We have found another great Ruiz movie – the cinematography and music in this are not kidding around. Like La Flor, it opens with a diagram of the movie’s structure, then proceeds to blend some of Ruiz’s favorite things (pirates, painting, mirrors) into a meta-narrative folding in on itself. Death is extremely temporary here. Throw in some cannibalism and incest. And of course there’s a Ruiz film with morphing in it, why wouldn’t there be?
Guy Scarpetta in Rouge:
Here, the familiar features of Ruiz’s universe – parallel worlds, baroque uncertainties, telescoping of different times, co-presence of multiple spaces, deconstruction of characters, transgression of every parameter of classical narrative – are subject to an overflowing enthusiasm and gamesmanship … But we must not conclude that the film proceeds from the pure arbitrariness of an unbridled imagination. Quite the contrary, and this is the first great paradox to be emphasised: nothing, here, is left to chance … Nine narrative themes (in principle autonomous, heterogeneous) are posed as the raw material … the entire combinatory consists of making these cellular narratives cross each other’s paths, whether two by two or three by three, and also consecutively – each of these telescopings engendering, almost automatically, a specific narrative (one which logically implies that the characters can double or reincarnate themselves, leap time frames, and belong in several places at once).