Combat d'amour en songe = Combate de amor em sonho (2000)Other(s) author(s) : Ruiz, Raúl, [zuzendari, gidoilari]Language : FrenchUniform titles : Combat d'amour en songe.Other(s) title(s) : Combate de amor em sonho.(121 minutu) : soinua, kolorez eta zuri-beltzezIrudia (mugimenduan ; bidimentsiokoa): bideoaLove Torn in a Dream (Wikipedia en) | Combat d'amour en songe (Filmaffinity) | Combat d'amour en songe (IMDb) | Combat d'amour en songe (Cinémathèque Française) | Kritika (fr) | Analysis | Elkarrizketa (fr) | Film osoa (pt, fr) In : Raridades - Lisboa : Clap Filmes, copyright 2010
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Musika: Jorge Arriagada.
Argazki zuzendaritza: Acácio de Almeida.
Partehartzaileak: Melvil Poupaud, Elsa Zylberstein, Lambert Wilson, Christian Vadim, Diogo Dória, Rogério Samora, Marie-France Pisier, Duarte de Almeida.
Piratas. Um tesouro. O bem. O mal. Como num conto para crianças. E a história sendo o verdadeiro tesouro.
Um jovem de coração puro, apologista da liberdade de espírito, que é confrontado com a pressão social de enriquecer a todo o custo.
Um grupo de crianças cegas que tenta abrir os olhos dos não crentes para a fé cristã.
Um bordel de ex-monjas criado pela contingência de não poderem pagar a renda do convento.
São todos estes paradoxos, contendo uma certa dose de ironia, que transformam este aparente conto infantil numa fábula filosófica.
Criterion forum web:
A film only Ruiz could make, and so dizzyingly complicated that I’ll need to watch it a few more times before I can see past the extraordinary stunt to the film proper.
As the prologue (a black-and-white newsreel of sorts about the making of the film we’re about to see) promises, this is a mash-up of nine different stories, all sharply defined and confined to their own genre and thematic concerns. They’re presented almost as parodies of high-concept film pitches – e.g. a guy discovers a website that chronicles his own everyday activities for the following day – and several of them echo films Ruiz had already actually made (there’s a city of pirates in there, a stolen painting and a suspended vocation, to name but three). There follows some theoretical palaver about the way in which these narratives are going to be combined and recombined, then off we go.
Ruiz’s cleverest trick is that he relates the nine different, apparently incompatible stories (they don’t even belong to the same era) not as cross-cutting parallels, but as a single, continuous linear narrative, with a single protagonist moving from one scenario to the next with the maximum amount of logical continuity (given the fundamental logical discontinuity between the scenarios). The first section of the film is presented as a straight-faced run through the nine narratives in the order that they were introduced, with Melvil Poupaud gamely staying in character even when he’s thrown into the future or past or has major revelations about his character foisted upon him. The next section starts to combine the different narratives in more elaborate ways, then a third pass toys with further permutations, and so on. Along the way, all sorts of Ruizian preoccupations (theological arcana, confounded linguistics, waylaid treasure hunts and quests) get an airing. It’s a rather amazing narrative and filmmaking feat, but I must admit I was too engaged in observing Ruiz pull it off to submit to the calmly crazy push and pull of the narrative itself. Definitely a lot more to explore in this singular film.
Audioa jatorrizko bertsioan frantsesez eta portugesez; azpitituluak ingelesez, frantsesez eta portugesez.
Audio en versión original en francés y portugués; subtítulos en inglés, francés y portugués.