In recognition of "Pacifiction", a Wagnerian apocalyptic disruption

The first editorial of the year should be used to summarize 2022 and see how we will face 2023. I know what to do the first editorial of the year at the end of February is not very much ahead of schedule, but neither you need to stress, we're already going through enough. Overall, I don't want to start the year by making a summary and considering futures. Basically because I'm more excited to talk about talent and accolades, like what just happened again to this apocalyptic Wagnerian disruption called "Pacifiction" created by the Undergraun Films team, captained by the always incombustible Albert Serra. In the next issue of bonart, which will be released very soon, we have dedicated a monograph. Well, Albert Serra has just been awarded two César awards by the Academy of French Cinema. What a pride to see how the art of auteur cinema is rewarded. For this reason, I reproduce a fragment of the text of the bonart editorial from last year, where I talk about the impressions about this film.

Every document of culture is also a document of barbarism. Walter Benjamin.
Finding artistic proposals not tamed by unique thinking that, in addition, leave and continuously generate questions in the (un)conscious, while the visual beauty seduces you for more than two and a half hours to pour you into the light of darkness: nor it is common, nor is it everyday, although perhaps it should be. Pacifiction, Albert Serra's latest creation, presented in the official section of the Cannes festival, is a Wagnerian twilight made into full-length video art, a film with visual remembrances of the romantic painting of Caspar David Friedrich or a casual evocation of work Coucher de soleil jaune et vert, 1911, by Félix Vallotton , discovered by chance as part of the exhibition dedicated to the author by the Bonnard museum, located next to Cannes, in Le Cannet. The film also appeals to the contemporary tradition of visual textures advocated by artists such as Glen Rubsamen . With this proposal, Albert Serra, pushing his connection with everything related to France, makes a break with the Caravaggist chiaroscuro of the last two productions and lands with arguments and images in the middle of the 21st century.