Tag Archives: Raoul Ruiz

Raoul Ruiz – Régime sans pain (1985)

Jonathan Rosenbaum from Essential Cinema: On the Necessity of Film Canons (2004), pp. 236-237:

Within my experience, Ruiz is the least neurotic of filmakers; he doesn’t even seem to care whether what he’s doing is good or not (and, as he’s aptly noted, bad work and good work generally entail the same amount of effort). No single film functions as the be-all or end-all of an evolving career but merely as part of an overall process. Example: the 1985 Régime sans pain — one of his films most influenced by his friend Jean Baudrillard, and perhaps the one that most calls to mind grade-Z SF — grew out of a commission to direct a music video. Ruiz offered a counterproposal that he direct several music videos rather than one; once this deal was made, he shot enough material to interconnect the various videos until he arrived at a feature. Read More »

Raoul Ruiz – Mammame (1986)

Capsule by Jonathan Rosenbaum
From the Chicago Reader

Except for The Red Shoes, this shot-by-shot rethinking of a dance performance by the Emile Dubois Dance Group, choreographed by Jean-Claude Gallotta and directed by Raul Ruiz, could be the greatest dance film ever made. Running only 65 minutes, the 1986 film is as much a sensual workout as Ruiz’s Life Is a Dream is an intellectual one; its celebration of pure physicality and movement is as exciting for film lovers as it is for dance enthusiasts. Read More »

Raoul Ruiz – Comédie de l’innocence AKA Comedy of Innocence (2000)

Quote:

After Calderón and Proust, Comédie de l’innocence is another literary adaptation, this time from the little-known Italian surrealist Massimo Bontempelli. Updated from the last fin de siècle to this more recent time of uncertainty, Comédie de l’innocence’s plot is small but perfectly formed. With Aristotelian rigour it moves from the opening conundrum (a child torn between two mothers), through the complication (the confrontation between the mothers and Ariane’s brother Serge), to a satisfying conclusion. Ruiz, who takes a co-credit as scriptwriter with Françoise Dumas, keeps up the tension, however, with laconic and enigmatic dialogue. When Ariane visits the empty flat of Isabella, a nosy neighbour remarks: ‘I really don’t want to know.’ Ariane replies: ‘There is nothing to know.’ Read More »

Raoul Ruiz & Valeria Sarmiento – La Telenovela Errante (2017)

“The film revolves around the concept of soap opera. Its structure is based on the assumption that Chilean reality does not exist, but rather is an ensemble of soap operas. There are four audiovisual provinces, and the threat of war is felt among the factions. The political and economic problems are immersed in a fictional jelly divided into evening episodes. The entire Chilean reality is viewed from the point of view of the soap opera, which acts as a revealing filter of this same reality”. (Raúl Ruiz) Read More »

Raoul Ruiz – Le temps retrouvé, d’après l’oeuvre de Marcel Proust AKA Time Regained (1999)

Synopsis
An ambitious project of Chile-born, Paris-based Raul Ruiz, this psychological drama brings to the screen the famous classic of Marcel Proust with fidelity to its interior monologues and streams of consciousness. Proust (Marcello Mazzarella), on his deathbed in his small apartment on Rue Hamelin, is looking through old photos and remembering his life, as real characters intermingle with fictional ones from his novels. The period is 1914-18, when WWI is raging. Hidden in Paris, thanks to his asthma, Marcel Proust wanders into the night. He finds an aging courtesan in Café de la Paix, which is deserted by the curfew. Charlus, the seducer of young boys, is at the Palais des Felicites where he meets his lovers. Read More »

Ignacio Agüero – El otro día (2013)

Untouched Director’s Cut

Chilean film maker Ignacio Agüero begins filming objects in his flat that are connected to the history of his family and his country. But the outside world keeps intruding on his private film setting: beggars wanting something to eat, friends, neighbours, delivery men or young graduates looking for a job. Soon, Agüero turns the tables on them and asks his guests whether he may be their guest and accompany them to their homes, setting out on excursions into dangerous parts of town and lives: corrugated iron shacks, drugs. shootings. A journey from the inner world of one’s thoughts into the outer world of the present. Read More »

Raoul Ruiz – Klimt [Director’s Cut] (2006)

Ruiz, in an a propos to the film: ‘Above all this film should not be seen as a biography of the painter Gustav Klimt (what these days we call a ‘biopic’). It is indeed a fantasy or, if you prefer, a phantasmagoria, a fresco of real and imaginary characters revolving around a single point of focus: the painter Klimt. You see images in the film as if it were Klimt himself who is seeing them. Or rather who is dreaming them. Because this film will be a daydream: exuberance of colours, distortion of space, extreme complexity of camera movements. It would take too long to explain the processes I intend to use in order to record this era, one of the richest, most contradictory and most disturbing in the history of humanity.’ Read More »