June 2, 2019
2011-2020, Apichatpong Weerasethakul, Arthouse, Short Film, Thailand
1,770 Views
SYNOPSIS
Since she appeared in my film in 2009, Jenjira Pongpas has changed her name. Like many Thais, she is convinced that the new name will bring her good luck. So Jenjira has become Nach, which means water. Not long after, she was drifting online and encountered a retired soldier, Frank, from Cuba, New Mexico, USA. A few months later they got married and she has officially become Mrs. Nach Widner. Read More »
March 24, 2019
2011-2020, Apichatpong Weerasethakul, Fantasy, Short Film, Thailand
2,794 Views
Thai master Apichatpong Weerasethakul and frequent collaborator Jenjira Pongpas Widner present a choreographed dance of scrolls and a portrait of feverish slumber.
A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia. Read More »
July 5, 2018
2011-2020, Apichatpong Weerasethakul, Arthouse, Drama, Thailand
1,340 Views


Quote:
The unconscious dream state that connects each of Apichatpong Weerasethakul’s films begins in his latest when frequent collaborator, Jenjira Pongpas (Her characters’ names devolving film to film from ‘Pa Jane’, ‘Jen’ and now simply ‘Je’), stumbles into the frame with her ft. high platform sandal keeping her stumpy left leg in proportion with her right. This familiar image is the proverbial blanket Weerasethakul pulls over his audience, tucking the viewers into his familiar world, allowing for a communal drift into his drowsy landscapes. It’s only a testament to Weesrasethakul’sself awareness as a filmmaker that he has a narcoleptic soldier drop into a lethargic mess as we see him glance upon a movie screen, reflecting how he makes his films onto the characters who inhabit them. This scene, among others, provides a self reflexive exploration of Weerasethakul’s oeuvre, adding to a film that exudes more passion, thoughtfulness and complexity than any of his other major works. Read More »
May 8, 2018
2001-2010, Apichatpong Weerasethakul, Arthouse, Short Film, Thailand
1,739 Views


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.
A Letter to Uncle Boonmee is part of the multi-platform Primitive project which focuses on a concept of remembrance and extinction set in the northeast of Thailand. Boonmee is the main character of the feature film of the project. Read More »
June 26, 2016
1991-2000, Apichatpong Weerasethakul, Documentary, Experimental, Thailand
1,314 Views


Quote:
A depiction of the landscape, both metaphorically and realistically, of Panyi island. Read More »
June 14, 2016
2001-2010, Apichatpong Weerasethakul, Arthouse, Drama, Thailand
1,689 Views


Quote:
Like Apichatpong Weerasethakul’s other films, Tropical Malady is a mechanism to channel thoughts and feelings that are hard to express in words – which means that trying to write about it is at best reckless and at worst stupid. As mechanisms go, it’s beautiful and seductive, and has many working parts. But we shouldn’t forget that the name of Khun Apichatpong’s production company is “Kick the Machine”. Read More »
June 29, 2015
2001-2010, Apichatpong Weerasethakul, Arthouse, Asian, Queer Cinema(s), Thailand
2,948 Views


Plot
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The story of a blossoming romance between a soldier and a country boy, crossed with a Thai folk legend about a shaman with shapeshifting abilities.
Review
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Love is the drug, a game for two and, in the otherworldly new Thai film ”Tropical Malady,” unabashedly strange. A fractured love story about the mystery and impossibility of desire, the film was directed by Apichatpong Weerasethakul, whose earlier feature ”Blissfully Yours” opened recently in New York. Perched between two worlds, two consciousnesses and two radically different storytelling traditions, this new feature, which will be screened today as part of the New York Film Festival, shows a young filmmaker pushing at the limits of cinematic narrative with grace and a certain amount of puckish willfulness. Read More »