I have to give this picture the benefit of the doubt in that I recognize both the experimental form and whimsical composition as excellent but could not find myself the least bit interested. As in a dream, the film's world doesn't operate logically and can be difficult to follow, a structure built entirely on a soup of memories. Giving yourself over to the story is advisable.
Latin-American magic realism with the shadow of Bergman lurking in the background. As if Gabriel García Márquez had written Wild Strawberries. A few echoes of Bunuel as well. A bit too slow moving and self-aware for my taste but ultimately still worth the time.
Completely emotionally unconvincing at every moment. Beyond that, he's definitely got an aesthetic; I just can't stand it-- it's like a cross between avant-garde community theater and soap opera (minus the tension). It does have a couple nice thoughts and lines, though. Not awful so much as just dead in the water.
Easily the most under-appreciated director of all time. Prolific, and yet none of his films appear on the TSPDT 1000 best films of all time. I've seen some crappy prints out there of his work, and so it's nice to see such a great print. So thank you, MUBI, and let's get some more of his films here.
Beautifully shot using faint lights and a profound sense of nostalgia, this surrealist film wouldn’t make Buñuel or Fellini ashamed of its haunting inaccessibility. Review and rating: http://alwayswatchgoodmovies.blogspot.com/2013/09/night-across-street-2012.html
Like fallen leaves in an autumn breeze, memories tumble through the mind of an old man awaiting death. The final film director Raul Ruiz made before his death, NIGHT ACROSS THE STREET is a warm, comic, loving look at life in the rear view mirror. Elegiac but accepting of death, it is a striking, dreamlike slideshow of a man's life flashing before his eyes. A lovely and fitting swansong for a great career.
Further proof that our older filmmakers are more in tune with the digital age than our younger ones. Ruiz's use of green screen, digital camera, and even fuckin' treadmills are admirable and put to use with intent. Ruiz and his contemporaries come from a tradition of film, that hands-on practice, and because of it, know how to treat the new mediums.