« In his latest ‘sacred monster’ study, he has made a film in a somewhat classic mode – ‘classic’ in the sense of contained, stately, solemn, somewhat in the manner of Straub-Huillet – and a film that is extremely beautiful and even moving, in a rigorously detached way. Time stretches and shifts subtly in the editing (by Adriana Ribas, Artur Tort and Serra himself), one sequence flowing seamlessly into another, as the confines of the king’s bedchamber become absolute – Jonathan Ricquebourg’s candlelit cinematography echoing the chiaroscuro of 17th-century painter Georges de la Tour (as well as John Alcott’s work on Barry Lyndon). There’s a lot more to say about this strange, haunting film and about Léaud’s performance, but for now it struck me as a modest yet profound contemplation of mortality and history, and perhaps the most beautiful film seen in Cannes this year – where, although it was not part of the official selection, it would certainly have merited a place in the Competition itself. » – Jonathan Romey, Sight and Sound

« Serra has crafted a ravishing, darkly witty evocation of 18th-century aristocracy and a neoclassical period piece as reminiscent of the historical films of Visconti and Rossellini as the modernist literary adaptations of Rohmer and Oliveira » – Jordan Cronk, Film Comment

« The more metaphorical meanings of Serra’s work will no-doubt please arthouse aficionados but what makes the film accessible is what’s actually onscreen. Firstly, there is Jean-Pierre Leaud’s regal performance. […] Secondly, the film simply looks stunning. » – Boyd van Hoeij, Hollywood Reporter

« No film in this year’s lineup offered a more engaging example of uncompromising storytelling than Albert Serra’s The Death of Louis XIV. » – Eric Kohn – Indiewire

« Based on extensive medical records and the memoirs of the Duke of Saint-Simon and other courtiers, Catalan director Albert Serra’s film has a documentary-like authenticity, matching the unblinking instincts of a modern reality television series with the visual allure of the old masters. […] It is the attention to detail and the refusal to compromise that allows Serra to create such a compelling, coherent vision. […] Working with professional actors for the first time, Serra has also found his perfect Louis in Jean-Pierre Leaud. […] Leaud plays with a weary indomitability, determined to carry on, gracious and dignified in his terrible suffering. The attention to detail extends to his performance with barely glimpsed grimaces of pain, the discomfort of swallowing, faraway looks and sudden moments of fierce concentration all building the impression of a great force fading away. It is easily the actor’s best role and most noteworthy performance in some time. » – Allan Hunter, Screen International

Here is our screening schedule for The Death of Louis XIV in Cannes:

• PRESS SCREENING: May 19, 2016 – 1 PM – Salle Bazin
• OFFICIAL SCREENING: May 19, 2016 – 5 PM – Salle du 60ème
• MARKET SCREENING: May 14, 2016 – 4 PM – Gray 1
• MARKET SCREENING: May 15, 2016 – 12 PM – Olympia 4
• MARKET SCREENING: May 20, 2016 – 11:45 AM – Palais J

The Wounded Angel‘s premiere will take place tonight in Berlinale’s Zoo Palast 1, at 18:45. The film team will be present to introduce the film. See you there!