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A wild short made as part of a filmmaking workshop that Raúl Ruiz ran in Bogotá in October 1993.
Absurdist short about a man with a suitcase and a man inside that suitcase.
Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.
The tragic story of the many lives of Father Dinis, his dark origins and his pious works, and the different fates of all those who, trapped in a sinister web of love, hate and crime, cross paths with him through years of adventure and misfortune in the convulsed Europe of the late 18th and early 19th centuries. (A longer television version of the film of the same name, released in 2010.)
Now Titus' father has died, the new emperor will be free to marry his beloved Bérénice. Also In love with Bérénice, Titus' friend Antiochus plans to flee Rome rather than face the marriage. However, public opinion about the pairing causes Titus to choose his duty to Rome over his love for Bérénice, and he sends his love rival to tell Bérénice the news...
Régime sans pain, influenced by (Ruiz's) friend Jean Baudrillard (and calling) to mind grade-Z SF, grew out of a commission to direct a music video (featuring French cult rock duo of Angèle/Maimone). Ruiz offered a counterproposal that he direct several music videos rather than one; once this deal was made, he shot enough material to interconnect the various videos until he arrived at a feature.
Collaborative experimental project on which three director made different films about the Swedish icebreaker "Frej".
In early 1920s France, an author, lying on his deathbed, looks at various photographs and is flooded with memories of the people and events that have shaped his life.
This three part French TV serial for children (alternate versions exist as a feature, Manoel’s Destinies, and a 4 part Portuguese TV serial, Adventure in Madeira) is the favourite of many devotees of Raúl Ruiz. This is because it ties the enchantment and mystery of Lewis Carroll, Carlo Collodi and the Brothers Grimm to the filmmaker’s experiments with narrative strategies and what he calls the pentaludic model of storytelling (where characters are thrown dice-like into combinations and situations governed by the play of Chance and Destiny).
In 1978, Ruiz was commissioned to make a television documentary about the French elections from the viewpoint of a Chilean exile in Paris’ eleventh arrondissement. But, contrary to the producers’ expectation, the Left lost. Ruiz seized on this anti-climax to make a documentary about nothing except itself – a film whose central subject is forever lost in digression and ‘dispersal’, harking back to his Chilean experiments of the ‘60s. Its political content is deliberately left negligible: it’s hard to tell at the end who did actually win the election, let alone why.