In an ambiance loaded with tension, intellectual doubts and creative frustration, Rainer Werner Fassbinder writes and teaches the staging of a theater piece about the 18th century Libertiage at a great theater in Berlín.
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.
Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, THE DEATH OF LOUIS XIV (2016). ROI SOLEIL features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films.
The Death of Louis XIV
August 1715. After going for a walk, Louis XIV feels a pain in his leg. The next days, the king keeps fulfilling his duties and obligations, but his sleep is troubled and he has a serious fever. He barely eats and weakens increasingly. This is the start of the slow agony of the greatest king of France, surrounded by his relatives and doctors.