Ruizian Cartography from Chile to the Cosmos via the Littoral, or The Film to Come
This concluding chapter examines Raúl Ruiz's The Film to Come (1997), which crystallised some of the issues raised by the director's cinematic work. In the eight minutes of this black-and-white film, Ruiz is able to play with and condense many of his most cherished elements ranging from aberrant and artificial behavior of bodies in hypnotic states, to the combination of modern and archaic elements, to passages from “reality” to a type of virtual cinematic existence associated with strange, archaic rituals. Moreover, the film condenses the key Ruizian idea that cinema itself is a new and autonomous form of life whose existence is worthy of the greatest respect, and whose life should be encouraged rather than being reduced to pre-existing political and aesthetic schemas.
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