Marrakech IFF, Conversations - An interview with director, scriptwriter and stage director Kirill Serebrennikov

Ahead of the "Conversation" that brings him to the 21st Marrakech International Film Festival, exiled Russian director Kirill Serebrennikov sat down with us at the Mamounia for a chat, during which comically, we were gradually joined by several persistent buzzing insects – however not flies, but bees. Asked about his background in theatre and scenography, and how it influenced the extremely sensorial, palpable dimension of his films, where he abolishes the screen as a flat surface and a separation from the public by playfully manipulating it as a material with volume, the filmmaker behind "Leto" (2018), "Petrov’s Flu" (2021), "Tchaikovsky’s Wife" (2022), and "Limonov: the Ballad" (2024), to name only his latest works (all selected in competition in Cannes), assures that those two passions of his are completely separate – two opposite sides, "like Jekyll and Hyde" – and that the way he envisages his cinematic gesture is very much anchored in a reflection on this specific medium. As for the long, mesmerising uncut shots he is known and admired for, the former triple winner in Locarno (for "Yuri’s Day" in 2008) explains that they allow for more truth, because there can't be any pretending. We talk about the very intricate, agitated, and elusive "Limonov", which Serebrennikov says was "one of the most complex projects" of his life – in part because of the shooting conditions, marked by displacement. On dealing with this very controversial figure, and "bad guys" in general, the director says it is essential to be able to see their humanity, which he often approaches through one specific facet or aspect. After briefly introducing his upcoming film, "The Disappearance of Josef Mengele", Kirill Serebrennikov also offers some titbits on his next project, in French and produced in France, less dark, which he describes as "a love story", but about his love of photographers.