After the making of Ruiz’s film which began in the early nineties was brought to a halt due to his death, his restored reels, which seem as a complex testament, were edited by his widow, Valeria Sarmiento, who is signed as the co-author. By looking at the Chilean reality as an artificial soap opera, which becomes the filter for that same reality, the author ironically uses dialogues such as “Are you leftist?”, and “If you do not behave in this world, you will become Chilean in the other”, which simply do not belong to that milieu. This is why the intervention by his wife moves beyond the aesthetics of the “personal film” and could not be more relevant today. Because, according to Ruiz, Chilean reality exists in one form only – the soap opera. Its humour is at the same time surreal, absurd and cruel, pulling the audience into a mysterious Borghesesque labyrinth. Clearly, Ruiz had great fun in treating TV picture as a threat reminiscent of Cronenberg, and Buñuel as well, as he tries to construe some kind of a parallel world. Let’s not forget that the material he had shot belongs to the 1990 in which the said period of Pinochet’s tyranny officially ended, and the first free elections were organized.