Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, ... See full summary »
In Buenos Aires, the twenty and something year old Jewish-Argentinean Ariel Makaroff has left the University of Architecture and spends his time wandering through the downtown gallery where... See full summary »
Today, Camille turns nine. He had sworn that on his 9th birthday he would show his parents the videos he was shooting on the side-the tail of a cat scampering away, a window, and a veiled ... See full summary »
A crisis counselor is sent by the Catholic Church to a small Chilean beach town where disgraced priests and nuns, suspected of crimes ranging from child abuse to baby-snatching from unwed mothers, live secluded, after an incident occurs.
In a bar in Santiago, two old men talk over their past. This is a strange discussion. In fact, they talk of themselves as if they were dead. We don't know what is true or false, what is dream or reality.
A young working class girl falls in love with an upper class boy who is part of the plot to assassinate General Schneider, head of the Chilean Army. Set in the frenzied period after ... See full summary »
A small group of well-to-do vacationers go on a hiking trip into the woods. Foolishly unprepared to deal with Mother Nature and their situation, they wander around lost for days and weeks, ... See full summary »
Paul Getty Jr.,
Critical, radical masterpiece of the Chilean diaspora
Magisterial, droll low-budget work is the first film Ruiz made in France after fleeing the Pinochet dictatorship - and also the first feature film of the Chilean diaspora. Many in the Chilean exile community rejected the film for its allegedly 'light' handling of heavy subject matter (reactionary race/gender/class attitudes, party-political fundamentalism, torpor and corruption among the exiles); it has a comparable bite and feel to Ousmane Sembène's great political satire XALA (also 1975). Wonderful performances from non-actor exiles abound (particularly impressive as most takes last several minutes) but the standout is Sergio Hernández (who went on to play the lead in Ruiz's final feature, NIGHT ACROSS THE STREET, 2012) as the singer kidnapped by the exiles. Ruiz cited Mizoguchi as an inspiration for his play with spatial uncertainty in Parisian apartments, though anyone familiar with Godard's 2 OR 3 THINGS I KNOW ABOUT HER... (1967) will notice another master's Brechtian influence. Stylistically the film's rough edges recall Ruiz's NADIE DIJO NADA (1971) and PALOMITA BLANCA (1973) more than the elegant work he went on to craft in France and Portugal over the following decade.
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