红地毯

法式恋爱(1978)

Charlie,ayoungaristocratinturnofthecenturyEngland,meetsaboynamedFrankontheroadtoPortsmouth.WhatCharliedoesn'trealizeisthatFrankisactuallyFrances,who'sdonnedadisguisetoescapeworkingatabrothel.CharlietakesFrank/Francesintohishome,andwhenhediscovershertrueidentity,thetwobecomelovers.HesendshertoLondontobetrainedbyhismistressintheartofsex,butshelearnsmuchmoreaboutheridentityasawoman.Beforetheopeningcredits,explicitlyon-screenitreads:"BasedonthefamousVictorianeroticnovelbyananonymouswriter".

内详

安妮（托妮·科莱特ToniCollette饰）和鲍勃（哈威·凯特尔HarveyKeitel饰）是一对美国上流社会交际圈里的明星夫妇。一天，两人正在筹备一场非常盛大的宴会，邀请了身份十分尊贵的上流朋友们。在宴会即将举行的这个节骨眼上，安妮发现现场有13位客人，13这个数字可没有什么吉利的含义。为了打破13魔咒，安妮决定临时增加一名特殊的客人，她命令自己的女仆玛利亚（萝西·德·帕尔马RossydePalma饰）假扮成一位身份尊贵的西班牙贵妇和他们同享晚宴，哪知道来自英国的艺术品经纪人大卫（迈克尔·史麦利MichaelSmiley饰）竟然在席间爱上了玛利亚。为了守住这个秘密，玛利亚不得不延长她角色扮演的时间。

圣母与情人1973

ThisthreepartFrenchTVserialforchildren(alternateversionsexistasafeature,Manoel'sDestinies,anda4partPortugueseTVserial,AdventureinMadeira)isthefavouriteofmanydevoteesofRaúlRuiz.ThisisbecauseittiestheenchantmentandmysteryofLewisCarroll,CarloCollodiandtheBrothersGrimmtothefilmmaker'sexperimentswithnarrativestrategiesandwhathecallsthepentaludicmodelofstorytelling(wherecharactersarethrowndice-likeintocombinationsandsituationsgovernedbytheplayofChanceandDestiny).Butthisfilmforchildrenisamonghismostcomplexworks,hardtograspinitstotality.Oftenitcanseemanarbitrarycollectionoffree-associationalimagesandwords,borderingonnonsense.Butattentiveviewerswillhavethestrongsensethatthereismethodbehindthisnear-madness.Otherwise,itcouldneverproducetheintenseemotionsitsoclearlyoffers.Ruiz'sobsessionsfromfilmtofilmbindthefragmentstogether–withinasingleworkandacrossprojects–andtheemotioncomesfromthetotallyunexpectedforkingtakenwithinawell-wornterritorialmap.PartOnepresentsuswiththreepossibleworlds.Ineachworld,sevenyear-oldManoelhasadifferentresponsetoanentreatyfromtheoutsideworld.Fittingly,inthisfilminwhichnothingcoincides,thethreepartsofthestorydonotcoincidewiththethree-episodestructure(thetrinity-formrecursfrequentlyinRuiz).Inthiscase,past,presentandfuture–theunholytrinityorTimeensoi–isthefilm'sveryprotagonist,variouslycalled'longago'(PartOne),'now'(PartTwo),and'future'(PartThree).Attheoutset,thisgivesthestoryanapparentorderbeforedigressionstakeitover.PartTwo(thestatusofwhichisatfirstconfusingsinceitbeginsafterthethreemini-narrativesofthefirstPartandbeforetheendofEpisodeOne)isentitled'ThePicnicofDreams'.Whilstvaguely'keepingtothestoryline',itveersoffinmanydifferentdirections,wherethethematiccouplingordinary/specialreplacesthefamiliar/unknowndualismofPartOne.(EachPartisguidedbyathematic'dominant',apairofnotionsthattendtoexchangetheirmeaningsasitprogresses.)PartThree(beginninginEpisodeTwo),entitled'TheLittleChess-Champion',handsthe(untilnow)off-screenvoice-overnarrationtoManoelhimself.Hepromisestotellhisownstory,butaddsthatit's'astorythatImadeupinmydistantchildhoodandthathappensinthefuture'.ThetoneislessBaroque,moreGothic,asRuizexploresthe'wondersofthenight'.Thefilmmaker'sobsessioninthissectionconcernsperceptionandthedecipheringofsecretsignsandcodes.