.” It’s an understandable enough admission, given that she was diagnosed with breast cancer aged 31, fighting a battle against it that included undergoing a mastectomy, harvesting her eggs in advance of chemotherapy, and a tough personal reckoning with her changed body. It would have been easier, of course, to heal herself by her own touch — except in Nourry’s view, that’s essentially what she did, albeit through art rather than science.
Granted a limited theatrical release after a festival run that began in Berlin, “Serendipity” has accrued a number of influential patrons and admirers along the way, including executive producers Angelina Jolie and Darren Aronofsky — while the late Agnès Varda makes a brief onscreen appearance to offer wily counsel to Nourry at a low ebb.
As Nourry wonders if she herself might not be long for this world, she seeks to create something that could potentially live her: A large portion of “Serendipity” is dedicated to her long-term sculpture project “Terracotta Daughters,” the many female statues of which are collectively buried in China, set to be excavated only in 2030. Beyond some surface commentary, it’s mostly left for the viewer to infer the personal metaphor and poetry in such gestures.
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