' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_8530dcc9-e51a-4233-91b2-73efed416c47" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-8530dcc9-e51a-4233-91b2-73efed416c47'; adUnit.className = 'pw-div'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'sky_btf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-8530dcc9-e51a-4233-91b2-73efed416c47'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-8530dcc9-e51a-4233-91b2-73efed416c47'));
Synopsis
1774, shortly before the French Revolution, somewhere between Potsdam and Berlin. Madame de Dumeval, the Duke de Tesis and the Duke de Wand, libertines expelled from the puritanical court of Louis XVI, seek the support of the legendary Duc de Walchen, German seducer and freethinker, lonely in a country where hypocrisy and false virtue reign. Their mission is to export libertinage, a philosophy of enlightenment founded on the rejection of moral boundaries and authorities, but moreover to find a safe place to pursue their errant games, where the quest for pleasure no longer obeys laws other than those dictated by unfulfilled desires.
' ].join(''); if ( adsScript && adsScript === 'bandsintown' && adsPlatforms && ((window.isIOS && adsPlatforms.indexOf("iOS") >= 0) || (window.isAndroid && adsPlatforms.indexOf("Android") >= 0)) && adsLocations && adsMode && ( (adsMode === 'include' && adsLocations.indexOf(window.adsLocation) >= 0) || (adsMode === 'exclude' && adsLocations.indexOf(window.adsLocation) == -1) ) ) { var opts = { artist: "", song: "", adunit_id: 100005950, div_id: "cf_async_49ef4c47-758c-48f0-8368-8460196e2a95" }; adUnit.id = opts.div_id; if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } var c=function(){cf.showAsyncAd(opts)};if(typeof window.cf !== 'undefined')c();else{cf_async=!0;var r=document.createElement("script"),s=document.getElementsByTagName("script")[0];r.async=!0;r.src="//srv.tunefindforfans.com/fruits/apricots.js";r.readyState?r.onreadystatechange=function(){if("loaded"==r.readyState||"complete"==r.readyState)r.onreadystatechange=null,c()}:r.onload=c;s.parentNode.insertBefore(r,s)}; } else { adUnit.id = 'pw-49ef4c47-758c-48f0-8368-8460196e2a95'; adUnit.className = 'pw-div -tile300x250 -alignleft'; adUnit.setAttribute('data-pw-' + (renderMobile ? 'mobi' : 'desk'), 'med_rect_atf'); if (target) { target.insertAdjacentElement('beforeend', adUnit); } else { tag.insertAdjacentElement('afterend', adUnit); } window.addEventListener('DOMContentLoaded', (event) => { adUnit.insertAdjacentHTML('afterend', kicker); window.ramp.que.push(function () { window.ramp.addTag('pw-49ef4c47-758c-48f0-8368-8460196e2a95'); }); }, { once: true }); } } tag.remove(); })(document.getElementById('script-49ef4c47-758c-48f0-8368-8460196e2a95'));
Director
Director
Producers
Producers
Writer
Writer
Editors
Editors
Cinematography
Cinematography
Executive Producers
Exec. Producers
Lighting
Lighting
Art Direction
Art Direction
Composers
Composers
Sound
Sound
Costume Design
Costume Design
Makeup
Makeup
Studios
Countries
Primary Language
Spoken Languages
Alternative Titles
Liberty, Ελευθερία, リベルテ, 我就蕩, Özgürlük, Svoboda, Свобода, Liberte, 리베르테, 프리덤, Liberté, 리베르떼, 自由
Premiere
18 May 2019
-
France
Cannes Film Festival
28 Jun 2019
-
Germany
Munich International Film Festival
31 Jul 2019
-
Israel
Jerusalem Film Festival
06 Sep 2019
-
Canada
Toronto International Film Festival
28 Sep 2019
-
USA
New York Film Festival
06 Oct 2019
-
South Korea
Busan International Film Festival
Theatrical
04 Sep 2019
-
France16
12 Sep 2019
-
Germany
12 Mar 2020
-
Brazil
-
Portugal
Brazil
Canada
06 Sep 2019
-
Premiere
Toronto International Film Festival
France
18 May 2019
-
Premiere
Cannes Film Festival
Germany
28 Jun 2019
-
Premiere
Munich International Film Festival
Israel
31 Jul 2019
-
Premiere
Jerusalem Film Festival
Portugal
South Korea
06 Oct 2019
-
Premiere
Busan International Film Festival
USA
28 Sep 2019
-
Premiere
New York Film Festival
More
-
"Open the gates to hell!" [Starts eating ass].
Sorta like if François Boucher painted the leather daddy scene from Cruising I guess. Most uncomfortable theater experience of my life—someone tried to clap at the end and everyone burst into awkward laughter instead.
-
Watching Liberté, I was reminded of Martin Scorsese's odd quote about why he didn't like Renoir's The Rules of The Game - "I could never relate to it...I guess because I wasn't from that class." With all respect to Scorsese it's an amusing quote, mostly because there's nothing one need relate too in order to understand Rules of the Game - in the same way I find myself in increasing admiration of Serra's Liberté, a radical and beautiful work that's the director's finest film thus far, even though I've never taken part in an orgy in the forest. It's easy to wonder if Liberté might be more successful in installation form, and initially it struck me as unnecessarily long. In…
-
80
There's a tedious pattern to the pre-revolution fucking that I found rather unsettling. A navigation of desire which routinely laughs at its subjects in cruel, grotesque ways. A real ass-eating crowd pleaser. If you're looking to make new friends at work, this is an easy watch with a group and would make for a great conversation piece.
-
Cannes 2019
Film #15
Congratulations to Albert Serra for creating the worst film at Cannes I’ve seen so far this year, hands down. I wasn’t eager to see it, yet it was playing at a convenient time.
It’s a journey into total depravity. It starts out as if it’s a film that will give us some historical perspective, but then it devolves into a libertines gone mad at night in the woods type of story. Some people walked out, some people laughed at the absurdity of the urination/excretion/masturbation featured, and some people politely clapped at the end. Not really relating to the characters with vomit fantasies, though, I couldn’t enjoy it at all. I gently said “boo” while some faint…
-
Albert Serra’s latest, Liberté is the first film I have seen in quite some time, and the first film in a much longer time that I have truly been anticipating. It didn’t disappoint.
The film’s scenes do not evade real-time or linear time between each cut in the same way that most cuts in films do. Instead, each subsequent scene seems to continue almost precisely - yet abstractly - where the previous left off, only voyeuristically focusing on a different part of the overall space; these “poisoned woods”. There is something subtle but truly radical about the way the film progresses temporally that I cannot fully articulate.
My only criticism is that I wish the film went even further in…
-
[7]
This will, alas, have to be a tentative evaluation, since the screener I watched was unusually substandard, and the film in question is one of particular delicacy in terms of light and shadow. In fact, I strongly suspect this may be Serra's very finest work to date, although to be certain, it would be necessary to see it as clearly as possible.
Having said all that, certain things about Liberté are abundantly evident. Following from Serra's previous films, such as Story of My Death, The Death of Louis XIV, and Roi Soleil, the new work goes even further in a particular direction that Serra has been exploring for quite some time. He is a filmmaker who treats the concept…
-
As with The Death of Louis XIV, Serra films rich compositions of baroque aristocracy that cannot mask that he is fundamentally making body horror. Liberté is a film of loose flesh, sweat-matted hair and, eventually, true mutilation. Fundamentally, though, the film is propelled by the gulf between the libertines' elaborate verbal fantasies of imagined pleasures so great and terrible that the Cenobites might come 'round to hang, and the banal reality of these syphilitics jerking off at each other and occasionally doing a wee on a bloke. Salo, but for illustrating what a tedious fellow someone like de Sade truly was.
-
-
Have you ever heard a pig have its throat severed? My screams with him inside me are even louder.
Pacifiction is still lingering in my head, but I decided it was time to watch my next Serra.
Liberté is without a doubt the most depraved mainstream movie I have seen in years, especially in terms of the language used.
It's certainly an exquisite looking movie, and I really like the idea behind it, but with a runtime of 2+ hours, this is just too long. It became an endurance test by the midway point, even with all the kinkiness on display.
I think this would be much more effective condensed down to a neat 90 minutes.
By the way, judging by all the flaccid penises in this movie, a world free from rules and (sexual) morals doesn't seem all that exciting. ¯\_ (ツ)_/¯
-
Probably the most Albert Serra film Albert Serra will ever made including almost everything I find fascinating and madenning about him. If Serra is one of the current cinema's more perverse auteurs he also happens to be on of the more calculated, every movie careful considered with every intention and possible reaction taken into account. It is a discourse on the idea of liberation on the most controlled way possible. Serra eye remains remarkable his sense for nature, for bodies, light and color, all those shades of darkness is still first rate. It is incredible alluring as it makes sure to make everyone in the audience very aware of what they are watching. I said it is a filmed discourse…
-
This is the most evil film I have ever seen.
-
16/100
[originally written as part of my TIFF '19 coverage]
Worst. Pornhub channel. Ever. Pure sadomasochism bores me out of my skull (one reason I adore The Duke of Burgundy), and Serra’s latest expends well over two hours lovingly (yet monotonously) cataloguing all of my least favorite perversions, from whipping to water sports to the world’s ugliest phalluses. In theory, I admire the Aristotelian unity of depicting one night of aristocratic debauchery in the woods, seemingly in real time; in practice, each indolent sex act repelled me more than its predecessor, so that by the end I was praying for a sudden and fatal hailstorm. (We do get a brief shower, so there was hope.) Pretty much the ne plus ultra of Not My Thing.
