生活如梦 (1987)

It takes as its starting point two plays by the Spanish Golden Age dramatist
Calderón de la Barca, which Ruiz had directed on the stage; both of which were
called Life is a Dream and tell the same story but in different ways. The original
plays concern the son of the King of Poland, who has been imprisoned by his
father because it is predicted that he will depose him. One day the king orders
the sleeping son to be brought to the palace and given to believe that he is king
for a day, causing his son to be confused about what is real and what is a dream.
In Ruiz’s film, a literature teacher has learned by heart the names of 15,000
militants opposed to the military junta in Chile by memorising Calderón’s play and
using it as a mnemonic device. When he is captured, he has to forget everything
so as not to betray his comrades, but ten years later he tries to recapture his
memory by visiting a cinema showing a film based on Life is a Dream. Ruiz uses
this setting to explore a complex set of relations dealing with memory and the
layering of reality. The film is also about the experience of cinema, as the virtuality
of the film is confounded with the materiality of the cinema auditorium,
which becomes a place in which the story is enacted. For instance, characters on
a train, whom we at first take to be part of the film the teacher is watching, are
revealed to be on a model train set that runs around the cinema, in which other
strange things occur: birds fly around the auditorium and a Western shoot-out
takes place across the seats.

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