Fernando Bordeu

A writer returns to her motherland after many years in exile, and seeks to resolve pending conflicts with her son.

A parody of anthropology, linguistics, and cultural imperialism. The film follows an unlikely team of linguists into the wilds of an ersatz Patagonia to study the last speakers of a dying language. That language apparently consists of a single word, which therefore means everything.

A TV Dante is an experimental mini-series directed by Tom Phillips and legendary filmmaker Peter Greenaway. It covers eight of the thirty-four cantos in Dante Alighieri's Inferno, part of his 14th century epic poem The Divine Comedy. The eight cantos of the film are not conventionally dramatised, rather they are illuminated with layered and juxtaposed imagery while the text is read entirely in "talking head" fashion, and punctuated with a kaleidoscopic blend of both newly shot and archival footage.

These six video segments (10 minutes each) were originally developed for broadcast on Channel 4 as the second installment in the larger, never completed, series comissioned for Peter Greenaway and Tom Philips' A TV Dante (1989). But it was never aired. Ruiz's treatment of the six Cantos can be taken together as a bridge between his previous visions of hell in Mémoire des apparences AKA Life is a Dream (1986) and La Chouette aveugle (1987) and themore recent series of essay videos that he has made for Chilean television under the title Cofralandes (2002).

The film revolves around the concept of soap opera. Its structure is based on the assumption that Chilean reality does not exist, but rather is an ensemble of soap operas.

A well-bred young woman who prizes the virtue of fidelity remains faithful to the doctor who deflowers her, even after he marries her invalid sister.

A writer returns to her motherland after many years in exile, and seeks to resolve pending conflicts with her son.

A TV Dante is an experimental mini-series directed by Tom Phillips and legendary filmmaker Peter Greenaway. It covers eight of the thirty-four cantos in Dante Alighieri's Inferno, part of his 14th century epic poem The Divine Comedy. The eight cantos of the film are not conventionally dramatised, rather they are illuminated with layered and juxtaposed imagery while the text is read entirely in "talking head" fashion, and punctuated with a kaleidoscopic blend of both newly shot and archival footage.