簡(jiǎn)介:This mystical short film has a narrator telling us about a "strange philanthropical secret society" that has been in existence for seven years at a certain building. Its members, Philokinetes, devote their energy and money to studying and promoting a fragment of film they call 'The Film to Come'. The fragment runs for twenty-three seconds and is in a loop. Thus projected, it can last for hours, days, even years. Apparently, after viewing this fragment one can become somewhat enlightened, and in a deep hypnotic state, brought about by over-repetition of the revealing fragment. As the narrator says: "Once you reach this state, you can see, so they say." The next section of the film is a watershed: for the narrator is now a different voice and telling us that the fragment has been stolen and the Philokinetes were now in a deep identity crisis. There is a large book of apocryphal wisdom shown called 'Double Book of the Dancing Mysteries' that the sect read. Knowledge derived from this book of "mumbo-jumbo and untruths" leads the Philokinetes to believe that cinema had a life independent to humans. Cinema, they said, is "the primeval soup of a new life form. Therefrom were to emerge pure screening creatures, or non topical beings. Vast sets of loops, from which everyone would own a short endless return to self." Later the Philokinetes claim that the lost fragment was found by the narrator's daughter, an event which sparks off feasts and banquets which lasted for weeks. The narrator's voice changes again as he dies whilst overlooking two priests undergoing a solemn leafing through the Double Book, after they have took a vow of illiteracy. The narrator's soul has now run away to a cinema, but more importantly, it had become a part of the fragment entitled The Film to Come.Shot mainly in black and white, Ruiz's familiar shooting style and camera angles are evident in his esoteric and interesting nine minute film.
簡(jiǎn)介:man walks through the city with a suitcase. Inside of the case is a man much smaller than he. When the one carrying it grows weary, he stops, climbs into the case, and the other one takes over.
簡(jiǎn)介:"Raul Ruiz filmed the gardens of the Chateau de Versailles. The first one, French, focuses on the King's Square (a space where everything is arranged in order to be seen). The other one, English, is the exact opposite, because from any point within it, one falls out of view. Within these two constructions, the labyrinth and the concentric circles, Ruiz conceives a 'photo-roman' plot: a husband and his mistress rendez-vous in the English garden (one understands why) and, through a series of accidents and afraid of being seen, he relocates to the other garden. There he runs into his wife who is with her own lover, into the ex-husband of his wife who is with his new mistress, and into the new lover of his ex-wife.... We never see this husband. It's the camera that creates the fiction. It oscillates between the desire of being at the center of the scene, well in view and filming (viewing) without being seen. In Ruiz, when the camera "marries" the point of view of a character many "divorces" come into perspective. Between the two elements ('les deux lieux (communs)'), between the picture (the gardens of Versailles) and the plot (the voice-over), the camera is the object and the subject of continuous quarrels."- Charles Tesson (Cahiers du Cinema 333 - March 1982)