The director Albert Serra and the disturbing transit through the surface of the image

The Universe of the director Albert Serra and the Images

Language is full of images. Every word, thought or idea that crosses our mind is constructed and generated as an image. We don't think so much in words as in images and the fact is that the 20th century will be distinguished from the others because it has left a photographic trace. Director Albert Serra explores what the images have achieved. Freeing ourselves from the literary textuality that marked Western modernity and grounded knowledge in a guided and articulated empirical experience towards the validation of educated taste. The recreation of fantasies and imaginaries was justified and hidden behind experiences, interpretations and meanings.

The image in continuous transformation

What is evident in these moments is that the image has left aside its auxiliary function of illustrating the content of the text to detach itself from its definition as a consensual space for the production of experiences. The image is defined by its continuous displacement, occupying alien bodies and spaces, giving meaning to the out of place. A hybrid and impure, half-breed image, an organic image in continuous mutation, reinventing separate worlds, moving us and moving between multiple realities.

The future of images by director Albert Serra

However, when sensory perception has been anesthetized by official narratives, as Buck-Morss points out, "the task is not to get behind the surface of the image but to stretch it, enrich it, give it a definition, give it time". As Benjamin maintained, the images emerge as surfaces taken from objects as evidence of their material reality, and it is from this emergent superficiality that director Albert Serra's cinema pushes us to transit and move with its becoming . Impulsive images and extreme fantasies, real, fictitious, ambiguous that lead us to see beyond the appearance of the reality that has been staged. Moving, occupying and traveling through the detached surface of a reality always in suspense. Drowning in pleasure in the visual maelstrom, letting ourselves be carried away by the disturbing moment of what we cannot catch.