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The article discusses Raul Ruiz’s film  The Hypothesis of the Stolen Painting  (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of  mise-en-abyme  images that explore the multiple universe of  tableaux vivants.  The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of  simulacra . The structure of  The Hypothesis of the Stolen Painting  is based upon the infinite reproduction of meaning since each  simulacrum - tableau vivant  leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the  tableaux vivants  in the filmic space in order to reveal the thought of eternal return.

Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting