The movie is a story told quickly through a series of stills, as in , with quavery synth music and dry French narration..

1983 film by Raúl Ruiz

"In the delightful Snakes and Ladders, ‘a didactic fiction about cartography’ made for French television to promote a map exhibition at the Centre Pompidou in Paris – a Borgesian metaphysical fantasy whose hero progressively discovers that France is a life-size board game (devoted to Snakes and Ladders or ‘The Goose’s Game’) – one has to deal with tatty special effects of Edward D. Wood Jr calibre, along with the brilliant conceits and two separate off-screen narrators, male and female.
At the outset, the troubled hero (Pascal Bonitzer) – who is found to be vomiting out dice on one occasion, and shaken as dice by an enormous hand on another – discovers that ‘he is the victim of the worst kind of nightmare, the didactic nightmare.’ Some form of didacticism seems evident in every Ruiz project but, as with Borges, it is a didacticism that often parodies itself and becomes camp, yielding precisely the kind of nightmare that ensues when, through a delirium of literalism, thought becomes flesh and the universe becomes a brain dreaming of thoughts yet unborn." - Jonathan Rosenbaum, Chicago Reader

A drama centered on an office worker on the verge of retirement who begins to relive both real and imagined memories.

这是一部关于画家克林姆的虚构传记电影。
在十九世纪末的奥地利，克林姆（约翰•马尔科维奇 John Malkovich 饰）是一位特立独行、创新大胆的画家，他是奥地利“维也纳分离画派”的奠基人。克林姆对性和女性的裸体之美做出了大胆的描绘，对于外界的质疑和争议报以强烈的讽刺和不屑态度。在1900年的巴黎博览会上，他的画作被当时的文艺界所肯定。因一部电影，克林姆爱上了女演员莱雅，后被莱雅邀请去做客。不久家中老仆的女儿向他诉说爱意，并告诉他曾怀过他的孩子。而另外一位女伴米缇也对克林姆欣赏有加。爱慕克林姆的女人很多，她们是他的模特、情人，而正因为如此，才促使他在艺术上毫无顾忌的追求和创作。

在小男孩卡密尔的九岁生日当天，他原本期待母亲会陪他出去玩耍，但是忙碌的母亲没有赶上和卡密尔约定的时间，当他们终于碰到面，母亲愕然听到小男孩说：请带我去找我真正的妈妈。

本以为是小孩子的别扭情绪，却在卡密尔的指引下，找到了小男孩的另一个母亲，一位两年前遭逢丧子之痛的小提琴教师，教师称男孩为保罗，为他张开了欢迎的臂膀，小孩也自然而然地接受了他的新身份，一切似乎都是理所当然，彷佛她才是小男孩真正的妈妈。随著故事开展，种种不可解的迷团渐渐有了些头绪，真相到底如何？

A man's wife commits suicide and appears to him as a ghost. The ghost follows him everywhere – under the bed, under tables… After seeing the ghost so frequently, the man begins to resemble her.

This mystical short film has a narrator telling us about a "strange philanthropical secret society" that has been in existence for seven years at a certain building. Its members, Philokinetes, devote their energy and money to studying and promoting a fragment of film they call 'The Film to Come'. The fragment runs for twenty-three seconds and is in a loop. Thus projected, it can last for hours, days, even years. Apparently, after viewing this fragment one can become somewhat enlightened, and in a deep hypnotic state, brought about by over-repetition of the revealing fragment. As the narrator says: "Once you reach this state, you can see, so they say." The next section of the film is a watershed: for the narrator is now a different voice and telling us that the fragment has been stolen and the Philokinetes were now in a deep identity crisis. There is a large book of apocryphal wisdom shown called 'Double Book of the Dancing Mysteries' that the sect read. Knowledge derived from this book of "mumbo-jumbo and untruths" leads the Philokinetes to believe that cinema had a life independent to humans. Cinema, they said, is "the primeval soup of a new life form. Therefrom were to emerge pure screening creatures, or non topical beings. Vast sets of loops, from which everyone would own a short endless return to self." Later the Philokinetes claim that the lost fragment was found by the narrator's daughter, an event which sparks off feasts and banquets which lasted for weeks. The narrator's voice changes again as he dies whilst overlooking two priests undergoing a solemn leafing through the Double Book, after they have took a vow of illiteracy. The narrator's soul has now run away to a cinema, but more importantly, it had become a part of the fragment entitled The Film to Come.
Shot mainly in black and white, Ruiz's familiar shooting style and camera angles are evident in his esoteric and interesting nine minute film.

Two narrators, one seen and one unseen, discuss possible connections between a series of paintings. The on-screen narrator walks through three-dimensional reproductions of each painting, featuring real people, sometimes moving, in an effort to explain the series' significance.

Four intertwining stories of bizarre occurrences in Paris featuring a man who was stolen away by fairies, a professor who becomes a tramp, the lovers who inherit a chateau – and the last tale that connects all that has gone before.

索罗姬（凯瑟琳·德纳芙 Catherine Deneuve 饰）刚刚失去了自己的儿子，与此同时，她亦结下了一个案子，成为了一个名为雷内（梅尔维尔·珀波 Melvil Poupaud 饰）的年轻人的辩护律师，雷内被控告谋杀了他的姑妈珍妮（凯瑟琳·德纳芙 Catherine Deneuve 饰）。
在分析了种种的线索之后，索罗姬坚信雷内是无罪的，在索罗姬的不懈努力之下，雷内终于获得了无罪宣判。神秘的精神病医生的出现让这宗案件再度隐入了迷雾之中，乔治（米歇尔·皮寇利 Michel Piccoli 饰）和克里斯蒂（安德烈·瑟韦林 Andrzej Seweryn 饰）亦认为这宗案件并没有就此结束。当一切的秘密都逐渐被呈现在众人面前时，索罗姬是否能够意识到，自己被卷入了一个阴谋之中。

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.