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?

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.

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

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.

"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)

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.

"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.

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.

This is the first in a series of seven projected video essays (four of which were completed) that Ruiz was commissioned to make in 2002 -2003 for use among Chilean community organizations and broadcast on public television. Thanks go to yogiyamada for providing a rip from a superior source to the MPEG available on-line (see below). Cofralandes, the head-title for each of the segments of Ruiz's series, is taken from a song by Violeta Parra where it evokes the "land of milk and honey," the "land of Cockayne," the "green world" imagined by Gonzalo in The Tempest.
See also the excellent article, "Cofralandes: A Formative Space for Chilean Identity," by Alejandra Rodríguez-Remedi in Visual Synergies in Fiction and Documentary Film from Latin America, Miriam Haddu, Joanna Page, eds. (MacMillan, 2009), pp.87-103. The article can be read in its entirety on googlebooks HERE
（转自auess）智利狂想曲（Chilean Rhapsody）是智利/法国籍电影大师Raoul Ruiz拍摄于2001至2002年的纪录片作品，拉乌尔.鲁伊兹1941年生于智利小镇波多蒙第，19岁时开始独立拍摄电影短片和纪录片，从60年到73年间他拍摄了十几部反映智利贫苦人民生活的短片，纪录片以及长片，1973年，由于在影片《白鸽》中对智利政府和军队对百姓的欺压进行了尖锐的讽刺和批判，他因此被禁止再在本国拍摄影片并受到政府的通缉而流亡法国。
此后20多年间，鲁伊兹一直流亡在法国，荷兰，瑞士，德国等地拍摄了大量优秀的艺术电影和先锋电影，1979年，一部希区科克式复杂深奥的先锋电影《被窃油画的假设》为其第一次获得了国际影坛的关注，被评为当年的法国最佳电影之一，其后他在82年和83年接连导演的《鲸鱼之上》和《海员的三个王冠》，以其中悔涩难懂的哲学意义和对电影叙事结构方面的大胆突破和探索而大获成功，之后的《海盗城》被公认为80年代最优秀的先锋电影之一，成为最能体现鲁伊兹电影构图的实验风格的代表作，而鲁伊兹也在当年被众多评论家誉为是继戈达尔之后最具革新意识和创造力的电影大师。
自83年之后，鲁伊兹几乎每年都有一部甚至好几部作品问世，而且更难能可贵的是，其电影在艺术水平上丝毫没有下降，这使得他成为当时法国最活跃的电影人之一，但却始终漂泊在国外而无法回到祖国。
2001年，在其离开28年之后，60岁的鲁伊兹终于回到了故乡，虽然由于种种原因他依然无法在国内拍片，但他选择了一种最节省最独立也是最地下的拍摄方法，用一部手提DV拍摄出这部长达320分钟，分成四章节的纪录电影杰作，采用仿日记式叙述方法，纪录下导演个人回到本国后的一些感受和生活，反映出当代智利人民生活方方面面的真实现状，同时鲁伊兹又用其独特的电影创作手法，打破了时空的限制，将一些历史，现在和未来的画面交织融合在一起。这是一部眼光独特同时又在电影形式上极具创意的影片，这部作品同时是纪录片也是一部奇异的幻想电影，成功地把纪录和故事两种载体揉合在一起，创造出一个奇怪而又真实的世界，个人认为它绝对不比那些影史上最最经典的纪录片巨作比如《中国》或《愚公移山》的艺术水平差。
全片分成4个章节分别是《狂想篇：今天的智利》（82分钟）; 《人民篇：面孔与角落》（81分钟）；《历史篇：博物馆与俱乐部》（65分钟）；《文化篇：唤醒与华尔兹》（88分钟），全部以DV拍摄，耗时两年的时间所有拍摄剪辑均由导演一人完成。在第一章狂想篇中，鲁伊兹用一些具有象征意义的场景和超现实的画面结合现实中的人物对当代智利的各方面做了概述和纪录，第二章人民篇是对当代智利人以及传统的印第安人民的生活现状进行深入的探讨，纪录下他们的生活方式，并采访了很多市民对目前生活及执政政府的态度，第三章则是讲悠久的安第斯山文化和印地安人的历史，同时也纪录了当代流行的俱乐部文化等，第四章纪录智利本国的民间风俗和教育水平。
在影片中，你既可以欣赏到南美洲美丽的风光景色和智利最纯正的印第安民歌以及民间游戏等，也惊叹于导演天才的想象力用蒙太奇和变焦摄影所创造出来的奇妙世界，鲁伊兹用一种全新的纪录语言以及独特的拍摄角度带给观众一个时而真实时而幻想的世界，它既不同于惯用DV拍摄的“真实电影”或“直接电影”流派那样过于注重事件的真实性和纪录性，也不同于“伪纪录片”流派的刻意营造于一些事件来表述创作者对现实的看法和观点。
可以说，《智利狂想曲》完美地结合了两者的特点，既纪录了真实同时又结合虚幻的场景在电影表现语言上有新的探索，你常常可以看到历史或绘画中的人物和当代的人走在一起，比如狂想篇中的一段孩童嬉戏的场景，镜头一直跟随女孩的背影缓缓拍摄了7分钟的长镜头而没有剪辑，用手提DV拍摄长镜头是很难的，因为你很难控制镜头到非常精准也很难拍出长镜头那种感觉，而鲁伊兹用其深厚的功底做到了，他的镜头平缓流畅丝毫没有抖动，能够让你惊叹于长镜头所营造出来的优美而忘记这是完全用手提DV机做到的。
另一个虚构场景描写一次政府的财政会议，鲁伊兹把DV摆到圆桌上，让扮演官员的演员围坐在桌边，让DV机在桌面上从慢到快地旋转移动，用从桌面往上仰视的角度拍摄每个人面孔的特写。。。诸如此类在正式影片中都很难看到的拍摄方式在一部全DV电影中居然能运用自如，不得不让人佩服导演的创意和功力，另外值得一提的还有片中的音乐极具创意，优美的吉它民谣往往被随后而来剧烈而紧张不安的小提琴奏乐所打破，加之穿插其间突然闪现的玻璃破碎声，流水声，风声以及狗的叫声，整个就是一场古怪精灵的实验音乐会，但却能恰如其份的搭配上整部电影。
2002年，鲁伊兹携带影片参加了第26届加拿大蒙特利尔世界电影节，在这个世界著名的A级国际电影节上获得了评审团FIPRESCI特别大奖以及格劳贝尔罗查奖（最具探索精神电影奖）。虽然影片在国际上获得了声誉，但依然无法在智利本国上映发行，2003年鲁伊兹带影片考贝重新回到法国继续书写其辉煌的电影生涯。

保罗是一位杰出的作家，在一次可怕的事故中失明，为了继续写作他需要招募一名助手，他聘用了为人亲切的简，来充当他的眼目，简很聪明又富有吸引力，保罗越来越依赖简，直到有一天他们关系破裂...
Sir Paul, a distinguished author, blinded in a horrific accident, advertises for an amanuensis, an assistant to help him with his writing. He employs the amiable Jane Ryder to be his eyes as he revisits scenes from his past and works on what he intends to be his final opus. Jane appears to be ideal: attractive, intelligent, unruffled by her employer's abrupt eccentricities. But, gradually, we come aware that Jane has another agenda. Incrementally, Sir Paul's familiar surroundings are altered. Strange things happen around the house and he becomes increasingly dependent on his new assistant. Jane plays increasingly sadistic games until their relationship breaks down...

This movie is the best portrait of Chilean society. Ruiz show us like a group of little people with little problems, with a very special way of life. The strangest Spanish in all South American with the funniest accent too. This movie is like Martin Scorsese's Mean Street but without the crime ingredient. You must see it if you wanna know what's to be a Chilean, how you can feel believing that you're in the center of the world but actually living in the end, almost hanging from the continent. Raul Ruiz right now is living in Paris and making the most bizarre but fascinating films of the french production. "Tres tristes tigres" is very difficult to find but if you can, i tell you that you'll have a real gem.

改编自法国著名评论家克罗索夫斯基的同名小说.

丽薇娅（艾尔莎·泽贝斯坦 Elsa Zylberstein 饰）是衔着金汤匙出生的千金大小姐，他的父亲拥有一个庞大的企业，而丽薇娅将会是这个企业唯一的继承人。然而，丽薇娅是一个非常喜欢幻想的女孩，整日生活在虚幻的世界之中，对现实里的一切漠不关心。丽薇娅只希望有朝一日能够遇见一个白马王子，收获完美的爱情。
没想到，这名白马王子竟然真的出现了，他的名字叫做帕帕洛特（贝纳·纪欧多 Bernard Giraudeau 饰）。实际上，帕帕洛特接近丽薇娅只是为了她的财产而已，但在和她相处的过程中，帕帕洛特竟然真的爱上了这个单纯善良的女孩。虽然帕帕洛特改邪归正，但丽薇娅的亲戚们却不愿意相信他。

A TV Dante, produced by Britain’s Channel Four during the 1980s and aired in Britain in 1990, presents the first eight cantos of the Inferno.
Co-directed by Peter Greenaway and Tom Phillips. Phillips, a composer, artist and critic, is perhaps best known for his interest in the art of the page. His 1983 translation of the Inferno is used for the production. (The rest of the Inferno has been divided among directors Raul Ruiz, Terry Gilliam, Zbig Ribzynski and Nagisa Oshima)
The title of A TV Dante was clearly studied to put in play the high cultural register now evoked by the name ‘Dante’ and the low cultural register evoked by ‘TV.
Review
Cantos 1 - 8, co-directed by Tom Phillips and Peter Greenaway, was shown on television and later released on video in UK. Ruiz’s casting of his native Chile as the inferno visited by Dante and Virgil in Cantos 9 - 14 (uploaded here) was met with criticism and never broadcast or released on VHS in Europe. Ruiz’s series later found a life in Latin America where it was eventually shown on television where this version comes from. The remaining Cantos 15-34 were never made..

A serious young man of free spirit is forced by his surroundings to become rich at all costs. A group of blind children tries to open the eyes of the unbelievers to the Christian faith. Retired nuns who open a brothel, to pay the running costs of the convent. These rather ironic paradoxes turn this fairytale into a philosophical fable.

Libre adaptation de la pièce de Racine.

Raúl Ruiz未完成的作品，现已由其妻子Valeria Sarmiento代替完成，不同于1973年版本。
A satirical take on President Salvador Allende's Popular Unity process prior to the 1973 Chilean coup d'état. The film is made up of a series of short stories, in which different worlds cross paths. On the one hand that of the workers and the underdogs, headed by the figure of Lucho and, on the other, that of a group of intellectual supporters of the Unidad Popular coalition who come together in a poetical front more representative of the petite bourgeoisie. At one point in time, the characters converge in an apparent friendship that ends in scenes of great violence, giving rise to a satirical reading of the period.
The world of workers and the lumpenproletariat run into the petite intellectual bourgeoisie in this hitherto-unseen film, conceived as a satirical reading of President Salvador Allende’s Popular Unity process, prior to the military coup d’état that took place in Chile 50 years ago.

The tragic story of the many lives of Father Dinis, his dark origins and his pious works, and the different fates of all those who, trapped in a sinister web of love, hate and crime, cross paths with him through years of adventure.