Luis Alberti is a Mexican actor born October 30, 1981.
After graduating from Mexico City's Casa del Teatro in 2007, he founded with director Damian Cervantes the independent theatre company Vaca 35 Teatro en grupo. The company's experimental activity has lead to plays such as Casualmente (a "collective scenic creation" based on the work of famed novelist Milan Kundera), El loco amor viene, and Uppercut (based on Shinya Tsukamoto's film Tokyo Fist.
Atayde Hermanos circus while simultaneously studying dramaturgy with fellow actor David Hevia. He would go on to work with Hevia in the 2010-2011 production of the play Por el Gusto de Morir bajo el volcán, based on Malcolm Lawry's novel Under the Volcano.
In 2011 Alberti featured in Daniel Giménez Cacho's TV series Crónica de castas (Caste's Chronicles) and in 2014 he began working in feature films, including Diego Quemada-Diez's La jaula de oro (The Golden Dream), Hugo Carrillo's El lado oscuro de la Luz (The Dark Side of the Light), Marcelino Islas's La Caridad (Charity), and Isaac Ezban's The similars.
Carmín Tropical, which was awarded as the Best Mexican Feature Film at the 2014 Morelia International Film Festival. The film was also named on the shortlist for Mexico's entry for the Academy Award for Best Foreign Language Film at the 89th Academy Awards, but it was not selected. It was a role that led to a Best Supporting Actor nomination for Alberti at the 2015 Mexican Film Academy's Ariel Awards.
In 2015 Alberti co-starred with Elmer Bäck in Peter Greenaway's film Eisenstein in Guanajuato.
Above and below: Elmer Bäck and Luis Alberti in Peter Greenaway's 2015 film Eisenstein in Guanajuato.
Writes film critic Gary M. Kramer:
“Eisenstein was like Dante, going underground in the ‘Divine Comedy’ and meeting Cerberus the dog,” [director Peter] Greenaway observes.
Bäck and Alberti fleshed out Greenaway’s comments for me, chatting via Skype in separate interviews about working with the filmmaker and shooting Eisenstein in Guanajuato’s intense sex scenes.
. . . Luis, why do you think Cañedo seduced Eisenstein?
Elmer Bäck: For me, I thought about it at first—especially when you have that amount of nudity. After a day, you don’t think about it. You get used to it. You’re not protecting it and your privacy. It’s not difficult to do. Being an actor, and putting on more pounds and then being naked in a not flattering way, was an interesting way to go into it—to be nude and not in a flattering way. The lack of vanity was freeing. I had to forget about that and just jump in. We were rehearsing—Luis, Peter, and I—and these things are difficult. It works or it doesn’t, this kind of connection. I think we all felt that we were able to play off each other. Because we had to that one intimate scene—you need to allow the other person to be close, and create intimacy—and that comes into the film. As actors, we were going quite far. It was not just for us, but for Eisenstein in that moment. We went through the same thing as actors.
Luis Alberti: We talked a lot about that. I tried to make three faces for Cañedo—one on the street with clothes and hat—very straight and square. The second was indoors, without a jacket and hat, and more relaxed, protected. The third is without clothes, more free, and more like a child. Each face is different; he relates to the environment. We talked about the sex scene for hours. What can we do? How do we do it and make it work? You don’t make a Peter Greenaway film bad. We had to enjoy it and make it enjoyable.
Related Off-site Links:
Luis Alberti's Official Website
Luis Alberti's Official Facebook Page
“You Have Naked Bodies and Genitalia, Don’t You? Why Are You So Adolescent?”: Director Peter Greenaway on “Puritan” Americans and the Intense Sex Scenes in Eisenstein in Guanajuato – Gary M. Kramer (Salon, February 4, 2016).
Eisenstein in Guanajuato: Peter Greenaway’s Homoerotic Take on Russian Filmmaker’s Mexican Odyssey – Robert Abele (The Wrap, February 4, 2016).
Sergei Eisenstein’s Coming-Out Party – Armond White (Out, February 5, 2016).
Film of the Week: Eisenstein in Guanajuato – Jonathan Romney (Film Comment, February 4, 2016).
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