这部电影围绕肥皂剧的概念展开。 它的结构基于这样的假设：智利的现实不存在，而是肥皂剧的合奏。

索罗姬（凯瑟琳·德纳芙 Catherine Deneuve 饰）刚刚失去了自己的儿子，与此同时，她亦结下了一个案子，成为了一个名为雷内（梅尔维尔·珀波 Melvil Poupaud 饰）的年轻人的辩护律师，雷内被控告谋杀了他的姑妈珍妮（凯瑟琳·德纳芙 Catherine Deneuve 饰）。
在分析了种种的线索之后，索罗姬坚信雷内是无罪的，在索罗姬的不懈努力之下，雷内终于获得了无罪宣判。神秘的精神病医生的出现让这宗案件再度隐入了迷雾之中，乔治（米歇尔·皮寇利 Michel Piccoli 饰）和克里斯蒂（安德烈·瑟韦林 Andrzej Seweryn 饰）亦认为这宗案件并没有就此结束。当一切的秘密都逐渐被呈现在众人面前时，索罗姬是否能够意识到，自己被卷入了一个阴谋之中。

跟随着导演观众来到巴黎展开一场充满悬念的旅程。一个拥有四个不同名字与身份的男子引出四段风格迥异的故事：有关爱情、欲望、犯罪和时间。
第49届戛纳电影节(1996)　 主竞赛单元-金棕榈奖(入围)　 拉乌·鲁兹

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, featuring real people, sometimes moving, in an effort to explain the series' significance.

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.

妻子過世後，文學教授因悲傷而鬱鬱寡歡。他試圖維持日常生活，卻徒勞地困在死亡的陰影裡。不論晝夜，妻子的形影始終縈繞不去；破碎難分的意識，如同夢遊者或鬼魂般，穿梭於拼貼跳躍的敘事中，在理智邊緣徘徊。眼前看似穩固的事物逐漸淡去，記憶與現實之間的界線越來越模糊……。

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？

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。

一个办公室职员即将退休，开始重温真实和想象的回忆。

"In the delightful Snakes and Ladders, ‘a didactic fiction about cartography’ made for French television to promote a map exhibition at the Centre Pompidou in Paris – a Borgesian metaphysical fantasy whose hero progressively discovers that France is a life-size board game (devoted to Snakes and Ladders or ‘The Goose’s Game’) – one has to deal with tatty special effects of Edward D. Wood Jr calibre, along with the brilliant conceits and two separate off-screen narrators, male and female.
At the outset, the troubled hero (Pascal Bonitzer) – who is found to be vomiting out dice on one occasion, and shaken as dice by an enormous hand on another – discovers that ‘he is the victim of the worst kind of nightmare, the didactic nightmare.’ Some form of didacticism seems evident in every Ruiz project but, as with Borges, it is a didacticism that often parodies itself and becomes camp, yielding precisely the kind of nightmare that ensues when, through a delirium of literalism, thought becomes flesh and the universe becomes a brain dreaming of thoughts yet unborn." - Jonathan Rosenbaum, Chicago Reader

被誉为拉乌尔·鲁兹影像构图的典范作，此片以令人叹为观止的视觉效果去营造超现实 处境、诗性的浪漫，中途却以震撼观众观影经验的众多摄影技术及加工技巧，大胆作出对电影媒介的各项实验，令观众每一分钟都不知道往后如何发展。当中如不断 转换滤光镜、倒转摄影、视觉小把戏等，都遥遥跟尚卢·高达的颠覆手法呼应。只是拉乌尔·鲁兹这些影像实验，却有他的现实性，在于从两个看似互不关连的故事 中－连环杀手与自闭主角的离奇经历，理出一点共通的超现实况味。

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

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.

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.

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）

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?

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

"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.

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。

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.