Last Movies Director Explores Celebrities’ Final Film Choices to Remap 20th Century History
British artist and filmmaker Stanley Schtinter has unveiled his documentary Last Movies at the Copenhagen International Documentary Film Festival (CPH:DOX). The film delves into the final films watched by iconic figures like Elvis Presley and Kurt Cobain before their deaths, raising intriguing questions about the intersection of cinema and mortality.
The documentary, which premiered late on Friday, is based on Schtinter’s book of the same name and features narration by Jeremy Irons. It is part of the festival’s Next:Wave lineup for its 23rd edition. Schtinter serves multiple roles in the project, including director, producer, cinematographer, and editor.
A Unique Perspective on Film History
The CPH:DOX website describes Last Movies as offering “a darkly humorous, alternative timeline.” It poses a thought-provoking inquiry: What would film history look like if it were shaped by the seemingly random movies that celebrities and cultural figures viewed before their deaths? The film’s humor is characterized as “pitch black,” and its level of detail is noted to be overwhelming.
Schtinter’s exploration stems from a fascination with the last moments of notable individuals. He cites the assassination of former Swedish Prime Minister Olof Palme as a pivotal moment that sparked his curiosity. Palme was leaving a cinema in Stockholm when he was killed in 1986, prompting Schtinter to wonder about the film he had just seen. This inquiry led him to consider the last films viewed by various cultural icons, including Ian Curtis of Joy Division, who watched Werner Herzog’s Stroszek on the night of his death.
Researching the Last Films
Schtinter’s research involved extensive library studies, examining the lives of countless celebrities and public figures through books and newspapers. He also sought firsthand accounts from those who were present with these figures during their final moments. The documentary reflects a predatory relationship that contemporary screen culture fosters between the public and its stars, revealing the scrutiny that often surrounds the last days of notable figures.
Challenging Traditional Historical Narratives
Schtinter believes that introducing an unconventional organizing principle can expose gaps and biases in established historical narratives. He emphasizes that the repetition of accounts can create a false sense of truth, as even eyewitness testimonies can be ambiguous. He asserts that the camera does not reveal absolute truth, and as a storyteller, he feels a responsibility to seek a closer approximation of reality.
Historian Peter Linebaugh’s concept of shedding a “satanic light” on history resonates with Schtinter, who advocates for questioning the power dynamics inherent in historical narratives. He argues that true understanding often lies outside traditional institutions, suggesting that history should be rewritten from the ground up.
The Significance of Last Films
Schtinter posits that the last films seen by famous individuals offer a narrative as complete and real as any other. His initial vision was to create a series of film screenings featuring the last movies watched by notable figures, encouraging viewers to engage their imaginations. This approach was intended as a means of rewilding the imagination, allowing audiences to consider the final cinematic experiences of those who have passed.
The film incorporates footage from the last films viewed by the subjects, creating a unique editing process that Schtinter describes as illuminating. He notes that the film seemed to take on a life of its own, with random scenes from unrelated films enhancing the narrative in unexpected ways.
Pop Culture and Historical Anecdotes
Last Movies traverses pop culture history, featuring anecdotes about figures like JFK, Star Trek, and even Donald Trump, who once attempted to purchase the iconic upright piano from Casablanca. Schtinter clarifies that the presence of these names is not indicative of personal bias but rather a reflection of the chance nature of the project.
He emphasizes that neither the book nor the film is driven by a pre-existing interest in specific individuals. Instead, the project aims to present a broad spectrum of cultural figures without applying value judgments to their lives or works.
Artistic Philosophy and Future Projects
Schtinter expresses a certain disdain for the modern digital landscape, describing it as “shameful” to maintain a website or social media presence. He believes that true artistic expression exists in shared spaces and live encounters, rather than through online platforms. He maintains that the experience of watching a film in a cinema remains unparalleled, emphasizing the importance of traditional formats in music and literature.
When reflecting on his own potential last movie, Schtinter notes that only one individual in Last Movies explicitly chose a film before their death. He contemplates the unpredictability of life and the role of chance in determining one’s final cinematic experience.
Looking ahead, Schtinter hints at the possibility of a sequel to Last Movies, potentially titled Last Movies: RESURRECTION. He also considers exploring themes left out of traditional adaptations of Wuthering Heights.
As reported by www.hollywoodreporter.com.
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Published on 2026-03-14 03:15:00 • By FAME Delivered News Desk