The Narrator, an Arab immigrant about 35 years, H., is in an old cinema projectionist. One day, attracted by music, he looks through the window and sees what fascinates him: the dancer in the film catches his eye. He falls in love with her, but this vision only lasts a moment and the young woman does not reappear. Soon after, an old man bursts into the room and pretends to be his uncle. H. wants to prepare a meal for him and takes a bottle of oil. On the label he finds the image of the dancer. —lecinemaderaoulruiz.com
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
Three greats pass away, trailers for new Tarantino and Bigelow films, expansive thoughts on Brian De Palma, and a pre-Code classic in full.
Two recollections, one video essay and two short critical pieces on Raúl Ruiz.
Jorge Arriagada’s collaboration with Raúl Ruiz is one of cinema’s most fruitful, varied and extensive composer-director partnerships.