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.
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One of the weaknesses of the two 'Blind Owl' movies is that they presuppose a familiarity with the text. A truly great movie about this book would give you more insight to it. Ruiz layers the movie with metaphors, and movies within movies. Ideally they should make you want to read the book. The book is considered a masterpiece, but there's a caveat in that it caused people to commit suicide. Another 'Gloomy Sunday'.
Saw it projected at Lincoln Center, with a set of subtitles on Butcher paper underneath the screen, and man was that a treat. Really fun chiaroscuro in some bright blues and yellows. Ruiz commits to surrealist film tropes, certainly, but at his best (and he has many "bests") it never feels like regurgitation. 4:3(ish?) ratio, Orientalism - a surrealist von Sternberg.
A weirdly theatrical, grimy, onirical, uncomfortable and really personal adaptation of Sedag Hedayat's masterpiece about existential despair and the modern experience of chaos. If you like Ruiz's filmography in all its stranginess you won't be disappointed.
Bewitchingly organized and stylized-- would require more viewing for me to decide if it's good or not. But then again, Luc Moullet wrote this in a highly favorable review: "I've now seen 'The Blind Owl' seven times, and I know a little less about it with each viewing."