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.

"With this film I returned to the world of Tres tristes tigres, to some people, in this case writers, who live in their own reality and believe that it is, in fact, Chile." - Raul Ruiz
A group of young writers sell their soul to the devil. It is a film about the meaning of isolation and a certain megalomania that developed in Chile during the government of Eduardo Frei. The version RAI originally broadcast [black and white, 45 minutes shorter and until now the only one in circulation] was made by cutting everything out that makes allusion to the political context and makes the characters real. The story was not the most important thing: the most important thing was the speeches that were around the story, which is one of the themes of modern cinema.

Ombres chinoises was produced for the French TV magazine Juste une Image, a monthly show which in its almost three years of production cataloged all kinds of visual experimentations: from Muybridge to the latest computer animation of the New York Institute of Technology. I.N.A. asked for Ruiz's participation for the April 1982 show. He decided to produce Ombres Chinoises (probably a project that was wandering in his mind long before), a catalog of dramatic situations acted out by Chinese shadows with voice-over narrations. Nothing comes closer to the Ruizian aesthetics.

"Raul Ruiz filmed the gardens of the Château 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)

Une commande de film sur les élections législatives dans le 11e arrondissement de Paris vues par un exilé chilien devient prétexte à une réflexion de Ruiz sur le cinéma documentaire.

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 Salvador Allende's election as president of Chile, it documents the political and social tensions created by the electoral success of a Marxist-led coalition, an unheard of event in world politics. Written by Roberto Castillo

After his father's death, a Parisian medical researcher returns to a region of Portugal to deal with part of the family legacy - a prosthesis factory owned by an old family friend. He finds the factory owner and his wife "possessed" by the local Marquis and finds himself constantly accosted by all sorts of supernatural manifestations.
In this mystical comedy, Felicien has traveled to Portugal from France soon after the end of the First World War. It seems that his recently deceased father had invested a lot of money in a factory located in a remote village, and he has come to evaluate that investment. He gets some clues to the real situation in the town when the man driving his coach refuses to go any further and leaves him on a section of road which is practically paved with abandoned crutches. After a short trek, he meets up with the local dignitary who is to show him around, and he meets a priest and an artist. The priest gives a further clue to the events taking place in the village when he indicates that he's completely exasperated with the endless miracles that seem to be taking place. From that point onward, amazing coincidences, visions and miracles take place in great numbers.

Pierre, a middle-aged tourist guide, is the victim of a sudden failure : he does not recognize anything about him any longer. He goes back home and in his apartment he finds a mysterious young man who tells him he is here to avenge a young woman who has taken her own life. What share of responsibility does Pierre hold in this situation?

Two insomniacs,a peeping tom teacher and a hunch-backed boxer,meet one night on the Alma bridge.They watch a couple who takes a walk on the banks of the Seine:the woman is pregnant.Some time later ,they meet up with her again and rape her.She commits suicide.Both criminals abuse other victims ,including a doctor's patient.This physician was their first victim's husband. （IMDB）

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.

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 morning in 1932 and who initiated him to the wonders of aviation.

The movie is a story told quickly through a series of stills, as in , with quavery synth music and dry French narration..

1983 film by Raúl Ruiz

A drama centered on an office worker on the verge of retirement who begins to relive both real and imagined memories.

这是一部关于画家克林姆的虚构传记电影。
在十九世纪末的奥地利，克林姆（约翰•马尔科维奇 John Malkovich 饰）是一位特立独行、创新大胆的画家，他是奥地利“维也纳分离画派”的奠基人。克林姆对性和女性的裸体之美做出了大胆的描绘，对于外界的质疑和争议报以强烈的讽刺和不屑态度。在1900年的巴黎博览会上，他的画作被当时的文艺界所肯定。因一部电影，克林姆爱上了女演员莱雅，后被莱雅邀请去做客。不久家中老仆的女儿向他诉说爱意，并告诉他曾怀过他的孩子。而另外一位女伴米缇也对克林姆欣赏有加。爱慕克林姆的女人很多，她们是他的模特、情人，而正因为如此，才促使他在艺术上毫无顾忌的追求和创作。

在小男孩卡密尔的九岁生日当天，他原本期待母亲会陪他出去玩耍，但是忙碌的母亲没有赶上和卡密尔约定的时间，当他们终于碰到面，母亲愕然听到小男孩说：请带我去找我真正的妈妈。

本以为是小孩子的别扭情绪，却在卡密尔的指引下，找到了小男孩的另一个母亲，一位两年前遭逢丧子之痛的小提琴教师，教师称男孩为保罗，为他张开了欢迎的臂膀，小孩也自然而然地接受了他的新身份，一切似乎都是理所当然，彷佛她才是小男孩真正的妈妈。随著故事开展，种种不可解的迷团渐渐有了些头绪，真相到底如何？

A man's wife commits suicide and appears to him as a ghost. The ghost follows him everywhere – under the bed, under tables… After seeing the ghost so frequently, the man begins to resemble her.

A follow up to Jean Vigo’s short 1930 documentary A propos de Nice, A propos de Nice, la suite (1995), is really a collection of seven short documentary films combined into one feature.