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Viennale 2010: Misterios de Lisboa, Raoul Ruiz, 2010

We really would like Camilo Castelo Branco read literary work after this film, a Epic from the 19th Century, unfortunately it seems neither German nor English translations give. The film does not communicate how much of it in Branco's work is created, if all the intrigue, deceit, lies, stories add to the already there, already strange origin without origin story of modernism, which she has become at Ruiz. Or if the novel was just a good working history machine, which was enriched with more random codes of modernity (the French Revolution, America). The elegant
tremendously exciting movie (the basic rate of movement of the late tracking shot is) at least construct a world in which individuals no longer identical with itself and This also means no more identical to the social configuration in which they were born, are. The individual is the Lord (rare: the mistress) on one's own biography. Appearance, name, social rank are no longer natural, but are negotiable. Cladding and adoption are the fundamental motives that drive the film. In the center is a boy with his school friends as opposed to only a first name and is teased: In addition to the genealogy is mentioned, and thus available for comparison with each. A person with only one name must either be one child or no one there must be a conspiracy against the present identity. The latter is Misterios de Lisboa in the case, the disclosure of a conspiracy, however, leads never more than a new conspiracy behind the conspiracy. Either way, a man cut off without any additional name to the categorization of society. In this child in the center of the film, whose genealogy a single conspiracy, the film is the origin story of a social formation that transforms all the social and biological conditions in potential. Ursprungslos this origin story, because the main character is hardly ever active subject but a passive crystallization point remains, around which the story of history, fraud attaches to fraud. The main character himself experienced the modernization of its multiple-melodrama, as an eternal "too late".