THE INTERROGATION by Édouard Louis & Milo Rau

The Interrogation
Written, directed & performed by Édouard Louis & Milo Rau

For The Interrogation Édouard Louis and Milo Rau work together for the first time: Louis as actor, Rau as director – with a brand new play they have written for this occasion.


The French writer Édouard Louis and the Swiss director Milo Rau have long been friends. It is a friendship born out of their joint search for an art of the real. Louis wrote about Milo Rau’s play Family: “The core of theatre is the same as in literature: to show what is difficult to show. Theatre is not a safe space.” Now, Édouard Louis and Milo Rau are working together for the first time, writing and creating a new show, performed by Louis and directed by Rau.


The Interrogation explores the thin line between acting, living and surviving, and confronts us, in a direct yet delicate way, with a barrage of questions: Can art change a life? What position do we take in society today? The Interrogation will premiere at the Kunstenfestivaldesarts Brussels on May 27 and then go on tour. This unique collaboration is also conceived to be broadcasted live online on each performance night, simultaneously accessible in Brussels and elsewhere.


All info, dates & a talk with the makers here.




The New Gospel
Successful launch and Swiss Film Award 2021

A Jesus film, a campaign for refugee rights, a new way of producing and distributing films and tomatoes : “The New Gospel” won the Swiss Film Award.


“We are striving for a global movement with this film – it concerns all of us,” says Cameroonian activist Yvan Sagnet, who plays the role of Jesus Christ in The New Gospel. “I do it through the struggle, others do it by consuming consciously, by writing about it… It should be normal to refuse something that is known to involve slave labour.” After a successful launch online in Germany, Belgium, Holland and, over Easter, also worldwide, The New Gospel has now come to the big screen for the first time since its international premiere at the Venice Film Festival and is parallely released on dvd and blueray.


The film, which was awarded the Swiss Film Award 2021, promotes NoCap products, which are fairly produced by Yvan Sagnet and are now available in more than 100 supermarkets in Germany, Austria and Switzerland. In the parallel fundraising campaign, more than 16,000 euros have already been collected. Fair and sustainable agriculture is possible!


Join the campaign – more info here.



What is Global Realism?
A deep look into IIPM’s artistic work

Two new books on the work of Milo Rau and the IIPM have been published.


What are the problems and the possibilities of global solidarity in art? What will theatre look like after the coronavirus? In two publications – Vers un Réalisme Global (Towards Global Realism) and Grundsätzlich unvorbereitet (Basically Unprepared) – Milo Rau and IIPM report on the methods of their work and provide insight into their production methods in conversations, essays and columns. “The sensation of having access to a thought in motion, capable of accepting the hazards of the present and making them the origin of new actions, is most stimulating,” one critic writes.


“One always hopes for this living moment in which the order of perception would be interrupted,” writes Milo Rau in his epilogue to the collected writings of Julian Beck, with Judith Malina, one of the founders of the mythical “Living Theatre” – one of the main influences on IIPM’s work. The book will be published in May and presented at Berliner Theatertreffen.




La Clemenza di Tito
On the threshold of post-opera?
“The uprising of the masses has finally reached the opera”, a critic wrote after the premiere of Milo Rau’s version of Mozart’s Clemenza di Tito in Geneva. Now the film version of the opera is broadcasted online.


“It is undoubtedly a landmark production,” wrote a critic after seeing Mozart’s final opera Clemenza di Tito in Milo Rau’s “radical’ staging” at the Grand Théâtre in Geneva last February. “The challenge will be to propose other visions in other operas. The challenge is also to know whether we are on the threshold of post-opera – and therefore spectators of the end of our beloved art.” Unfortunately, the performances planned for May at the Wiener Festwochen have had to be cancelled due to the coronavirus pandemic.


The film version of the opera can be streamed here.