LouisXIVisnonewcomertoAlbertSerra’sfilmography,theheroofhislatestopustodate,TheDeathofLouisXIV(2016).ThisSunKingfeaturesatwin,eventhough,inthegameofdifferences,itturnsoutthattherearequiteafew.InsteadofJean-PierreLéaud,anon-professionnalactorwhomSerraalreadyworkedwithinhisfirstfilms.Verydifferentbodyweight,hereinexpansion,thereinretention;adifferentwayofputtinghisfaceinit:there,attheserviceofanastonishedchild’sgaze,here,singularlychubby,asifextendingwithoutanysolutiontoallofhiscorpulence;here,theinventionofsovereigntyconstantlyreinvented,andthere,thekingdomofinnocencevaguelystruckbyidiocy.Andtheprops:ifthetaleinthefirstversionneededVersaillesoranimitationofit,thesecondonereducesthepalacetoaluminoushalo.True,thistimewearestuckbetweenbarewalls,white-washedwithpinkcoating(thecoloroftwilight?)underneonlightsattheceiling.Here,foralongtime,thiskinghasbeenlefttohisowndevices,moaningonthefloor,withastomachacheassevereasitishilarious,withraretrinketsallaround.ThenweseespectatorsenteringthefieldtoseeHerMajesty’srants,hishair(aswigswerecalledthen)andsumptuousclothescharacteristicofthatera,andspectatorsdressedinanorak.Sowhat,then:capturingaperformance?Iftheartgalleryreallyframesthe«action»,whatwefindhereiscalculation,cuttingup,montage;inshort:afilm,andnomisunderstanding.AndafilmwhosepathsfamiliartoeveryoneSerra’sworkpointto:aristocracyinallitsgrandeur,itsstupidityanditsagony,therepresentationofpower,theforcesofart.Betweenthesublimeandthegrotesque,betweenderisionandthederisive,betweenBuñuelandDali,aroyalfigureengagesinaquestforhisdeathmask.
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