Please note: Mammame will be repeated Tuesday, November 17 in a Raúl Ruiz double bill. That Raúl Ruiz's eliptical, fabulist cinematic sense could be brilliantly expressed through dance seems at first unthinkable-then totally right. Mammame, in the words of critic Jonathan Rosenbaum, is "a re-thinking, in virtually every shot, of a dance piece" choreographed by Jean-Claude Gallotta. The piece is bathed in opal light and romantic music; still, it is an icy landscape that only comes to "life" through a choreographic exploration of sexual-emotional bonds enacted by five male and four female dancers. Cinematically transported to a spot in some sci-fi desert, then to the ballroom of a submarine, and finally to a spectacular seaside promontory, the dancers engage each other in a series of routines in which the pretensions and defenses of everyday life are stripped bare, and what is left is disassociation leading to a primal realization. Their utterances are more basic than words. Jonathan Rosenbaum wrote in Sight and Sound, on viewing the film at the Rotterdam Film Festival, "Raúl Ruiz's Mammame turns a Wellesian rhetoric (wide and low angles, deep focus and shadows) on Jean-Claude Gallotta's spirited dance group, with a camera which seems to change position almost as often as the dancers. Playing with plasticity itself, Mammame contrives to make one even more aware of the floor than one is in an Ozu film-perhaps because it usually remains the only fixed anchor to an endlessly mutable overhead space. Brilliantly achieving the maximum out of a minimal assignment, Mammame gets by without need of a single subtitle. If there is any justice in the world beyond Rotterdam, audiences should be found for this film in diverse corners across the map."