A quite succesful update of the bunuelesque surrealism, although apart from the few scenes in the present time nothing indicates that this film was made after 1970s. Great fun anyway, with better oneliners than in any American action comedy, and occasionally the discussions are genuinely philosophical, a rarity in cinema. Classify as intellectual entertainment.
Le récit est une piège: j'ai adoré le cadre du dispositif narrative, le jeu des parties et les personnages, les histoires combinatoires qui se se mêlent dans l'espace-temps. Il m'a obligée à m'engager dans cette ambiance surréaliste et défiée de rêver en errant comme une somnambule aveugle dans le domaine de l'imagination, voir, du désir. Tout à fait 'perturbante'.
Ruiz followed up his adaptation of Proust (Time Regained) with this similarly constructed non-linear film written by the director himself. Ruiz lays out his intent in the opening telling us he will be telling nine stories and then proceeds to obliterate any continuity within his fabulous vision. Like a Mobius strip the film folds back on itself and though it might be futile looking for purpose or meaning its wondrous
Yet another amazing surreal fantasy by Ruiz - a series of overlapping and ever collapsing stories that give the unique feeling of a dream within a dream. It's a charmingly wild and confusing journey, and it reminds me so much of The French New Wave and the 1960s... Overall, while this film certainly deserves a second viewing, at the same time there's something tiresome here that makes me feel conflicted about it...
While Ruiz's movies are always big-brain'd endeavours invoking literary antecedents, LOVE TORN IN A DREAM, often feeling like a deck of cards that is constantly being maniacally shuffled, particularly seems to suggest filliation w/ writers of the Oulipo school, Georges Perec foremost among them. Though the eye and ear are constantly being excited, this is a movie of formidable cognitive rewards. Tied me in knots.
Contrary to what most reviewers think, this handsome film is far too cerebral for its own good and certainly visually flatter than what we usually expect from Ruiz. As a political allegory it bristles with cryptic and not so cryptica allusions, told in the usual oneiric format. I am afroad though that the galloping surrealism in this one does more damage than good. Worth watching, to be sure.
What a great romp. I found it tiresome, too, but in an interesting way, as I often feel when reading Borges. Borges's 'The Garden of Forking Paths'! I wonder if Ruiz really did start with characters who were assigned a letter and the story was invented sequentially according to the chalkboard combinations we were shown at several points.
It reminds me of Godard's experiments from around the same time(eg Hélas pour moi)--convoluted narrative and inventive imagery deployed to serve a series of philosophical musings and references. It's a film that demands multiple viewings but seems too exhausting to actually merit them. Still, it's not without it's goofy pleasures: apples that fall (just so) in an outstretched hand, predestination in an internet cafe.
Religions, secret orders and philosopher cults could be built from single shots of this alone. I suspect that watching certain Ruiz films in a numerologically ordained sequence as part of an ayahuasca ritual will unlock all the secrets of the universe to you (although, of course, within the epistemological treasure chest are treasure maps of infinite nesting). Blimey~ Ruiz really did carry the golden braid...
The most polarising Ruiz so far. I cannot tell if I loved it, or if I found its execution of the narrative quite tedious. When it gives you a bit of lee-way (is it someone in a coma?) there's more empathy for the characters. But it IS a confusing film. I think a second viewing will be very rewarding, if I can brave some of the more useless scenes.