It's no secret that John Malkovich is willing to consider any kind of role, whether that leads to him playing an assassin, a Pope, or a weird, evil sci-fi doctor. Given how high-profile his roles can be, you'd be forgiven for thinking that the man loves the spotlight. After all, how many shy people would sign on for a "Being John Malkovich"-style movie — even if the story itself was moreso influenced by screenwriter Charlie Kaufman's struggles?
It's not that Malkovich necessarily loves the spotlight; in fact, as he told Vanity Fair, he is "intriniscally shy" and doesn't care for public speaking lest someone misinterpret what he says. Yet he also doesn't hold back when a project seems exciting:
"I want to do things that interest me. You know, when I was a little, fat kid, it would have been well beyond my imagination, or anybody's -- I would...
It's not that Malkovich necessarily loves the spotlight; in fact, as he told Vanity Fair, he is "intriniscally shy" and doesn't care for public speaking lest someone misinterpret what he says. Yet he also doesn't hold back when a project seems exciting:
"I want to do things that interest me. You know, when I was a little, fat kid, it would have been well beyond my imagination, or anybody's -- I would...
- 9/16/2022
- by Demetra Nikolakakis
- Slash Film
Cannes Official Selection section will showcase 20 films this year.
UK director Andrea Arnold has been announced as president of the Un Certain Regard jury at the 74th edition of the Cannes Film Festival which is due to unfold July 6-17.
The other jury members will comprise French-Algerian director, screenwriter and producer Mounia Meddour, French actress Elsa Zylberstein, Argentinian director, producer and screenwriter Daniel Burman and US writer/director, producer and actor Michael Covino.
Arnold will also be attending the festival with her documentary Cow which is due to show in the new Cannes Première section.
She has a long relationship with the festival.
UK director Andrea Arnold has been announced as president of the Un Certain Regard jury at the 74th edition of the Cannes Film Festival which is due to unfold July 6-17.
The other jury members will comprise French-Algerian director, screenwriter and producer Mounia Meddour, French actress Elsa Zylberstein, Argentinian director, producer and screenwriter Daniel Burman and US writer/director, producer and actor Michael Covino.
Arnold will also be attending the festival with her documentary Cow which is due to show in the new Cannes Première section.
She has a long relationship with the festival.
- 6/14/2021
- by Melanie Goodfellow
- ScreenDaily
Richard Linklater's much-anticipated "Boyhood," which was filmed over 12 years, is a continuation of the director's fascination with time. In honor of the film, IFC Center will host a series of film screenings, all of which focus on the role between people and time. Beginning July 4th and lasting until the 11th, IFC Center will host "Time Regained: Cinema's Present Perfect," showing 36 films. Among these are all eight Harry Potter adaptations, "The 400 Blows, "Citizen Cane," "Groundhog's Day" and Linklater's own "Before" trilogy. "Time Regained" will finish up on July 10 with special screenings of two films, Gabe Klinger's upcoming "Double Play," which is a glance at the almost thirty-year friendship between Linklater and experimental filmmaker James Benning and a sneak preview of Linklater's "Boyhood." The "Boyhood" screening will feature a...
- 6/26/2014
- by Eric Eidelstein
- Indiewire
New York's Film Society of Lincoln Center is launching Time Regained: The Films of Lav Diaz, the most complete American retrospective yet with a week-long run for Norte, the End of History (2013) and, on Sunday, a screening of Melancholia (2008). We gather new perspectives on the cinema of Lav Diaz from Artforum, Film Comment, the New York Times and more. » - David Hudson...
- 6/20/2014
- Fandor: Keyframe
New York's Film Society of Lincoln Center has revealed its upcoming summer lineup of films that will screen through August. The slate includes Bong Joon-ho's long-awaited "Snowpiercer," Lukas Moodysson's festival hit "We Are the Best!," Steve James' Roger Ebert documentary "Life Itself," and Gia Coppola's buzzed-about directorial debut "Palo Alto," which just screened at the Tribeca Film Festival. Read More: Here Are the Best Things Said by Meg Ryan, Billy Crystal and More at Rob Reiner's Chaplin Award Gala In conjunction with the exclusive opening of "Norte, the End of History," the Film Society will also play host to "Time Regained: The Films of Lav Diaz," a retrospective of the filmmaker, beginning June 22 with "Melancholia" (2008) and continuing with one film a month from August through February 2015. In August, Joaquim Pinto’s winner of the jury prize at last year’s Locarno Film Festival, "What Now? Remind Me,...
- 4/30/2014
- by Nigel M Smith
- Indiewire
It's 100 years since the first volume of À La Recherche du Temps Perdu was published, but a definitive cinematisation of Proust's epic novel has so far proved elusive
This year has been punctuated by a rash of anniversary-themed books and articles anticipating the first world war centenary, and indeed attempting snapshots of how Europe looked and felt in 1913, eerily poised on the precipice. The other centenary is similar in many ways: on 8 November 1913, Marcel Proust published the first volume of À La Recherche du Temps Perdu, his monumental novel about memory, mortality and art, the belle époque, and the leisured and aristocratic classes of Paris, a city crammed in Proust's pages with the most vivid and extraordinary personalities, destined to be swept away by the Great War.
Fourteen years ago, at Cannes, I saw Raúl Ruiz's superlative screen adaptation of the final volume: Time Regained, in which the narrator,...
This year has been punctuated by a rash of anniversary-themed books and articles anticipating the first world war centenary, and indeed attempting snapshots of how Europe looked and felt in 1913, eerily poised on the precipice. The other centenary is similar in many ways: on 8 November 1913, Marcel Proust published the first volume of À La Recherche du Temps Perdu, his monumental novel about memory, mortality and art, the belle époque, and the leisured and aristocratic classes of Paris, a city crammed in Proust's pages with the most vivid and extraordinary personalities, destined to be swept away by the Great War.
Fourteen years ago, at Cannes, I saw Raúl Ruiz's superlative screen adaptation of the final volume: Time Regained, in which the narrator,...
- 11/7/2013
- by Peter Bradshaw
- The Guardian - Film News
Writers often worry about the dangers of outside influence, but what about the non-literary inspirations they are far more comfortable admitting to? Andrew O'Hagan talks to six novelists about their passion for a second artform
The divine counsels decided, once upon a time, that influence is bad and that too much agency is the enemy of invention. Harold Bloom can't be blamed for that: he certainly pointed to the danse macabre of influence and anxiety, but to him the association was perfectly creative. Elsewhere, writers have always been blamed for being too much like other writers, or too much like themselves, and even now, in the crisis of late postmodernism, we find it hard to believe that writers might live happily in a state of influence and cross-reference. Yet anybody who knows anything about writers knows that they love their sweet influences.
What I've noticed, though, is that the influences...
The divine counsels decided, once upon a time, that influence is bad and that too much agency is the enemy of invention. Harold Bloom can't be blamed for that: he certainly pointed to the danse macabre of influence and anxiety, but to him the association was perfectly creative. Elsewhere, writers have always been blamed for being too much like other writers, or too much like themselves, and even now, in the crisis of late postmodernism, we find it hard to believe that writers might live happily in a state of influence and cross-reference. Yet anybody who knows anything about writers knows that they love their sweet influences.
What I've noticed, though, is that the influences...
- 4/27/2013
- by Andrew O'Hagan, Lavinia Greenlaw, John Lanchester, Alan Warner, Sarah Hall, Colm Tóibín
- The Guardian - Film News
The great Chilean director Raul Ruiz died before filming began on his latest epic. Now it's about to get its Venice premiere, with his widow in the director's chair
You wouldn't have put it past Raul Ruiz to direct a film from beyond the grave. The Chilean master was hard at work on a new feature, The Lines of Wellington, at the time of his death last August, aged 70. This was a Napoleonic-era epic, a "Portuguese War and Peace", set in 1810 as the French troops battled with a British and Portuguese army commanded by General Wellington. At Wellington's bidding, a daunting system of fortifications – the so-called Lines of Torres Vedras – was secretly built to repel the French invaders. Wellington pursued a scorched earth policy, which displaced huge numbers of Portuguese and British; it's their story the film tells.
The cast for Lines of Wellington, led by John Malkovich, Isabelle Huppert and Catherine Deneuve,...
You wouldn't have put it past Raul Ruiz to direct a film from beyond the grave. The Chilean master was hard at work on a new feature, The Lines of Wellington, at the time of his death last August, aged 70. This was a Napoleonic-era epic, a "Portuguese War and Peace", set in 1810 as the French troops battled with a British and Portuguese army commanded by General Wellington. At Wellington's bidding, a daunting system of fortifications – the so-called Lines of Torres Vedras – was secretly built to repel the French invaders. Wellington pursued a scorched earth policy, which displaced huge numbers of Portuguese and British; it's their story the film tells.
The cast for Lines of Wellington, led by John Malkovich, Isabelle Huppert and Catherine Deneuve,...
- 8/22/2012
- by Geoffrey Macnab
- The Guardian - Film News
Raúl Ruiz's "last movie," La noche de enfrente, played in Cannes at the Directors' Fortnight, where I saw and wrote about it. The notes below, written on the film by Ruiz and written on Ruiz by the film's producer, François Margolin, were found in the press notes for the production. I thought they were important enough to obtain permission to reprint them here. I hope you enjoy them. —Daniel Kasman
A Statement from Raoul Ruiz
My purpose is to immerse myself in the poetic world of one of the most secretive and surprising writers of Chilean literature, Hernan del Solar. He was a member of the eminent group of writers known as the "Imaginists." The "Imaginists" pushed against the grain of naturalism that reigned in the forties and fifties. They hoped to innovate with an imaginative and contemplative literature that had already been practiced by the likes of A.
A Statement from Raoul Ruiz
My purpose is to immerse myself in the poetic world of one of the most secretive and surprising writers of Chilean literature, Hernan del Solar. He was a member of the eminent group of writers known as the "Imaginists." The "Imaginists" pushed against the grain of naturalism that reigned in the forties and fifties. They hoped to innovate with an imaginative and contemplative literature that had already been practiced by the likes of A.
- 6/18/2012
- MUBI
Four-and-a-half hours of ambiguous, interweaving fictions fly by in the expert hands of veteran director Raúl Ruiz
Raúl Ruiz, who died in August aged 70, left his native Chile following the 1973 Pinochet coup and settled in France to become one of cinema's most prolific and singular film-makers. Sadly his work has been regarded as too obscure or avant-garde for British audiences and only a handful of his 100 or more pictures have been released here. The most recent was the ambitious, enigmatic Klimt, shown here in 2007, starring John Malkovich as the Austrian painter. It was characteristically described by Ruiz as "a phantasmagoria in the manner of Arthur Schnitzler" and, interestingly, in view of Scorsese's Hugo, features a meeting between Klimt and the movie pioneer Georges Méliès at the 1900 World Exposition in Paris.
The Ruiz picture that made the greatest impression here was Time Regained (starring Malkovich as Baron de Charlus), his bold...
Raúl Ruiz, who died in August aged 70, left his native Chile following the 1973 Pinochet coup and settled in France to become one of cinema's most prolific and singular film-makers. Sadly his work has been regarded as too obscure or avant-garde for British audiences and only a handful of his 100 or more pictures have been released here. The most recent was the ambitious, enigmatic Klimt, shown here in 2007, starring John Malkovich as the Austrian painter. It was characteristically described by Ruiz as "a phantasmagoria in the manner of Arthur Schnitzler" and, interestingly, in view of Scorsese's Hugo, features a meeting between Klimt and the movie pioneer Georges Méliès at the 1900 World Exposition in Paris.
The Ruiz picture that made the greatest impression here was Time Regained (starring Malkovich as Baron de Charlus), his bold...
- 12/11/2011
- by Philip French
- The Guardian - Film News
It may be more than four hours long, but Raúl Ruiz's final film is an entrancingly strange, beautifully eccentric fable set in 19th-century Portugal
This is the last completed work from the remarkable and prolific Chilean film-maker Raúl Ruiz, who died in August this year at the age of 70. Originally intended as a TV mini-series, it has now been boldly put together as a dream-epic feature in two parts, lasting four-and-a-half hours. Mysteries of Lisbon is intensely and captivatingly strange, a sinuous melodrama about secrecy, destiny and memory in which everyone involved appears to be in a state of hypnosis and on the edge of departing for some Magrittean alternative universe. "Mysteries" is exactly right.
Ruiz's screenwriter Carlos Saboga has adapted an 1854 novel, Mistérios de Lisboa, by the Portuguese author Camilo Castelo Branco, set around the turn of the 19th century. Branco's story is an involved tale of coincidences,...
This is the last completed work from the remarkable and prolific Chilean film-maker Raúl Ruiz, who died in August this year at the age of 70. Originally intended as a TV mini-series, it has now been boldly put together as a dream-epic feature in two parts, lasting four-and-a-half hours. Mysteries of Lisbon is intensely and captivatingly strange, a sinuous melodrama about secrecy, destiny and memory in which everyone involved appears to be in a state of hypnosis and on the edge of departing for some Magrittean alternative universe. "Mysteries" is exactly right.
Ruiz's screenwriter Carlos Saboga has adapted an 1854 novel, Mistérios de Lisboa, by the Portuguese author Camilo Castelo Branco, set around the turn of the 19th century. Branco's story is an involved tale of coincidences,...
- 12/9/2011
- by Peter Bradshaw
- The Guardian - Film News
Release Date: Dec. 20, 2011
Price: Three-disc DVD $34.95, Blu-ray $43.95
Studio: Music Box Films
The mini-series drama movie Mysteries of Lisbon is one of the final works by legendary Chilean filmmaker Raul Ruiz (Time Regained), who died in August 2011 at the age of 70.
An adaptation of the 19th century novel by Portugal’s Camilo Castelo Branco, the epic film follows a man’s search for the truth over three decades and four countries. According to the Music Box press release, the film “is a saga that evokes the artistry, intricacy and richness of the sprawling intertwined narratives of such giants as Victor Hugo and Charles Dickens.”
Set in Portugal’s capital city in the 19th century, Mysteries of Lisbon tells the story of 14-year-old orphan Joao (played by Joao Luis Arrais as a child, Afonso Pimentel as an adult), who begins a quest to find the truth about his parents, his origins and himself.
Price: Three-disc DVD $34.95, Blu-ray $43.95
Studio: Music Box Films
The mini-series drama movie Mysteries of Lisbon is one of the final works by legendary Chilean filmmaker Raul Ruiz (Time Regained), who died in August 2011 at the age of 70.
An adaptation of the 19th century novel by Portugal’s Camilo Castelo Branco, the epic film follows a man’s search for the truth over three decades and four countries. According to the Music Box press release, the film “is a saga that evokes the artistry, intricacy and richness of the sprawling intertwined narratives of such giants as Victor Hugo and Charles Dickens.”
Set in Portugal’s capital city in the 19th century, Mysteries of Lisbon tells the story of 14-year-old orphan Joao (played by Joao Luis Arrais as a child, Afonso Pimentel as an adult), who begins a quest to find the truth about his parents, his origins and himself.
- 11/4/2011
- by Sam
- Disc Dish
Above: Ruiz's La recta provincia (2007).
Notebook is unfurling a series of tributes to Raúl Ruiz entitled Blind Man's Bluff: along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. For more from Raúl Ruiz: Blind Man's Bluff see the Table of Contents.
Cofralandes, Chilean Rhapsody (2002)
There's a scene in Cofralandes, Chilean Rhapsody, the series of documentaries (?) for which Ruiz returned to Chilean filmmaking in 2002, that seems fascinating to me for its strangeness. Without any rational justification, Ruiz, who acts in the film, takes a TV remote and talks into it as if it were a cordless phone. It's one of those scenes that seem to have been dreamt by the viewer, but turn out to be revealing of different aspects of Ruiz as filmmaker.
Notebook is unfurling a series of tributes to Raúl Ruiz entitled Blind Man's Bluff: along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. For more from Raúl Ruiz: Blind Man's Bluff see the Table of Contents.
Cofralandes, Chilean Rhapsody (2002)
There's a scene in Cofralandes, Chilean Rhapsody, the series of documentaries (?) for which Ruiz returned to Chilean filmmaking in 2002, that seems fascinating to me for its strangeness. Without any rational justification, Ruiz, who acts in the film, takes a TV remote and talks into it as if it were a cordless phone. It's one of those scenes that seem to have been dreamt by the viewer, but turn out to be revealing of different aspects of Ruiz as filmmaker.
- 10/20/2011
- MUBI
Above: Le film à venir (1997).
Notebook is unfurling a series of tributes to Raúl Ruiz entitled Blind Man's Bluff: along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. For more from Raúl Ruiz: Blind Man's Bluff see the Table of Contents.
The Golden Boat (1990)
A man follows a trail of beat-up shoes left discarded along a New York sidewalk. They lead him to an older man, who sits crouched on the street, crying. “This, my son, is not my place,” the older man proclaims—and then stabs himself. So begins The Golden Boat—“a game between soap opera and reality,” as Ruiz called it—his first film in America, made in exile over a few long weekends during a teaching stint at Harvard.
Notebook is unfurling a series of tributes to Raúl Ruiz entitled Blind Man's Bluff: along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. For more from Raúl Ruiz: Blind Man's Bluff see the Table of Contents.
The Golden Boat (1990)
A man follows a trail of beat-up shoes left discarded along a New York sidewalk. They lead him to an older man, who sits crouched on the street, crying. “This, my son, is not my place,” the older man proclaims—and then stabs himself. So begins The Golden Boat—“a game between soap opera and reality,” as Ruiz called it—his first film in America, made in exile over a few long weekends during a teaching stint at Harvard.
- 10/14/2011
- MUBI
Above: La chouette aveugle (The Blind Owl, 1987)
Over the next couple weeks, Notebook will be unfurling a series of tributes to Raúl Ruiz: along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. This small, mock-filmography shouldn’t be taken as anything like a comprehensive grip on Ruiz’s films or even incomprehensive grip: the Rouge annotated filmography remains the essential, critical card catalogue. Instead, something like this collection of close-readings can probably only show the ways Ruiz eludes chronology and anything but a kaleidoscopic perspective onto his work. Hopefully it can hint at the many phantom Ruizes unconsidered here while pin-pointing some pivotal moments in a pivoting career.
As we publish the pieces in batches by decade, the links below will be...
Over the next couple weeks, Notebook will be unfurling a series of tributes to Raúl Ruiz: along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. This small, mock-filmography shouldn’t be taken as anything like a comprehensive grip on Ruiz’s films or even incomprehensive grip: the Rouge annotated filmography remains the essential, critical card catalogue. Instead, something like this collection of close-readings can probably only show the ways Ruiz eludes chronology and anything but a kaleidoscopic perspective onto his work. Hopefully it can hint at the many phantom Ruizes unconsidered here while pin-pointing some pivotal moments in a pivoting career.
As we publish the pieces in batches by decade, the links below will be...
- 9/28/2011
- MUBI
"This is among the most amusing, vertiginous, insolent, outlandish, delirious films imaginable. And perhaps, as well, the freest that Ruiz has ever made. It’s the kind of project where he’s absolutely free in his actions, conceiving and taking control of the film’s totality; in the exercise of this paroxysmic energy he pushes the exercise of his boundless creative imagination to its zenith, unshackled in any respect by the dominant codes."
—Guy Scarpetta, Rouge
"Raoul Ruiz's Love Torn in Dream is an inscrutably hypnotic, painterly, structurally organic, and logically impenetrable film that lyrically and visually conflates a series of historical periods, role-swapping character actors, and states of consciousness into a fanciful - albeit distended and maddeningly opaque - tale of love, fate, and destiny. Similar to Time Regained in the lush imagery and temporal fluidity of the film, Love Torn in Dream episodically interweaves several fable-like stories...
—Guy Scarpetta, Rouge
"Raoul Ruiz's Love Torn in Dream is an inscrutably hypnotic, painterly, structurally organic, and logically impenetrable film that lyrically and visually conflates a series of historical periods, role-swapping character actors, and states of consciousness into a fanciful - albeit distended and maddeningly opaque - tale of love, fate, and destiny. Similar to Time Regained in the lush imagery and temporal fluidity of the film, Love Torn in Dream episodically interweaves several fable-like stories...
- 8/23/2011
- MUBI
Above: City of Pirates (1983).
Jorge Arriagada's multi-faceted, genre-crossing (and blending) collaboration with Raúl Ruiz is one of cinema's most fruitful, varied and extensive composer-director partnerships, beginning in the 1970s and continuing all the way through Ruiz's most recently released film, Mysteries of Lisbon. Here is a selection of Arriagada's scores for Ruiz, all from chapaev36's YouTube channel, to which we offer our thanks.
In the playlist below you'll find Arriagada's music from:
The Territory (1981) On Top of the Whale (1982) City of Pirates (1983) Three Crowns of the Sailor (1983) Manoel dans l'île des merveilles (Manoel's Destinies) (1984) Treasure Island (1985) Richard III (1986) The Blind Owl (1990) Dark at Noon (1993) Three Lives and Only One Death (1996) Time Regained(1999)...
Jorge Arriagada's multi-faceted, genre-crossing (and blending) collaboration with Raúl Ruiz is one of cinema's most fruitful, varied and extensive composer-director partnerships, beginning in the 1970s and continuing all the way through Ruiz's most recently released film, Mysteries of Lisbon. Here is a selection of Arriagada's scores for Ruiz, all from chapaev36's YouTube channel, to which we offer our thanks.
In the playlist below you'll find Arriagada's music from:
The Territory (1981) On Top of the Whale (1982) City of Pirates (1983) Three Crowns of the Sailor (1983) Manoel dans l'île des merveilles (Manoel's Destinies) (1984) Treasure Island (1985) Richard III (1986) The Blind Owl (1990) Dark at Noon (1993) Three Lives and Only One Death (1996) Time Regained(1999)...
- 8/23/2011
- MUBI
Chilean director Raoul Ruiz has passed away at the age of 70.
The moviemaker died at the Saint-Antoine hospital in Paris, France following complications from a pulmonary infection.
Famed for adapting novels for the big and small screen, he worked on Marcel Proust's Time Regained, Shakespeare's Richard III and Dante's Inferno in a 1991 TV series.
He also was behind several English language movies, such as Klimt, which starred John Malkovich, and A Closed Book, with Daryl Hannah and Tom Conti.
Producer pal Francois Margolin says, "He was one of our greatest living filmmakers, who left considerable work and will remain a reference in the history of cinema."
After fleeing Chile in the 1960s, Ruiz settled in France and made close to 100 films. He will be buried in his homeland.
The moviemaker died at the Saint-Antoine hospital in Paris, France following complications from a pulmonary infection.
Famed for adapting novels for the big and small screen, he worked on Marcel Proust's Time Regained, Shakespeare's Richard III and Dante's Inferno in a 1991 TV series.
He also was behind several English language movies, such as Klimt, which starred John Malkovich, and A Closed Book, with Daryl Hannah and Tom Conti.
Producer pal Francois Margolin says, "He was one of our greatest living filmmakers, who left considerable work and will remain a reference in the history of cinema."
After fleeing Chile in the 1960s, Ruiz settled in France and made close to 100 films. He will be buried in his homeland.
- 8/22/2011
- WENN
Raoul Ruiz, the celebrated, prolific, Chilean-born filmmaker has died. He was 70.
Ruiz, not known for a specific standout film, was rather known for his vast catalog of more than 100 innovative, experimental works, which shirked cinematic conventions in favor of the surreal, the satirical and the strange.
Ruiz died Friday in Paris from complications from a pulmonary infection.
Ruiz had called Paris his home since fleeing Chile to escape the dictatorship of Augusto Pinochet in 1973. It was there he enjoyed the freedom to indulge his varied, curious cinematic whims. Among his filmography are a number of literary adaptations, including the work of Nathaniel Hawthorne (“Three Lives and Only One Death,” 1996), Franz Kafka (“The Penal Colony,” 1970), Marcel Proust (“Time Regained,” 1999) and Shakespeare (“Richard III,” 1986).
Born July 25, 1941, in Puerto Montt, Chile, Ruiz displayed a talent for writing at an early age. After studying law and theology at the University of Chile, he received...
Ruiz, not known for a specific standout film, was rather known for his vast catalog of more than 100 innovative, experimental works, which shirked cinematic conventions in favor of the surreal, the satirical and the strange.
Ruiz died Friday in Paris from complications from a pulmonary infection.
Ruiz had called Paris his home since fleeing Chile to escape the dictatorship of Augusto Pinochet in 1973. It was there he enjoyed the freedom to indulge his varied, curious cinematic whims. Among his filmography are a number of literary adaptations, including the work of Nathaniel Hawthorne (“Three Lives and Only One Death,” 1996), Franz Kafka (“The Penal Colony,” 1970), Marcel Proust (“Time Regained,” 1999) and Shakespeare (“Richard III,” 1986).
Born July 25, 1941, in Puerto Montt, Chile, Ruiz displayed a talent for writing at an early age. After studying law and theology at the University of Chile, he received...
- 8/20/2011
- by Eric M. Armstrong
- The Moving Arts Journal
Chilean-born film-maker who became the darling of the French avant garde
Raúl Ruiz, the Chilean-born film director who has died aged 70 after suffering a lung infection, held audiences with his glittering eye for more than 40 years. Baroque imagery, bizarre humour and labyrinthine plots made his elusive and allusive oeuvre unlike anything else in contemporary cinema.
Although most of his films were made while he was an exile in France, his work was part of the fabulist tradition that runs through much Latin American literature, such as the writings of Gabriel García Márquez, Jorge Luis Borges and Alfonso Reyes. Ruiz liked to quote the Cuban surrealist writer José Lezama Lima, who stated that the task of the poet is "to go into a dark room and build a waterfall there".
Born in Puerto Montt, in southern Chile, Ruiz studied law, theology and theatre before becoming a prolific avant-garde playwright. His first feature,...
Raúl Ruiz, the Chilean-born film director who has died aged 70 after suffering a lung infection, held audiences with his glittering eye for more than 40 years. Baroque imagery, bizarre humour and labyrinthine plots made his elusive and allusive oeuvre unlike anything else in contemporary cinema.
Although most of his films were made while he was an exile in France, his work was part of the fabulist tradition that runs through much Latin American literature, such as the writings of Gabriel García Márquez, Jorge Luis Borges and Alfonso Reyes. Ruiz liked to quote the Cuban surrealist writer José Lezama Lima, who stated that the task of the poet is "to go into a dark room and build a waterfall there".
Born in Puerto Montt, in southern Chile, Ruiz studied law, theology and theatre before becoming a prolific avant-garde playwright. His first feature,...
- 8/19/2011
- by Ronald Bergan
- The Guardian - Film News
Revered Chilean filmmaker Raul Ruiz has died in Paris at the age of 70.
The director and film aficionado made over 100 movies including Mysteries of Lisbon, Klimt, Time Regained, Shattered Image and The Golden Boat.
He made his feature film debut in 1968 with the movie Tres tristes tigres, and he quickly became a leading figure in Chilean cinema.
Ruiz was forced to flee his homeland for political reasons in the mid-1970s and he spent the rest of his life living in exile in France.
Often described as a cinematic genius, Ruiz was also a theatre director and playwright, and he taught at Harvard University.
Among his many accolades, the director was awarded the title of Docteur Honoris Causa by the Ecole Normale Superieure de Lyon in 2005 and he also holds a Professorship at the University of Aberdeen and a Doctor Honoris Causa honour from the Universidad de Valparaiso, which he received earlier this year.
Ruiz was also presented with Chile's National Prize of Arts.
He is survived by his wife, Valeria Sarmiento, a Chilean writer-director.
The director and film aficionado made over 100 movies including Mysteries of Lisbon, Klimt, Time Regained, Shattered Image and The Golden Boat.
He made his feature film debut in 1968 with the movie Tres tristes tigres, and he quickly became a leading figure in Chilean cinema.
Ruiz was forced to flee his homeland for political reasons in the mid-1970s and he spent the rest of his life living in exile in France.
Often described as a cinematic genius, Ruiz was also a theatre director and playwright, and he taught at Harvard University.
Among his many accolades, the director was awarded the title of Docteur Honoris Causa by the Ecole Normale Superieure de Lyon in 2005 and he also holds a Professorship at the University of Aberdeen and a Doctor Honoris Causa honour from the Universidad de Valparaiso, which he received earlier this year.
Ruiz was also presented with Chile's National Prize of Arts.
He is survived by his wife, Valeria Sarmiento, a Chilean writer-director.
- 8/19/2011
- WENN
The great Chilean filmmaker Raul Ruiz passed away today in Paris. Through his feature The Golden Boat, which was James Schamus’s first as a producer, Raul gave a group of us in New York’s nascent ’80s independent scene a wonderful and nearly indescribable introduction to filmmaking. So, I’m grateful here to James for this piece remembering Ruiz and those thrilling and formative days. — S.M.
Raul Ruiz: First Thoughts
Raul Ruiz passed away today, age 70, in Paris. He’ll be remembered as one of the truly great, idiosyncratic and visionary voices of world cinema. He was tirelessly inventive, gentle, profoundly uninterested in the business and hype of the film world, willing to show up anywhere a good crew and cast were ready to explore with him. He didn’t so much make movies as he lived one long continuously productive moviemaking life. Exiled from his native...
Raul Ruiz: First Thoughts
Raul Ruiz passed away today, age 70, in Paris. He’ll be remembered as one of the truly great, idiosyncratic and visionary voices of world cinema. He was tirelessly inventive, gentle, profoundly uninterested in the business and hype of the film world, willing to show up anywhere a good crew and cast were ready to explore with him. He didn’t so much make movies as he lived one long continuously productive moviemaking life. Exiled from his native...
- 8/19/2011
- by Scott Macaulay
- Filmmaker Magazine - Blog
Catherine Grant has tweeted a link to the shocking news as reported by El Mostrador: Raúl Ruiz, widely considered the most important filmmaker to have come from Chile, has died in Paris at the age of 70. The funeral will be held on Tuesday morning.
Just a few weeks ago, the New York Times' Ao Scott profiled Ruiz, director of more than "100 films in several languages and also, in his spare time, a theater director and film theorist of some renown in Europe and beyond. He has taught at Harvard, adapted the last volume of Proust into a feature film, transformed several of Nathaniel Hawthorne’s tales into a dark, surrealist comedy starring Marcello Mastroianni and made the life of the Viennese painter Gustav Klimt into a fractured biopic starring John Malkovich. His forays into North America have included the twisty psychological thriller Shattered Image, starring William Baldwin and Anne Parillaud,...
Just a few weeks ago, the New York Times' Ao Scott profiled Ruiz, director of more than "100 films in several languages and also, in his spare time, a theater director and film theorist of some renown in Europe and beyond. He has taught at Harvard, adapted the last volume of Proust into a feature film, transformed several of Nathaniel Hawthorne’s tales into a dark, surrealist comedy starring Marcello Mastroianni and made the life of the Viennese painter Gustav Klimt into a fractured biopic starring John Malkovich. His forays into North America have included the twisty psychological thriller Shattered Image, starring William Baldwin and Anne Parillaud,...
- 8/19/2011
- MUBI
Aki Kaurismäki proves himself a master of deadpan, while André Téchiné turns in a spectacular belly-flop of a film
Some wonderful, big-hearted comedy was provided at the beginning of Cannes's second week by the Finnish film-maker much loved by the festival directors: Aki Kaurismäki. Le Havre had all the master's trademarked deadpan dialogue and delicious nuggets of bone-dry humour, and his compassion for the marginalised and dispossessed, but with something richer and sweeter than I remember from his previous pictures. His sensibility is closer to that of Chaplin, in this film, than anyone else.
Le Havre is shot in the French port town, with French actors and dialogue, though Kaurismäki's repertory stalwart player Kati Outinen has a role. She plays the wife of Marcel (André Wilms), a dignified, stoic man who works as a shoeshiner on the streets. Marcel witnesses an illegal immigrant boy from Gabon, Idrissa (Blondin Miguel), escape...
Some wonderful, big-hearted comedy was provided at the beginning of Cannes's second week by the Finnish film-maker much loved by the festival directors: Aki Kaurismäki. Le Havre had all the master's trademarked deadpan dialogue and delicious nuggets of bone-dry humour, and his compassion for the marginalised and dispossessed, but with something richer and sweeter than I remember from his previous pictures. His sensibility is closer to that of Chaplin, in this film, than anyone else.
Le Havre is shot in the French port town, with French actors and dialogue, though Kaurismäki's repertory stalwart player Kati Outinen has a role. She plays the wife of Marcel (André Wilms), a dignified, stoic man who works as a shoeshiner on the streets. Marcel witnesses an illegal immigrant boy from Gabon, Idrissa (Blondin Miguel), escape...
- 5/17/2011
- by Peter Bradshaw
- The Guardian - Film News
Le Point and L'Express are among the French news outlets reporting that Marie-France Pisier has died at her home in Saint Cyr sur Mer at the age of 66. First mention is generally going to her work with François Truffaut; her debut, after all, was in his Antoine and Colette, a short film that was part of the 1962 anthology Love at Twenty and she would reprise the role in Stolen Kisses (1968) and Love on the Run (1979). The film many will be thinking of today, though, is Jacques Rivette's Céline and Julie Go Boating (1974). In 1981, Julia Lesage described her role in the film's development: "Script credit is given to Juliet Berto, Dominique Labourier, Bulle Ogier, Marie-France Pisier, and Jacques Rivette…. According to Berto, she and Labourier imagined creating a combination of Persona and What Ever Happened To Baby Jane? in a film with two female protagonists. Berto said, 'Each...
- 4/26/2011
- MUBI
French actor, novelist and director who starred in films by Truffaut and Buñuel
Those who followed the adventures of Antoine Doinel (played by Jean-Pierre Léaud) in a series of lyrical and semi-autobiographical films directed by François Truffaut – incorporating adolescence, marriage, fatherhood and divorce – will know that Doinel's first and (perhaps) last love, Colette Tazzi, was played by the stunningly beautiful Marie-France Pisier, who has been found dead aged 66 in the swimming pool of her house near Toulon, in southern France.
Doinel and audiences first caught sight of Pisier in Antoine et Colette, Truffaut's enchanting 32-minute contribution to the omnibus film L'Amour à Vingt Ans (Love at Twenty, 1962), during a concert at the Salle Pleyel in Paris of Hector Berlioz's Symphonie Fantastique. She is conscious of Antoine's stares, and pulls down her skirt. We soon realise that Colette is going to break Antoine's heart.
Léaud and Pisier were born in...
Those who followed the adventures of Antoine Doinel (played by Jean-Pierre Léaud) in a series of lyrical and semi-autobiographical films directed by François Truffaut – incorporating adolescence, marriage, fatherhood and divorce – will know that Doinel's first and (perhaps) last love, Colette Tazzi, was played by the stunningly beautiful Marie-France Pisier, who has been found dead aged 66 in the swimming pool of her house near Toulon, in southern France.
Doinel and audiences first caught sight of Pisier in Antoine et Colette, Truffaut's enchanting 32-minute contribution to the omnibus film L'Amour à Vingt Ans (Love at Twenty, 1962), during a concert at the Salle Pleyel in Paris of Hector Berlioz's Symphonie Fantastique. She is conscious of Antoine's stares, and pulls down her skirt. We soon realise that Colette is going to break Antoine's heart.
Léaud and Pisier were born in...
- 4/25/2011
- by Ronald Bergan
- The Guardian - Film News
American Cinematographer – the official magazine of the American Society of Cinematographers – just published a ranking of the best shot films for the 1998 to 2008 decade, and Amélie tops the list.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know.
I initially thought the selections were chosen specifically by members of the Asc, but I learned that it was actually an open process; in short, the magazine asked its subscribers all over the world to nominate 10 films released between 1998 and 2008, that they believed had the best cinematography; the 50 most popular choices were then posted on the Asc website, with the rest of the public free to vote/rank the 50 finalists. Reportedly, more than 17,000 people around the world participated.
And, as already stated, Amélie was ranked in the top spot most consistently. I haven’t watched Amélie in years, but I’d certainly throw it up there on my list of one of the best shot films from 1998 to 2008. Will it be my #1? I don’t know.
- 6/29/2010
- by Tambay
- ShadowAndAct
In this lull before the whirlwind of the 63rd edition starts, the question that I've been pondering is this: why have these past Cannes discoveries never crossed the Channel for a UK release?
Here we are in Cannes, the day before the official opening: the Tuesday Lull. It's the calm before the storm, which, traditionally, is not all that calm. The red carpet is still being hammered into place and the Grand Palais prepared by grey-suited officials bustling about everywhere. Last year, my friend Nigel Andrews of the Financial Times told me he saw a Cannes local walk down the Croisette, survey the scene and loudly sigh: "Les conneries commencent …" ("The bullshit begins …"). For journalists covering the festival, this is a time for savouring all the possibilities of movie experience that must surely be available in the next 10 days, before you're suddenly plunged straight into it, and there never seems to be enough time,...
Here we are in Cannes, the day before the official opening: the Tuesday Lull. It's the calm before the storm, which, traditionally, is not all that calm. The red carpet is still being hammered into place and the Grand Palais prepared by grey-suited officials bustling about everywhere. Last year, my friend Nigel Andrews of the Financial Times told me he saw a Cannes local walk down the Croisette, survey the scene and loudly sigh: "Les conneries commencent …" ("The bullshit begins …"). For journalists covering the festival, this is a time for savouring all the possibilities of movie experience that must surely be available in the next 10 days, before you're suddenly plunged straight into it, and there never seems to be enough time,...
- 5/11/2010
- by Peter Bradshaw
- The Guardian - Film News
The Guardian film team's pick of the top 100 movies of the decade. Check back from 21 December as we unveil the top 10 day by day
11-20
11. Waltz With Bashir
12. Dig!
13. The Beat That My Heart Skipped
14. The Consequences of Love
15. No Country for Old Men
16. Silent Light
17. Japon
18. The Sun
19. What Time Is It There?
20. Before Sunset
21-30
21. Unrelated
22. One and a Two
23. Ivansxtc
24. Let the Right One In
25. Of Time and the City
26. When the Levees Broke
27. You Can Count on Me
28. A Serious Man
29. Atanarjuat: The Fast Runner
30. Control
31-40
31. The Death of Mr Lazarescu
32. Grizzly Man
33. Eternal Sunshine of the Spotless Mind
34. Être et Avoir
35. Far from Heaven
36. Hidden
37. The Hurt Locker
38. Oldboy
39. The New World
40. The Piano Teacher
41-50
41. Spirited Away
42. Vera Drake
43. American Splendor
44. Capturing the Friedmans
45. Crouching Tiger, Hidden Dragon
46. Crimson Gold
47. A History of Violence
48. In the Mood for Love
49. Movern Callar
50. The Night of the Sunflowers...
11-20
11. Waltz With Bashir
12. Dig!
13. The Beat That My Heart Skipped
14. The Consequences of Love
15. No Country for Old Men
16. Silent Light
17. Japon
18. The Sun
19. What Time Is It There?
20. Before Sunset
21-30
21. Unrelated
22. One and a Two
23. Ivansxtc
24. Let the Right One In
25. Of Time and the City
26. When the Levees Broke
27. You Can Count on Me
28. A Serious Man
29. Atanarjuat: The Fast Runner
30. Control
31-40
31. The Death of Mr Lazarescu
32. Grizzly Man
33. Eternal Sunshine of the Spotless Mind
34. Être et Avoir
35. Far from Heaven
36. Hidden
37. The Hurt Locker
38. Oldboy
39. The New World
40. The Piano Teacher
41-50
41. Spirited Away
42. Vera Drake
43. American Splendor
44. Capturing the Friedmans
45. Crouching Tiger, Hidden Dragon
46. Crimson Gold
47. A History of Violence
48. In the Mood for Love
49. Movern Callar
50. The Night of the Sunflowers...
- 12/18/2009
- The Guardian - Film News
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