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A wild short made as part of a filmmaking workshop that Raúl Ruiz ran in Bogotá in October 1993.
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.
Absurdist short about a man with a suitcase and a man inside that suitcase.
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.)
A portrait of Austrian artist Gustav Klimt whose lavish, sexual paintings came to symbolize the art nouveau style of the late 19th and early 20th century.
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.
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.
If any single piece can act as a key to Ruiz, it may be the 1997 short Le Film à Venir (The Film to Come). The titular film is a holy fragment of celluloid that can only be seen by a secret society known as the Philokinetes. They watch it on a loop, somnambulating through a life that is unreal by comparison. It is the belief of the Philokinetes that film has an existence “independent from humans. Cinema, they said, is the primeval soup of a new life form. There from were to emerge pure screening creatures. Which is to say, non-topical beings.” - n+1
With his body now devoid of substance and able to fly, N. wanders looking for a way to return to life and reintegrate into the world.