Apichatpong Weerasethakul – Sud sanaeha aka blissfully yours (2002)


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

Apichatpong Weerasethakul – Worldly Desires (2005)


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

Apichatpong Weerasethakul – The Anthem (2006)

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

Apichatpong Weerasethakul – A Letter to Uncle Boonmee (2009)


A slowly moving camera captures the interiors of various houses in a village. They are all deserted except one house with a group of young soldiers. They are digging the up the ground. It is unclear whether they are exhuming or burying something. The voices of three young men are heard. They repeat, rehearse, memorise a letter to a man named Boonmee. They tell him about a small community called Nabua where the inhabitants have abandoned their homes. The wind blows fiercely through the doors, and the windows, bringing with it a swarm of bugs. As evening approaches, the sky turns dark. The bugs scatter and the men are silent. Continue reading

Apichatpong Weerasethakul – Thirdworld (1998)


“This film depicts landscapes, metaphorically and actuality, of the southern island called Panyi. It reflects the impression of the shooting time at the island for several days. The sounds are taken from different sources, but all were recorded while the subjects were not aware of the recording apparatus. Thus, this piece may be called a re-constructed documentary. The title is intended as a parody of the word that is being used by the West to describe Thailand or other “exotic” landscapes. This film is the voice from individuals who reside in such environment. The film is presented in crude and rugged quality, as it is a product from the uncivilized.”

by Apichatpong Weerasethakul Continue reading

Apichatpong Weerasethakul – Hua jai tor ra nong AKA The Adventure of Iron Pussy (2003)


She’s gorgeous, she’s dangerous – and she sings! Male convenience store clerk by day, fabulous drag queen/ secret agent by night, Iron Pussy must yet again come to the rescue! In this feature-length reprise, award-winning Thai director Apichatpong Weerasethakul and Michael Shaowanasai (who also plays Iron Pussy) have created a spy-thriller-kung-fu-musical-western-forbidden-love story that, like our heroine, defies convention. Continue reading

Apichatpong Weerasethakul – Dokfa nai meuman AKA Mysterious Object at Noon (2000)


An adventurous experiment in cinematic storytelling, this low-budget independent Thai feature is structured like the Surrealist idea of the “exquisite corpse.” One person begins a story, and a succession of others continue it in whatever way they see fit. Director Apichatpong Weerasethakul gleans his participants from all over the Thai countryside. The story, begun by a young woman with a personal history harrowing enough for its own movie, concerns a wheelchair-bound boy and his enigmatic tutor Dogfar. As the tale is passed along between a variety of rural characters (including, at one point, a traveling dance troupe who perform it for an audience), everything from kidnappings to space aliens are added to the mix. The film alternates between the storytellers and the story they tell, along with “behind the scenes” shots and other documentary footage that blur the line between fiction and non-fiction and make the film itself a witty, quirky exploration of the very notion of storytelling. — Tom Vick. AllMovie — Continue reading