A film by Apichatpong Weerasethakul
Syndromes and a Century, the fifth feature from Thai director Apichatpong Weerasethakul, is a spellbinding Buddhist meditation on the mysteries of love and attraction, the workings of memory, and the ways in which happiness is triggered. Mesmerisingly beautiful to look at, it is also laced with wonderful absurd humour.
Commissioned by Vienna’s New Crowned Hope festival in 2006, the film established Weerasethakul as one of the most exciting talents in world cinema today.
Dubbed ‘a hospital comedy of a somewhat metaphysical bent’, Syndromes and a Century is inspired by the Weerasethakul’s memories of his parents, both doctors, and of growing up in a hospital environment. The two central characters interact with a bizarre array of professional colleagues and patients with their various strange maladies, including an elderly haematologist who hides her whisky supplies in a prosthetic limb, a Buddhist monk suffering from bad dreams about chickens, and a young monk who once dreamed of being a DJ and now forms an intense bond with a singing dentist, whom he believes to be the reincarnation of his dead brother. Continue reading
This is the uncut 110 minute version.
Imagine John Ford (The Searchers), Jean-Luc Godard (Weekend), and John Waters (Pink Flamingos) collaborating on an insane 1950s melodrama, drenched in succulent Technicolor–rose-petal reds, turquoise blues, saffron yellows, and Pepto-Bismol pinks–and you’re just barely encompassing the cinematic delirium of Tears of the Black Tiger. This fever dream of a movie features rival gunslingers, a poor farmboy and the daughter of a wealthy landowner, a murdered father, bloody revenge, a forced marriage, and a half-dozen other cliches stitched into a preposterous yet weirdly engaging story. But the story isn’t the point; director Wisit Sasanatieng takes every opportunity to dive into a different style or device, ranging from delicate shots of a lovely girl in a mint-green gazebo to spewing gore and full-on battle with machine guns and grenade-launchers. The sets are often blatantly theatrical, the lighting exaggerated, and the acting ranges from wooden to maniacal. In short, this Thai movie is like nothing you’ve ever seen, born of a deep moviemania and unbridled chutzpah, and you owe it to yourself to watch it. Continue reading
IMDB plot :
“Shifting between fact and fiction in a hotel situated along the Mekong River, a filmmaker rehearses a movie expressing the bonds between a vampire-like mother and daughter… ” Continue reading
PLOT – short version
A Thai tale of the legendary Krasue (also known as the ‘P’ Graseau, or the Penanggalan in Chinese), a Southeast Asian Ghost, composed of a disembodied witch with a flying head and entrails dangling beneath. Political intrigue, black magic, unrequited love and disembowlment all fit together perfectly for an evening of family fun with the witch with the flying head. Written by J.W. Case Continue reading
From Time Out Film Guide
Apichatpong’s ‘emotional disaster movie’ opens wittily with the longest pre-credits scene ever: a leisurely introduction to the three main characters and the binds that tie them. Min (Oo) is a Burmese illegal immigrant, a strapping lad with a nagging skin problem, in need of a fake ID. His Thai girlfriend Roong (Kanokporn), a factory worker, has hired Orn and her husband to help get it. Orn wants to have another child before she’s too old, but her husband isn’t keen. The credits show up some 45 minutes in, as Min guides Roong to a secluded spot near the Thai-Burmese border where they’ll eat, laze, bathe and eventually make love. By chance Orn has chosen a spot nearby for illicit sex with her lover… Continue reading
From link -
This digital featurette, not quite a companion piece to Tropical Malady but certainly related to it, shows Joe operating at the height of his formalist powers. One of the things I’ve valued about Weerasethakul’s work since Mysterious Object at Noon is his commitment to exploring the traditions of avant-garde cinema while taking those idioms into uncharted territory. While some works by Joe have displayed an interest in bending the strategies of Andy Warhol and Bruce Baillie to the needs of Thai folklore and narrative gamesmanship, Worldly Desires takes a more structural approach. However this piece bears little resemblance to structural film as we usually think of it; if there are specific touchstones for Worldly Desires in film history, they would be those “other” structuralists, so wonky and off the beaten track as to thwart easy categorization. Like Morgan Fisher’s early film projects, Worldly Desires is a documentation of the filmmaking process. Within a single expansive jungle location, portions of a Thai soap opera are being filmed by day, and a music video is being made by night. Continue reading
This is a PREVIEW from the screening of the film for a film festival.Because there is no available commercial version of this film.
The Anthem is a celebration of filmmaking and the viewing experience. In Thailand, before every cinema film screening, there will be a Royal Anthem before the feature presentation. The purpose is to honour the King. It is one of the rituals imbedded in Thai society to give a blessing to something or someone before certain ceremonies. The Anthem presents a ‘Cinema Anthem’ that praises and blesses the approaching feature for each screening. This audio-visual purification process is performed by three old ladies. They also channel energy to the audience in order to give them a clear mind. Continue reading