We are in Santiago, Chile, in a bar. Two old men talking and drinking. It seems that one of them is writing a novel. In bizarre conversation, they speak of themselves as if they were already dead while the would-be novelist, Don Federico, dips match sticks with tweezers into his wine glass. A curious strangeness settles in… where are we, exactly? In the kingdom of the dead? Not quite. At most, in a previous life or in memory. For Don Federico begins to evoke the days of his youth back when he lived in the country.

1.04GB | 1h 27m | 640×384 | avi

https://nitro.download/view/3E80E4A96046EED/Ruiz_Raoul_-_Dias_de_campo_(2004).avi

Language(s):Spanish
Subtitles:Italian (hardcoded)

The post Raoul Ruiz – Días de campo AKA Days in the Country [Rai3] (2004) first appeared on Cinema of the World.

Quote:
For more than twenty years the films of Ruiz have led us into the fields of uninhibited delirium, free associations, and intricate games of collage. Ruiz, paying no heed to conventions, leads his audience into a labyrinth without a map, without warning and without an Ariadne allowed to help them retrace their steps. “Regulars only” seems to be the imperative which thrusts us into his creative world. However, it is a playful attitude that he proposes. Labyrinth, yes, but devouring monster, no — except the one we assemble ourselves from the fragments of mirrors that Ruiz has left scattered on the road. These fragments, their selection and random order, is indeed the art of Ruiz.

Quote:
Cofralandes, part three: Museums and Clubs in the Antarctic is a title that indicates a sort of joke: in fact, everything in the piece seems to happen in Northern Chico and in La Serena and its surroundings, although there are also scenes in Santiago and some images are set in London. But that does not matter much, since the spectator has been placed in the classic predicament of seeking landmarks has abundant work to do just to grasp the sprawling images in order to give them a minimal sense that will allow at least the prospect of a laugh, though it will be difficult to go beyond a bemused smile. Chapter 3 of Cofralandes seems to hide more twists and turns that the previous chapters and not all of them lead nowhere. Rather it is an enjoyable maze with dead ends and unexplained inconsistencies, even more poetic [than previous chapters]. There are plenty of nods to Creole culture, a visit to the Sandwich Museum brings Javier Maldonado, a regular performer Ruiz, to preside over a choir with a penitential litany that seems written by Nicanor Parra. But the sequence of clues [linking these disparate sounds and visions] is too knotted, as if the key [to the labyrinth] were three decades out of date. The suggestive scenery, music, and brilliant photography rough out relations between inside and outside: the desert and bedsheets; storms and shadows; trains that are described as something else,; Violeta Parra singing “The Words Redoubled,” a succession of rhymes whose primary purpose is more verbal play than realistic significance. Just what the Cofralandes series aims for: a game for the fun of it.

861MB | 1:05:00 | 656×480 | avi

https://nitro.download/view/2639409FB9AEFB5/Cofralandes,_tercera_parte_Museos_y_clubes_en_la_region_antartica_yogyamada24fps.avi

Language:Spanish, French
Subtitles:Spanish hardcoded subtitles for some French

The post Raoul Ruiz – Cofralandes, tercera parte: Museos y clubes en la región antártica (2002) first appeared on Cinema of the World.

Quote:
A people’s court dictates that a laborer kept some tools for himself and thus deserves derision. “But, can’t we improve?” he asks, without blushing, at the moment they decide his expulsion. The story of the laborer that becomes more and more conservative runs along with another one about a conservative publicist who thinks he can foresee a solution by embracing the revolutionary cause; and what relates both reverse paths is Raúl Ruiz’s systemic pleasure for paradoxes. El realismo socialista is not a politic film but a film about politics, rough and uncomfortable in its will to demolish mythologies at the time they were being generated. These 70s Ruiz is showing are not only not glorious, but he’s also guessing they never will be, almost prophesizing the end of that (fake) utopia, all in this film that works as a parallel story to the great Palomita blanca. Oscillating between documentary record and fiction –the concept key reveals itself, or closes the film’s door, towards the end–, and with a notorious use of improvisation, Ruiz seems to confirm what he once said: “The problem with an iron script is that it gets rusty”.

https://nitro.download/view/855389C599FDE31/Socialist_Realism_(Raul_Ruiz,_1973).mkv
http://nitroflare.com/view/0737D9AD84FCD8B/Socialist_Realism_%28Ra%C3%BAl_Ruiz%2C_1973%29_-_eng_03.srt

Language(s):Spanish
Subtitles:Dutch, French (both hardcoded), English srt

The post Raoul Ruiz – El realismo socialista AKA Socialist Realism (1973) first appeared on Cinema of the World.