Night Across the Street 2013

In his final completed film, Ruiz boldly examines the multifaceted nature of death, presenting audiences with a complex narrative that weaves through three dimensions of time. To help clarify this intricate concept, the film metaphorically likens time to marbles, suggesting an infinite chain of experiences that can be adorned as a unique necklace.

The story begins with Don Celso, portrayed by Sergio Hernández, attending a thought-provoking class led by Jean Giono, played by Christian Vadim. During the class, an alarm from Don Celso’s pocket interrupts the flow, signaling it’s time for his medication. Their discussion about the passage of time acts as a central theme, with Don Celso suggesting that one can perceive time through the lens of their memories and fantasies, both as an adult and as a child.

As the narrative unfolds in the present, we find Don Celso engaged in his office job at a poetry-writing desk, deeply absorbed in his thoughts. He exhibits peculiar behavior reminiscent of a puppet master, reenacting his earlier conversation with Jean Giono until his boss interrupts to remind him about his upcoming retirement party. This transition signifies a critical moment in his life, foretelling the events to come.

In a fascinating shift to the third dimension, we see young Rhododendron Celso, affectionately called Rodo, portrayed by Santiago Figueroa. Rodo encounters the legendary Long John Silver, played by Pedro Villagara, who he perceives as a real-life figure from history. This encounter embodies Ruiz’s thematic exploration of fantasy and memory, as he constructs separate worlds filled with imagination.

The narrative then circles back to the first dimension, where Don Celso confides that he is awaiting his own death, a realization that encapsulates his journey throughout the film. Moving back to Rodo’s perspective, we see the young boy declaring Beethoven as his favorite historical figure, leading to a whimsical, comedic dialogue with a non-deaf Beethoven, as portrayed by Sergio Schmied. This interaction unveils 20th-century inventions and critiques the conventional norms of cinema with humor as Rodo reflects, “People go to the movies for fun, not to learn anything,” exploring the contrast between intelligence and reality.

Transitioning to the second dimension, we encounter Rolo Pedro, played by Christian Gajardo, who is deceitfully plotting to murder Don Celso for his riches. Don Celso’s repeated invocation of Rolo Pedro’s name, humorously miscalling him Rhododendron, intertwines their fates, emphasizing a looming threat.

As the narrative weaves through different dimensions, we witness tragic events unfold at Don Celso’s boarding home, leaving him as the solitary survivor. A conversation between the past and present self of Rodo raises poignant questions about identity and reality. The film intricately blurs the lines between imagination and reality, especially during Don Celso’s interactions with Long John Silver.

The complexity escalates with rapid cuts between dimensions, leading to a climactic exchange between Rodo and Don Celso, culminating in a shocking confrontation where Rodo shoots Don, propelling him into an ethereal realm inhabited by the deceased. Within this new dimension, Don Celso seeks to grasp the nature of existence and eventually reunites with pivotal figures in a funeral-like assembly, culminating in heartfelt eulogies from his co-workers that poignantly acknowledge the essence of Ruiz’s cinematic legacy.