A father (Michel Piccoli) is scheming to have his slightly mental daughter from an earlier marriage (Elsa Zylberstein) killed by allowing a murderous psychopath (Bernard Giraudeau) to be ... See full summary »
At a wake one night in 1945, a group of aged women recall the life of one of their number. Sixty years before, Thérèse was barely 20 years old when she eloped with her boyfriend, Firmin, a ... See full summary »
Set in 1973 during the coup d'etat in Chile, Max recalls his encounters in London during Worl War II with French aviator Antoine, a childhood hero he first met in his native country one ... See full summary »
Come to the Village of the Dogs, it's easy to find. Just follow the avenue of crutches and the prosthetic legs hanging from the trees. It's where the Virgin Mary keeps appearing in the sky.... See full summary »
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.
Following a brief hug, but intense, the table set for the wedding is messy. The bride is short restyle, while the man puts the cards without respecting the plan table. Chance will he good things? Or will he lend a hand in fate?
"When the legend becomes fact, print the legend ."...
...or so-in French translation- said the father of William James III (no relation), says William, alias Pee Wee Crane, pulp novelist, who sitting in a restaurant hears invisible diners (mis)tell his own story. Most of the film is a flashback- the others' version, William's version, a mixture of both?- we can't know.
William has broken his promise to his wife, Anne-Marie, and gambled again- this time successfully. They go to what he has won; an estate- in Patagonia in 1925 we eventually learn- where the inhabitants are Austrian by birth but insist on speaking French, where the fact that William now owns it makes no difference to the original inhabitants (who aren't very concerned about whether they are dead or alive either). Slowly and formally a strange and mysterious ghost story emerges. It is sumptuously and elegantly filmed, with events taking place off-screen or behind the camera, relishing oddities and absurdities and finally an epilogue ties it all together in an arbitrary but logical way- a characteristic Ruiz film, which recognises it is a film and relishes it too.
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