In 1990 Raúl Ruiz returned to his native Chile (which he had fled during the Pinochet dictatorship) to film a series of scenes satirizing South American telenovelas. Only after his death did his widow, Valeria Sarmiento, complete the project, assembling the scenes into this current form. The sequences hold together quite well in spite of the film’s sketchbook nature, but even if they didn’t, this would still be essential viewing for fans of South American cinema and Ruiz’s cerebral absurdism. The film hits on all of the director’s favorite themes—paranoia, narrative intricacy, fleeting but meaningful friendships—and the surrealist humor is often riotous. (In a characteristic moment, a businessman attempts to seduce his sister-in-law by pulling a piece of raw meat out of his coat pocket.) One of the more compelling motifs is that the characters often stop to comment on the serial narratives they’re in (as well as other serials they watch on TV), evoking a Borgesian hall of mirrors. In Spanish with subtitles.