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 »
Manuel's fantasy travel through Time goes from Long Ago (Episode 1 - O jardim proibido / Le Jardin interdit) through Now (Episode 2 - O pique-nique dos sonhos / Le Pique-nique des rêves), ... See full summary »
Ruben de Freitas,
In "Landscape Suicide" Benning continues his examination of Americana through the stories of two murderers. Ed Gein was a Wisconsin farmer and multiple murderer who taxidermied his victims ... See full summary »
In an early 19th century African village, Wend Kuuni - a young man, lives with his adopted family after his mother was killed as a witch. When Pughneere - his adopted sister - becomes ill, ... See full summary »
A man paves his own way to his own soul through an intellectual quest, tragedies of nations and personal drama. The road moving through the cosmic distances is a flight into one's internal ... See full summary »
It is hard to imagine a more radical fusion of form and content than what is on display in Dog's Dialogue (Colloque de chiens), among the earliest films the late, great Raúl Ruiz made in France after leaving Chile in 1973. Though inspired by Latin American photo-novels, this sensational tale of murder, lust, suicide and personal and sexual identity suggests nothing if not the most dramaturgically baroque of Fassbinder films (the effect, perhaps, is only heightened by the use of academy ratio and, well, authentic-looking stylings). Yet it is told primarily through (dry) narration over a slideshow of still images, as if Ruiz were paying homage to Chris Marker and La Jetée (1962), which utterly dissolves the inherent melodrama of the content, before reinstituting it with a modernist edge.
Only about twenty minutes long, the film opens with a few live shots of barking dogs—a visual motif along with similarly rendered shots of banal streetscapes, echoing the claustrophobic circularity of the narrative—before a still of a few girls in a school playground is accompanied by the narrator intoning, "The woman you call mum isn't your mother." A variation of this line will close the film, which also contains a number of textual and dramatic repetitions (Ruiz: "I cut out various phrases and made a new story in which the same phrases were repeated in relation to different events. It runs through several times but is always the same phrase that recurs. This is the whole trick"). Shot by future Assayas mainstay Denis Lenoir and featuring Ruiz's first collaboration with the Chilean-born composer Jorge Arriagada, this surprise winner of the French César for Best Short is one of the most rigorous yet satisfying Ruiz films I have seen to date.
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