Camila Mora-Scheihing

On location in Portugal, a film crew runs out of film while making their own version of Roger Corman's The Day the World Ended (1956). The producer is nowhere to be found and director Munro attempts to find him in hopes of being able to finish the film.

An attorney defends a young man on trial for killing his aunt — a psychiatrist who took him in to study possible homicidal tendencies.

In Paris, an Arab immigrant working as a projectionist becomes obsessed with a mysterious woman he sees on the cinema screen. Following a visit from a man claiming to be his uncle, his world begins to mirror a macabre and cyclical narrative.

The first emotions in love with a young man of seventeen: Thomas who understands that his life belongs to him at last. Four young women contribute to his sentimental education.

A small group of well-to-do vacationers go on a hiking trip into the woods just to find themselves mysteriously lost.

Ruiz on the film: "I began La présence réelle (The Real Presence) first. I. N. A. had commissioned me to produce a personal vision of the Festival d'Avignon. This became a fiction about the theater because if I had filmed the actual performances at Avignon I would have had to respect their staging, I would not be able to change anything. As such, I wouldn't be doing anything more than a retransmission of Antenne 2 or FR3. And since a lot would have to be paid for rights to each play, it would end up costing as much as a fiction feature. So it is a story about the theater, a bit Rivette-ish. I shot all the exteriors in Avignon, the interiors in Paris a few days later and I finish the film next Tuesday."

In Voyage of a Hand, Ruiz constructs another of his concentric labyrinths that hits us right in the multifaceted center of our confusion. We might decide that what we receive was a story full of intentions; or we might decide that it was a spineless joke empty of sense or direction. In any case, it will be difficult to deny the acid sense of humor that animates the film.