an acceptance of the resolutely mundane. Through its long static takes and, with a sole exception, its lack of significant event, the film gives the audience ample freedom to register both sides of the equation, the striving for sublimity and the embrace of the everyday, each of which derive their power from the presence of the other.

An interview with Albert Serra

First  Don  Quichotte  in  Catalan, and now a peculiar version of the Adoration of the  Three  Kings.  How  do you describe your cinema?
I would  say  that  its  form  is  lyrical and  sophisticated,  but  its  heart  is very down to earth.

Why  do  you  twist  myths  in such  a  way?  Is  it  through  non- conformism? Revolt? Research?
I don’t twist anything. The myths are just starting points for making films which are  independent  from  them. The  faithfulness of  the  relationship that  the  images  maintain  with the  myth  as  we  know  it  in  our imaginations matters little to me.

Apart  from  its  subjects, your  cinema  presents  other particularities, notably technical: filming  in  video  or  with  non-professional  actors.  Why  these choices?
Because  it’s  easier  and  more amusing:  we  shoot  in  remote exteriors,  with  actor  friends  and Catalan-speaking  technicians,  like me,  without  undergoing  hours  of waiting,  without  the  limits  of  a script.  Saying  it  briefly,  without obligations…

Do  you  consider  yourself  as a  cinephile?  What  are  your inspirations?
Yes,  I  consider  myself  as  a cinephile,  even  if  I’ve  been  more influenced  by  life  itself,  literature, and  film  criticism.  I  find  cinema superficial.

Are you already thinking of your next film?
Yes,  unfortunately…  It’s my  job,  I don’t  have  a  choice. Of  course,  if one  day  I  have  enough money  to keep afloat without working, I will leave cinema, immediately

El cant des ocells - A. Serra (2008).mkv
General
Container:  	Matroska
Runtime: 	1 h 32 min
Size: 	2.64 GiB
Video
Codec: 	x264
Resolution: 	960x576 
Aspect ratio:  	5:3
Frame rate: 	25.000 fps
Bit rate: 	3 750 kb/s
BPP: 	0.271
Audio
#1:  	2.0ch AAC LC @ 320 kb/s (Catalan, Hebrew)

https://nitro.download/view/12207AB5935EB05/El_cant_des_ocells_-_A._Serra_(2008).mkv

Language(s):Catalan, Hebrew
Subtitles:English, French, German

The post Albert Serra – El cant dels ocells aka Birdsong (2008) first appeared on Cinema of the World.

Quote:
On an island in French Polynesia, the Haut-Commissaire, a man with a turbulent naturalness and high diplomacy, lives between the highest echelons of politics and the lowest social stratum of his co-citizens. Conflict as a way of life will lead him to take reckless decisions against his political status.

6.96GB | 2h 45m | 1920×1080 | mkv

https://nitro.download/view/FAA6E9C3589A542/Pacifiction.2022.1080p.FLMN.WEB-DL.AAC2.0.H.264-WELP.mkv
https://nitro.download/view/B9004FC43AEB721/Pacifiction.2022.1080p.FLMN.WEB-DL.AAC2.0.H.264-WELP.EN.srt
or
https://fikper.com/fpJKPE64x6/Pacifiction.2022.1080p.FLMN.WEB-DL.AAC2.0.H.264-WELP.mkv.html
https://fikper.com/li8kjYlVKw/Pacifiction.2022.1080p.FLMN.WEB-DL.AAC2.0.H.264-WELP.EN.srt.html

Language:French,English,Polynesian,Portuguese
Subtitles:English,Catalan,Spanish

The post Albert Serra – Tourment sur les iles AKA Pacifiction (2022) (HD) first appeared on Cinema of the World.

Synopsis:
August 1715. After going for a walk, Louis XIV feels a pain in his leg. The next days, the king keeps fulfilling his duties and obligations, but his sleep is troubled and he has a serious fever. He barely eats and weakens increasingly. This is the start of the slow agony of the greatest king of France, surrounded by his relatives and doctors.

9.83GB | 1h 56m | 1920×808 | mkv

https://nitro.download/view/4B8905BB6F93428/The_Death_of_Louis_XIV_(2016)_1080p_BluRay_x264-SADPANDA.mkv

Language:French
Subtitles:English (muxed)

The post Albert Serra – La mort de Louis XIV AKA The Death of Louis XIV (2016) (HD) first appeared on Cinema of the World.

Storyline

1774, a few years before the French Revolution, somewhere between Potsdam and Berlin… Madame de Dumeval, the Duke of Tesis and the Duke of Wand, libertines expelled from the Puritan court of Louis XVI, sought the support of the legendary Duke of Walchen, a seducer and free thinker from Germany, alone in a country where hypocrisy and false virtue reigned. Their mission: to export libertinage to Germany, a philosophy of enlightenment based on the rejection of morality and authority but also, and above all, to find a safe place to continue their misguided games.

Liberté is a 2019 drama film written and directed by Albert Serra. Set in the 18th century, it tells the story of the libertines that spend a night of sexual debauchery in the woods. The film had its world premiere in the Un Certain Regard section at the 2019 Cannes Film Festival on 18 May 2019. The film was preceded by an installation at the Reina Sofia Museum in Madrid and a theater play. For the film, Albert Serra got inspiration from the French painters such as Alexandre-Évariste Fragonard and François Boucher. The cast consists of a mix of professional and non-professional actors.

2.90GB | 2 h 12 min | 1280×720 | mkv

http://nitroflare.com/view/EB0C0B45B7DF79A/Liberté_(Freedom)_(2019).mkv
http://nitroflare.com/view/12C179CA913B9AC/Liberté_(Freedom)_(2019).en.srt
http://nitroflare.com/view/EB436F5D7A80AB2/Liberté_(Freedom)_(2019).cat.zip
http://nitroflare.com/view/3C192157F90BD35/Liberté_(Freedom)_(2019).spa.zip
or
http://nitroflare.com/view/D208B29577C40E6/Liberté_(Freedom)_(2019).part1.rar
http://nitroflare.com/view/DB117BD5298BAF5/Liberté_(Freedom)_(2019).part2.rar
http://nitroflare.com/view/BC7D70F3D16DB2A/Liberté_(Freedom)_(2019).part3.rar

Language(s):French, German, Italian
Subtitles:English,Spanish,Catalan,

The post Albert Serra – Liberté (2019) first appeared on Cinema of the World.