At the end of the twentieth century utopian world governed according to the laws of justice and the principles of reason and scientific method has mutated into one vast electronic game in which…bank clerks…engaged in a massive exchange of coded text. The winner takes away more than he can consume. The loser hands over what he never had… What might have been has supplanted what really was, and what could be is replacing what will be. In this world it is possible to maintain that the Second World War did not take place…that we will not take place either. In the world of plausible scenarios we can live several lives and die repeatedly, on one condition that we submit to the eternal law of “Enargeia”: evidentia narrativa…- supremacy of the plausible over a dusty, incoherent reality that is almost impossible to believe. Nowadays we can no longer say, “He threw off the mask and revealed his true nature.” We can only say, “He put on the mask and showed what he is.”
Raul Ruiz, “Poetics of Cinema”, 1995, p. 28-29

Multinational corporations are springing up all over: organizations that have no origin, no place, utopian, without future, even without any particular raison d’etre. One moment they are making candy, the next transatlantic liners, and within a week, transatlantic liners full of candy. Some of them are designed to make money; others, like the UN Forces, run at a loss… All are utopian; all believe that happiness is the orchestration of attitudes deemed good by the opinion polls… A happy man is a man who says he’s happy and is believed. Why is he believed? Because his happiness is explicable: its source is a shirt, or a perfume, or a fire, or a story we’ve just been told in pictures… by their very definition , stories for everyone don’t exist in any particular place: they are utopian. In order to manufacture such tales, we are inventing, manufacturing, and experimenting with utopian images – placeless, rootless images… Soon any connection with preexisting people and things will be superfluous.
Raul Ruiz, ibid, p. 26

…any human activity is configured as a preparation for war. The laws of competition have generalized a presumption that the “other” is guilty. The illusion that unreal lives may be lived – “consensual hallucination” – is perhaps the best way of killing off superfluous humans: that vast mass of invisible men whom we never see, and never wish to see… These universal exiles move from one land to the next, crisscrossing the world, changing languages and centuries. Enveloping them in utopian imagery and losing them there would be the best way of imprisoning them… In an essay from 1919, Paul Valery wrote: “Now we civilizations know we are mortal.” My reply is that now we utopians know we are immortal.
Raul Ruiz, ibid, p. 41-42

The spectator/connoisseur compares the scenes [from films] less with his private life than with other scenes watched in other movies. He compares the actor of this film with other performances: when the sheriff appears, Napoleon or Mark Antony are superimposed. He can’t keep his mind from fleeing to other films…which are almost identical incarnations, as though cast in the same matrix.
Raul Ruiz, ibid, p. 59

Like America, cinema developed simultaneously in two directions: as industry and utopia. Cinema in its industrial form is a predator. It is a machine for copying the visible world and a book for people who can’t read… Cinema is an ideal stronghold for anti-cultural arguments.
Raul Ruiz, ibid, p. 73

In “On Top of the Wale” (1982) Ruiz studies the relations between (descriptive) anthropology and the ancient (and modern) archetypes of human beliefs – the difficulties anthropologists feel while trying to understand our ancestors’ behavior, the people of today or their own personal sensibilities. According to the film, anthropological and linguistic anthropology’s research is near meaningless if not to simultaneously analyze the irrational connection between people’s behavioral or verbal self-expression and the structures of their belief systems. In Ruiz’ resourceful thinking (expressed in, sometimes, shocking visual images) the modern scientific enterprise is just another case of collective delirium the main character-a scientist investigates among the indigenes of Patagonia. In several intense and unforgettable scenes Ruiz shows the Immaculate Conception as a psychological complex behaviorally activated and acted out.

In “Hypothesis of the Stolen Painting” (1979) Ruiz depicts an elaborate analysis of series of paintings (by the leading character – a sophisticated and dedicated scholar of art) leading the viewers to the conclusion of the existence of a hidden psychological archetype that motivates the adult males of the ruling social stratum in various cultures. This archetype makes them fixated with a latent animosity on young males and male adolescents. According to the film, the mystery of omnipresence and popularity of wars is basically determined by this psychological nucleus of intergenerational relations – by an unconscious irrational hate adult males feel towards the future generations. The film analyzes the reasons for this hate.

In “The Suspended Vocation” (1978) Ruiz concentrates on the fight, inside the different denominations of Christian Church, between the exceptional priests occupied with the precious uniqueness of Christ’s humanistic message and the bureaucratic Church hierarchy that transforms this message into an (abstract) dogma to worship Christ’s Godly wisdom but not to try to realize it in real life. This position of mighty impostors inside the Church establishment made Christianity a typical religious system of power and control. ”The Suspended Vocation” is the rarest film describing life behind the Church walls without any propaganda or sentimentalism, that opens to the viewers the problems similar to what exists in the heart of every human being feeling of being torn between his/her ideals and the fallen world.

In “Time Regained” (1999), based on Marcel Proust’s novel, Ruiz analyzes how the writer unconsciously uses art as a devise to overcome the fear of death and to accept human mortality and gives chance to the readers (becoming viewers) to follow his path. A special attention Ruiz dedicates to the analysis of a paradoxical meaning of homosexual desire in exceptional aristocratic characters (Baron de Charlus and Robert de Saint-Loup) and to how people from the top stratum of social hierarchy finally couldn’t avoid paying the high price for a common disaster of war. Human memory in the film mediates between visual beauty of the world and the meaning of life.

In “Klimt” (2006) Ruiz criticizes the “romantic” concept of the “great artist giving a sublimated battle to the evil profit makes and the state bureaucrats”. The recognized geniuses – Gustav Klimt and Egon Schiele are depicted as irresistible delirious narcissists (despite their exceptional talent as painters) individualistically taking to themselves the task of confronting the “evil prose of life” through their creativity. Ruiz emphasizes the connection of Klimt’s sensibility (that is of the painter par excellence) with scientific style of understanding reality, and through this – the absence of antagonism between art and science, beauty and rationality.