Apichatpong Weerasethakul

  • Various – Ten Years Thailand (2018)

    2011-2020DramaExperimentalThailandVarious

    10 Years Thailand is a collection of short films by five Thai directors imagining their country ten years into the future. The project is a continuation of 10 Years, a Hong Kong film produced in 2015 that posed the same question to five Hong Kong directors.

    Featuring shorts by: Aditya Assarat, Wisit Sasanatieng, Chulayarnnon Siriphol, Apichatpong Weerasethakul.Read More »

  • Apichatpong Weerasethakul – Cactus River (2012)

    2011-2020Apichatpong WeerasethakulArthouseShort FilmThailand

    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 »

  • Apichatpong Weerasethakul – Blue (2018)

    2011-2020Apichatpong WeerasethakulFantasyShort FilmThailand

    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 »

  • Apichatpong Weerasethakul – Rak ti Khon Kaen aka Cemetery of Splendor (2015)

    Drama2011-2020Apichatpong WeerasethakulArthouseThailand

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    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 »

  • Apichatpong Weerasethakul – A Letter to Uncle Boonmee (2009)

    2001-2010Apichatpong WeerasethakulShort FilmThailand

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    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.Read More »

  • Apichatpong Weerasethakul – Thirdworld (1998)

    Documentary1991-2000Apichatpong WeerasethakulThailand

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    “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 WeerasethakulRead More »

  • Apichatpong Weerasethakul, Shinya Tsukamoto, Il-gon Song – Jeonju Digital Project 2005 (2005)

    2001-2010Apichatpong WeerasethakulArthouseIl-gon SongJapanShinya TsukamotoShort Film

    Quote:
    Worldly Desires (43min)
    A couple escapes their family to look for a spiritual tree in the jungle. When the night falls, a song comes from somewhere. It speaks about an innocent idea of love and happiness and conveys a sense of guiltless freedom when being hot by love. The film is a little simulation of manners and dedicated to the memories of filmmaking in the jungle during the year 2001-2005.
    Apichatpong WeerasethakulRead More »

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

    1991-2000Apichatpong WeerasethakulArthouseExperimentalThailand

    Quote:
    Apichatpong Weerasethakul brought an appetite for experimen­tation to Thai cinema with his debut feature, an uncategorizable work that refracts documentary impressions of his homeland through the surrealist concept of the exquisite corpse game. Enlisting locals to contribute improvised narration to a simple tale, Apichatpong charts the collective construction of the fiction as each new encounter imbues it with unpredictable shades of fantasy and pathos. Shot over the course of two years in 16 mm black and white, Mysterious Object at Noon established the director’s fascination with the porous boundaries between the real and the imagined.Read More »

  • Apichatpong Weerasethakul – Loong Boonmee raleuk chat AKA Uncle Boonmee Who Can Recall His Past Lives (2010)

    2001-2010Apichatpong WeerasethakulArthouseAsianThailand

    Quote:
    Though often difficult to decipher, the quiet pace and gentle touch of Apichatpong Weerasethakul’s newest film, Uncle Boonmee Who Can Recall His Past Lives, makes for a spiritual and meditative film experience like no other. Uncle Boonmee is ill and his sister-in-law and her son visit as he becomes habituated to the new regiment meant to extend his foreshortened life. Moving closer to death, the barrier between the world of the spirits and that of the living dissolves, and Boonmee is met with his dead wife, his lost son, and of course, his past lives.Read More »

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