Quote:
Ombres chinoises was produced for the French TV magazine Juste une Image, a monthly show which in its almost three years of production cataloged all kinds of visual experimentations: from Muybridge to the latest computer animation of the New York Institute of Technology. I.N.A. asked for Ruiz’s participation for the April 1982 show. He decided to produce Ombres Chinoises (probably a project that was wandering in his mind long before), a catalog of dramatic situations acted out by Chinese shadows with voice-over narrations (depositio: actually, as Torrent notes below, these are only voiceovers in the technical sense. The “tragic situations” are represented through shadow, puppetry, and dialog not narration). Nothing comes closer to the Ruizian aesthetics. After the first dramatic situation, titled “enigma,” a panel reads:

Gozzi affirmed that there are only 36 tragic situations. Schiller tried very hard to find more of them, but he found less than Gozzi. ~ Goethe.

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https://nitro.download/view/CABA7BBEE309032/Ombres_chinoises.mpeg
https://nitro.download/view/0DE2E6D86657A21/Ombres_chinoises.en_v3.srt

Language(s):French
Subtitles:English

The post Raoul Ruiz – Ombres chinoises (1982) first appeared on Cinema of the World.

Quote:
A parody of anthropology, linguistics, and cultural imperialism. The film follows an unlikely team of linguists into the wilds of an ersatz Patagonia to study the last speakers of a dying language. That language apparently consists of a single word, which therefore means everything.

Quote:
At one level a parody of contemporary Western man’s remoteness from the pre-industrial Third World, the film is no less a comedy about the anthropological peculiarities of his own tribal customs, intellectual and otherwise. But this theme in turn is intermittently interrupted or at least complicated by purely visual explorations in colour, composition, perspective, texture and camera placement which pursue the language theme through formal metaphors. link
JONATHAN ROSENBAUM
January 01, 1990

2.91GB | 1h 36mn | 1920×1080 | mkv

https://nitroflare.com/view/E1865763FDDAB04/Het.dak.van.de.Walvis.1982.1080p.WEB-DL.AAC2.0.H.264-KG.mkv
https://nitroflare.com/view/CDC46DE046257B9/Het.dak.van.de.Walvis.1982.1080p.WEB-DL.AAC2.0.H.264-KG.srt

Language(s):Dutch, French, English
Subtitles:French – hc,English

The post Raoul Ruiz – Het dak van de Walvis AKA On Top of the Whale (1982) (HD) first appeared on Cinema of the World.

Quote:
This film is one of Ruiz’s greatest. Once, I read, with his film Ruiz pay tribute to Jean Luc Godard’s Le Mepris. So then, I asked Ruiz (Santiago, 2005)… You were influenced by this Godard’s film… ? – which film ? – … This film Le Mepris with Jack Palance and… your film features same kind of music (Georges Delerue’s music is an actor in Le Mepris, and as far as I can feel Jorge Arriagada composed great music for Ruiz’s film, but does not top Delerue’s), (…) close atmosphere, and two languages… – more than two languages ! – (answered Ruiz). Yes, you are right (…), and then Ruiz goes : “Probably I took it from there”. So, as far as art form and influence is concerned we are aware where inspiration is coming from. This being said, to fully understand visions, dreams, ideas we must try to relate to Ruiz background. Ruiz spent half his life in Chile, and the other half in France. Then he is American and European, extremely cultivated man, with socialist roots, being able to share a sophisticated humor. We may say this film is “Realismo Magico” at his best (allow me to describe it as ‘dreaming in real time’…). Garcia Marquez, the Nobel Prize winner, developed the style in that great novel “Hundred years of Solitude”, where he set the parameters to study America’s fate and the Human Condition. All this; is, somewhere, in Ruiz mind. Therefore, in 1980-1982, nothing better than starting a film assuming hilariously that the Soviet Union expanded so much that finally it included Holland, nice joke, very Ruiz, but History proved he was wrong. The film stars here with comrades meeting in Holland. An anthropologist is introduced by his wife to this Chilean communist millionaire, a contradiction in terms, who invited them to his property in Patagonia where are living the two last Yachanes Indians, their ancestors decimated by colonialism and imperialism, the point where the film meet actual History. This is the reason why Ruiz was right, the film was shot in six different languages : English, French, German, Dutch, and the interesting Indian language. In Patagonia Ruiz counterpoints European culture with American culture, in particular with Indian culture, this is the climax of the film where contradictions, dreams, visions, frustrations, prejudices, barbarism, individualism, imperialism are exposed and denounced. The anthropologist left in confusion just to return and realized his wife, Eva (!) is in a relationship with Narcisso, the millionaire; while Adam and Eden (!), wasting not even a minute, have read Hegel; learned French and German; listened Mozart and Beethoven, and being able to develop theories about them all (!) becoming even opinionated… “Hegel was a nice guy”, “I do not like Mozart, he was a reactionary, I like Beethoven”, this scene is just truly amazing and brilliant, the sarcasms and message is : Europe is everything, we are nothing. Now, everything you have in mind, regardless of roots, etc. ; what it counts, is it coming from Europe. Ruiz takes distance, he smiles (he is ironic), the film is over, the idea is plain, self-evident… “No matter what, Chile will always be juice”, said Ruiz in an interview. Culturally and linguistically, what is valid for Chile is valid for America as a whole, and Europe still is, somehow, far away, distant, rather cold, nihilist, attractive and one day, who knows, even Socialism will prevail over there… 9/10

894MB | 1:36:13 | 560×416 | avi

http://nitroflare.com/view/B8322616A2DD70D/On.Top.of.the.Whale.1982.XVID.VHSRip.KG.avi
https://nitroflare.com/view/313EF49821A2795/On.Top.of.the.Whale.1982.XVID.VHSRip.KG.srt

Language(s):Dutch, French, English
Subtitles:English

The post Raoul Ruiz – Het dak van de Walvis AKA On Top of the Whale (1982) first appeared on Cinema of the World.

Quote:
A peeping-tom academic (Michael Lonsdale) and a hunchbacked prizefighter (Jean-Bernard Guillard) find nocturnal rapprochement in their shared inability to sleep. Bottomless philosophical discussions take the men further afield of reality, and they eventually decide to rape a pregnant woman named Violette (Olimpia Carlisi), who then throws herself into the Seine—only to return time and again in new, horrifying forms, including the spectral visage of her son (Ruiz’s child alter ego Melvil Poupaud). One of the director’s most confrontational visions, The Insomniac on the Bridge is a barbed avant-garde meditation on trauma, rationalization, and delirium—an underside that Ruiz, as always, reminds us is clinging to the crust of day-to-day reality.

561MB | 1h 13mn | 720×542 | mkv

https://nitro.download/view/25446E3A4607364/Insomniac_on_the_Bridge_(Ruiz,_1985).mkv
http://nitroflare.com/view/24A036A78A50106/Insomniac_on_the_Bridge_%28Ruiz%29_resync.srt

Language:French
Subtitles:English

The post Raoul Ruiz – L’éveillé du pont de l’Alma AKA The Insomniac on the Bridge (1985) first appeared on Cinema of the World.

Synopsis:
‘A lush, baroque adaptation of Jean Racine’s 1670 tragedy about a Roman emperor who bends to popular will and declines to marry the Palestinian queen he loves.’
– IMDb

‘Abandoning his project of filming the collected works of Racine on Super 8, Ruiz produced this remarkable piece of ‘theatre on film’ in collaboration with the Avignon Festival. On screen, the absolutely remarkable actors read the text, nothing but the text, and almost all the text of Bérénice. The light modernisation does not turn it into a pretext for a familiar Ruizian rebus. He opts for, simultaneously, great unity and great richness: every scene invents a new effect, a new way to play the scene, but the aesthetic of shadow and light gives it overall unity. Ruiz chose Bérénice precisely because it is the only Racine tragedy that doesn’t end in slaughter. And yet the characters are presented as spectres, ‘dead souls’. This beyond-the-grave ambience relates to an ambiguity some have detected in Racine: the possibility that the characters are already dead. If one takes play and film together, everything occurs as if the drama has already played out, and we are witness to its post-mortem re-presentation. Bérénice is about an impossible meeting, impossible harmony: a tragedy of closing doors. Ruiz’s typical intellectualism is ghosted here by an unexpected lyricism; rarely has his work attained such heights of emotion.’
– Olivier Curchod

https://nitro.download/view/5386B3419732769/Berenice.1983.DVDRip.x264.AC3.mkv
https://nitro.download/view/6E749567649ECFD/Berenice_(1983).srt

Language(s):French
Subtitles:English

The post Raoul Ruiz – Bérénice (1983) first appeared on Cinema of the World.