You are here:

Miró, l’altre

Name: Miró, l’altre
Director: Pere Portabella
Released: 1969
Duration: 15 min

Representation Score

4.5/10

Fair

1969

Director

Pere Portabella

Runtime

15 minutes

Average Rating

No ratings yet

New Showbiz Analysis

Pere Portabella’s documentary prioritizes formal experimentation and the deconstruction of institutional norms over demographic representation. The film's value lies in its method of filming Miró's art only if it is eventually erased. While the work offers a sophisticated critique of how culture is commodified and owned, it lacks breadth in terms of identity-based inclusion. The focus remains tightly locked on a singular European artist and his specific creative process. Ultimately, the film is a specialized study of artistic ephemerality, challenging the permanence of Western cultural institutions but not engaging with a diverse range of social identities.

Watch this, not that →

Category Breakdown

Does Miró, l’altre have LGBTQ+ representation?

Fair

The film focuses on the artistic process without explicitly depicting LGBTQ+ characters or non-assuming gender matches what was assigned at birth identities.

How does Miró, l’altre portray gender?

Fair

The narrative centers on the intellectual and creative labor of Joan Miró. It avoids submissive female archetypes but remains neutral on gendered power dynamics.

How racially and ethnically diverse is Miró, l’altre?

Limited

This is a localized study of a Catalan artist within a specific European context. It lacks a diverse cast, focusing strictly on the individual subject and his immediate environment.

How does Miró, l’altre represent religion and culture?

Good

The film critiques the commodification of art by documenting the intentional erasure of a painting. This approach rejects traditional institutional authority in favor of a subjective, situational truth.

Does Miró, l’altre include disability representation?

Minimal

There is no documented evidence regarding the portrayal of physical or neurodivergent disabilities within this observational framework.

Present on Screen

The film offers a sophisticated critique of the commodification of art and the permanence of cultural institutions.
Portabella’s experimental approach successfully disrupts traditional, authoritative documentary structures.
The work provides a unique, subjective look at the creative process through the complicity of filmmaker and subject.

Limited or Absent

The film lacks representation of diverse racial, ethnic, or LGBTQ+ identities.
The narrow focus on a single artist limits the scope of social and gendered perspectives.
There is no evidence of engagement with disability representation or neurodivergent perspectives.

Official Synopsis

As publicity for the exhibit Miró L’altre, organized by the Colegio de Arquitectos de Catalunya in 1969, the Board commissioned Pere Portabella to film Miró painting the “poster” for the exhibit on the ground floor windows of the building. Portabella was not interested in simply filming a testimonial documentary. However, he said he would do the film if after the exhibit Joan Miró himself, with the help of the cleaning staff erased his own painting. Joan Miró accepted the idea without a doubt. The complicity between the film maker and the painter is evident in the filming.

How are these scores produced? →