Richard III (1986), an unrealeased film by Chilean film-maker Raoul Ruiz, inspired from Georges Lavaudant’s theatrical production in Avignon (1984), offers an original perspective on a Shakespearean universe threatened by crisis, doubts and disintegration. Whereas the other two recent adaptations of the play, that of Richard Loncraine in 1995 and that of Al Pacino in 1996, make for simplicity, clarity and even perhaps pedagogy, Raoul Ruiz’s version is obscure, elusive and unfinished. Taking his cue from Richard of Gloucester, a distorted character who is prone to distort the world around him, Raoul Ruiz creates a disproportionate, unstable, heterogenous universe. He explores the aesthetics of deformation, insisting on artificiality through a gamut of cinematographic devices, special effects, colour filters, light effects and a complex choreography of camera moves, in order to remind us that the image on the screen, like the world itself, is but a lie. —societefrancaiseshakespeare.org
Chilean filmmaker Raúl, or Raoul, Ruiz (1941-2011) was one of the most exciting and innovative filmmakers to emerge from 1960s World Cinema, providing more intellectual fun and artistic experimentation, shot for shot, than any filmmaker since Jean-Luc Godard. A guerrilla who uncompromisingly assaulted the preconceptions of film art, this frightfully prolific figure – he made over 100 films in 40 years – did not adhere to any one style of filmmaking. He worked in 35mm, 16mm and video, for theatrical release and for European TV, and on documentary and fiction features and shorts. His career began in avant-garde theatre where, between 1956 and 1962, he wrote over 100 plays. Although he never directed any of these productions, he did dabble in TV and filmmaking in the early 1960s. In 1968, with the release of his first completed feature, the Cassavetes-like Tres tristes tigres (1968… read more
Jorge Arriagada’s collaboration with Raúl Ruiz is one of cinema’s most fruitful, varied and extensive composer-director partnerships.