Marcel Proust (1871-1922) is on his deathbed. Looking at photographs brings memories of his childhood, his youth, his lovers, and the way the Great War put an end to a stratum of society. His memories are in no particular order, they move back and forth in time. Marcel at various ages interacts with Odette, with the beautiful Gilberte and her doomed husband, with the pleasure-seeking Baron de Charlus, with Marcel’s lover Albertine, and with others; present also in memory are Marcel’s beloved mother and grandmother. It seems as if to live is to remember and to capture memories is to create a work of great art. The memories parallel the final volume of Proust’s novel. –IMDb
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
Ruiz conjures an exceedingly handsome reverie - technically but also emotionally, while densely (and deftly) surreal. If it’s to be marked down for anything, the consciously fragmented (nevermind sustained) nature of the Proustian dreamscape works as both a blessing and a curse for a layman. But the sheer luxury of its framing just as well proves too ravishing to resist for an aesthete.
Only Ruiz could bring Proust work alive on the screen. Beauty and elegance at every turn of the camera.
Reminiscent of Eternity and a Day, Time Regained is a poignant film and a delightful experience through the numerous paths of one's life. A foray into memories engulfed by all of life's senses. Universal and charismatic. One of my favourite films of his without doubt.
This film is another reason why I should watch more of his films soon. But to respond to your question I have seen The Hypothesis of the Stolen Painting which was mesmerizing and some of his short films as well with a special mention to Colloque de Chiens, a short film with the same 'photographic' style' as La Jetée, that has a peculiar haunting fragrance to it which came back to mind recently, hence the reason why I watched Time Regained now.
I just LOVED this film. It's mystifying, melancholy, haunting... The music, the perfect cinematography, not to mention the period reconstruction, make it just perfect. Emmanuelle Beart might prompt me to change my sexual orientation, she's that perfect!
A statement by Ruiz on his “last movie,” La noche de enfrente, and a moving article about Ruiz written by the film’s producer.
On Ruiz’s lesser known 90s work in America, his masterful book “Poetics of Cinema”, doublings, and his famous adaptation of Proust.
Jorge Arriagada’s collaboration with Raúl Ruiz is one of cinema’s most fruitful, varied and extensive composer-director partnerships.
Le temps retrouvé, d’après l’oeuvre de Marcel Proust 1999 Raoul Ruiz’s gorgeous and meticulously mounted riff on the final volume of Proust’s monumental tome in which Marcel is granted… read review