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Showing posts with label Apichatpong Weerasethakul. Show all posts
Showing posts with label Apichatpong Weerasethakul. Show all posts

Friday, October 05, 2012

Left Field Cinema Podcast (Mike Dawson)

Left Field Cinema was first released in November 2007, written and presented by Mike Dawson. The show has two main purposes; the first is to examine cinema in relative terms, tackling main stream cinema from alternative perspectives, applying varying theories to popular films and hopefully discussing them with a fresh point of view. The second purpose is to unearth more obscure films from world cinema and the independent scene, films that perhaps you've never heard of but are worthy of your attention.

Selected episodes relating to CCC films :

World Cinema Masterpiece: Werckmeister Harmonies [MP3] 26'52"
An extended examination of Bela Tarr's modern masterpiece about the boundaries between civility and barbarism. Also featuring a look back at the first eight feature films of Tarr's career.
Contemporary Obscurity: Satantango [MP3] (missing MP3, read the written review instead)
Bela Tarr's seven and a half hour feature film. A beautiful, difficult, infuriating, disturbing exploration of the death of communism through the microcosm of a small Hungarian village.

World Cinema Masterpiece: Tropical Malady [MP3] 13'08"
Tropical Malady (Sud pralad) represents Apichatpong Weerasethakul's third feature film as director and confirms him as an outstanding directorial talent on the world stage and one of the finest contemporary filmmakers. This episode also features a look back at the career of Weerasethakul.

Asian Avant-Garde: Eureka [MP3] 16'57"
Shinji Aoyama's visually stunning three and a half hour meditation on the nature of trauma. One the finest Japanese films of the decade.

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Selected episodes relating to broader contemplative films :

Analysis: The Films of Hirokazu Koreeda [MP3] 17'34"
Hirokazu Koreeda is the unsung great director of Japanese cinema. Koreeda is his nation's equivalent of Michael Winterbottom, a chameleonic filmmaker who has never told the same story twice and is a master of all styles. Paradoxically though his seven films to date all explore a re-occurring theme of death.
Asian Avant-Garde: Nobody Knows [MP3] 17'31"
Continuing Left Field Cinema's exploration of the work of the great Japanese filmmaker Hirokazu Koreeda, this episode explores one of his best films to date, a tragic drama centered around the abandonment of four children to fend for themselves in modern Japan.

Analysis: The Films of Anh Hung Tran - Part One / Two [MP3] 20'02" + 19'51"
Anh Hung Tran is one the greatest directors working today, in this episode of Left Field Cinema we examine his first three films also known as "The Vietnam Trilogy". Starting with his debut The Scent of Green Papaya (1993), his work improved with the violent crime thriller Cyclo (1995) and he became a master of the medium with At the Height of Summer (2000).
Anh Hung Tran is one the greatest directors working today, in this episode of Left Field Cinema we examine his two latest films which move away from Tran's native Vietnam. Starting with cacophonic masterpiece I Come with the Rain (2008) then moving onto his adaptation of Haruki Murakami's Norwegian Wood (2010).

Asian Avant-Garde: Dolls  [MP3] 11'14"
Takeshi Kitano's 2002 meditation on unconditional devotion - boasting a multi-stranded narrative, slow pace, and the absence of Kitano as performer. This is one of Kitano's finest films and a clear member of the Japanese Avant Garde.

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Selected episodes relating to CC precursors :

Theodoros Angelopoulos: The Beekeeper [MP3] 14'33"
In 1986 Angelopoulos moved away from the cinematic symphonies he is well known for and attempted a chamber piece. The resulting film was one of his most flawed if intriguing productions - The Beekeeper (O melissokomos).
Theodoros Angelopoulos: The Travelling Players [MP3] 13'37"
The last of my five favourite directors, starting this series with his four hour in length 1975 Brechtian masterpiece The Travelling Players.

Andrei Tarkovsky: Andrei Rublev [MP3] 13'50"
Continuing the exploration of the works of Andrei Tarkovsky, this episode examines his second feature film as director, the frustrating but impressive historical epic about Russia's greatest iconographer.
Andrei Tarkovsky: Stalker [MP3] 16'23"
1979 Andrei Tarkovsky released his fifth feature film as director, Stalker (Сталкер). The production is often thought to be responsible for the great director's eventual death, but the resultant film is an unparalleled science fiction masterpiece which brings to mind three of Tarkovsky's favourite films, films that belong to another genre entirely.
Andrei Tarkovsky: Mirror [MP3] 27'33"
For the 100th episode of Left Field Cinema, a special extended examination of Andrei Tarkovsky's greatest masterwork, the 1975 feature film, Mirror. A miracle of a film by the fact of its very existence, a film which may well change the way you perceive the physical boundaries of cinema, a paradoxically personal yet universal film that will haunt you for years to come. Mirror is here examined in relation to my own memories of the film and my memories of cinema in general.

Hidden Classics: The Round-Up [MP3] 12'22"
Miklos Jancso's 1966 excellent film about Hungarian prisoners unwittingly engaged in a deadly game of chess with their captors. A forgotten gem which has now resurfaced and has prompted a new evaluation of the directors works.


Related :

Friday, September 28, 2012

Tarr's Film Academy 2013

Tarr Béla : "While there are more and more images everywhere around us, paradoxically, we perceive the increasing devaluation of this beautiful language every day.
It is in this context that we are seeking to demonstrate, emphatically and convincingly, the importance of visual culture and the dignity of the image to the coming generation of filmmakers.
Our aspiration is to educate mature filmmakers who think responsibly, with the spirit of humanism, artists who have an individual outlook, an individual form of expression and who use their creative powers in the defence of the dignity of man.
Sarajevo offers the right home for this program as a multicultural city that is young and vibrant."
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Hungarian arthouse director Bela Tarr is opening a PhD-level filmmaking academy in Sarajevo, Bosnia and Herzegovina.
The Film Factory, housed in Sarajevo University's School of Science and Technology, will bring together some of the world's top directors to teach a full-time, three-year program, culminating in students making full-length features.

Tarr will head the Film Factory as its dean, teaching master-classes along with visiting faculty that, for the first two semesters include Fridrik Thor Fridriksson, Jean-Michel Frodon, Jonathan Romney, Thierry Garrel, Ulrich Gregor, Tilda Swinton, Gus Van Sant, Jonathan Rosenbaum, Manuel Grosso, Carlos Reygadas, Aki Kaurismaki, Andras Renyi, Fred Kelemen, Kirill Razlogov, Jytte Jensen, Jim Jarmusch, Atom Egoyan and Apichatpong Weerasethakul.

The 16 students for the three-year program -- which will cost $19,000 a year -- will be drawn from an open call for applications Oct. 1-Oct. 21. The first semester will start mid-February. Applicants are expected to be established filmmakers and Tarr said the quality of films they submit, at least three each, would be the critical factor in their success.
source: Hungarian auteur to open academy. Sarajevo home for Tarr filmmaking school (Nick Holdsworth; Variety; 27 Sept 2012)

Because of the dramatic turn of the cultural policies, regarding cinema (but not only) in Hungary, Tarr Béla decided to put an end to his practice of cinema as a filmmaker, and also shut down his film company there. Maybe in another country, as a political dissident, will he resurrect as a post-graduate teacher for professional filmmakers. The line up of lecturers he has put together is impressive. Only then will we be able to speak of an official "School of Minimalist Cinema" (instead of "festival films")! No mystery and coincidences anymore about the affinities between these auteurs who conceive cinema in a very particular way, which is not taught in other schools or at festivals... And Contemplation is obviously a major part of it all, even if Tarr wouldn't like to endorse such "label".

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Update : Dean's message
Tarr Béla : "There are more and more images everywhere around us, and we can perceive the growing mediocrity of this beautiful language every day. It is in this context that we are seeking to demonstrate, emphatically and convincingly, the importance of visual culture and the dignity of the image to the coming generation of filmmakers.
Our aspiration is to educate mature filmmakers who think responsibly, with the spirit of humanism, artists who have an individual outlook, an individual form of expression and who use their creative powers in the defence of the dignity of man within the reality that surrounds us.
Probing questions concerning our outlook on the world and the state of our civilization must impact the work of the new programme of doctoral studies in Sarajevo. The main aim of the DLA (Doctor of Liberal Arts) program lies in the instruction of filmmakers who can give their own answers to social progressions.
My twenty-year experience as a professor in filmmaking has led to a belief that film art cannot be taught but rather discovered. Students are usually less receptive to education in general, than they are to discovering tools and ideas that speak to their personal plans and ambition. They are driven by their own curiosity and ideas and utilizing these makes the Film facory Programme no longer about simple formal education but about providing real help, in a process where both parties (teachers and students) can take part as equals. For this we depend on understanding the students’ individual sensitivity, their social and cultural background and their general knowledge.
Furthermore, all theoretical components of the programme would find their basis in practical work, where the teaching and learning dynamic is materialized in producing films.
As a necessary counter balancing point, we aim – as an absolute necessity - to also include film and art history instruction as a key component of a well-rounded programme. With the thorough knowledge of film history and attendant arts, we avoid the perils of aimless wandering through style and expression, so characteristic of starting-out artists around the world.
The students would first and foremost explore the relationship between literature and film, making literary adaptations. All film factory candidates must learn how to analyze a text, become acquainted with different dramaturgical structures and develop an acute understanding of all rules of character-building and portrayal. This is especially important as, based on many-years of personal experience; I see the biggest inadequacy of young filmmakers in a lack of dramaturgical knowledge resulting in inexperienced ‘actor-instruction’. To remedy this, I find organizing seminars, during which students can meet highly accomplished and remarkably sensitive actors, especially important. In this manner we offer developing filmmakers an opportunity to experience what happens on the other side of the camera and provide them with an understanding of different experiences in character building. The international scope of our student’s education cannot be overstressed – with seminars and master classes held by such world-famous filmmakers and artists whose oeuvre give authentic answers to the challenges of the portrayal of people in our era.
The exceptionally high profiled guest lecturers (world famous artists, writers, directors, actors, directors of photography) will, in one to two-week seminars, familiarize the students with the secrets of their art and open new roads for them, both creatively and professionally.

The Film Factory; July 10th, 2012. 
Béla Tarr
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Faculty lecturers :
  • Béla Tarr (Hungary)
  • Fred Kelemen (Germany)
  • Jean-Michel Frodon (France)
  • Jonathan Romney (UK)
  • Jonathan Rosenbaum (USA)
  • Dr. Kirill Razlogov, PhD (Russia)
  • Jytte Jensen 
  • Manuel Grosso (Spain)
  • Ulrich Gregor (Germany)
  • Dr. András Rényi, PhD (Hungary)
  • Aki Kaurismaki (Finland)
  • Carlos Reygadas (Mexico)
  • Gus Van Sant (USA)
  • Fridrih Thor Fridriksson (Iceland)
  • Stephen and Timothy Quay (USA)
  • Apichatpong Wheerasethakul (Thailand)
  • Jim Jarmusch (USA)
  • Tilda Swinton (UK)
  • Thierry Garrel (France)
  • Atom Egoyan (Canada)
  • Enrico Ghezzi
  • Ruth Waldburger
  • Jean-Christophe Simon

Related :

Tuesday, August 21, 2012

My CCC Top10 Canon

I usually refuse to compare CCC films on a merit basis, since this blog is dedicated to the study of the aesthetic, of this narrative mode, not to fuel the craving of detractors for reasons to dismiss "bad" CCC films (because they don't know how to find CCC-specific reasons to blame a film for failing to achieve its goal).

But in the context of Sight & Sound 2012 Top10 canon, let's also establish a referential standard for the quintessence of CCC, the greatest achievements of this particular aesthetic, which is now a little over 40 years old.

My (partial and non-consensual) Top10 ballot of the greatest aesthetic achievements in Contemporary Contemplative Cinema since 1970 :
  1. Sátántangó (1994/TARR Béla Tarr/Hungary)
  2. Mother and Son (1997/SOKUROV/Russia) 
  3. Jeanne Dielman, 23 quai du Commerce 1080 Bruxelles (1975/Chantal AKERMAN/Belgium)
  4. The Turin Horse (2011/TARR Béla/Hungary)
  5. Tie Xi Qu: West of the Tracks (2003/WANG Bing/China)
  6. I don't want to sleep alone (2006/TSAI/Taiwan) 
  7. Los Muertos (2004/ALONSO/Argentina) 
  8. Blissfully Yours (2002/WEERASETHAKUL/Thailand)
  9. Freedom (2000/BARTAS/Lithuania)
  10. Our Daily Bread (2005/GEYRHALTER/Germany) 
Only 3 titles predate 2000, but they occupy all 3 top ranks! Instead of the big names, I went for the films that rely the less on narrative conventions and dialogue and music and editing (Technical minimum profile), to celebrate the core of the minimalist cinematic image (CCC basics), among the films I know qualify for the contemplative narrative mode (Recommended CCC). Many of these on my ballot could arguably replace numerous winners of the S&S2012 final Top10, yet they wind up outside of their Top250 because none of the voters watched them or didn't learn how to look at and appreciate this new aesthetic...

If there are any CCC fans still alive and kicking, please leave your own personal Top10 in the comments below... Thanks for your contributions over the years.

Related : 

Wednesday, March 14, 2012

Tropical Malady (Jacques Aumont)

Filmographie citée:
  • Objective Burma (1945/Raoul Walsh/USA)
  • The big sky (1952/Howard Hawks/USA) 
  • Apocalypse Now Redux (1979-2000/F.F.Coppola/USA)
  • NON, ou la vaine gloire de commander (1990/Manuel de Oliveira/Portugal)
  • Sud sanaeha / Blissfully Yours (2002/Apichatpong Weerasethakul/Thailand)
  • GRAF (Tong) (2004/Apichatpong Weerasethakul/Thailand)
  • Sud pralad / Tropical Malady (2004/Apichatpong Weerasethakul/Thailand)
  • Sang sattawat / Syndromes and a Century (2006/Apichatpong Weerasethakul/Thailand)
  • Phantom of Nabua - Primitive Project (2009/Apichatpong Weerasethakul/Thailand)
  • Loong Boonmee raleuk chat / Uncle Boonmee, who can recall his past lives (2010/Apichatpong Weerasethakul/Thailand)
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Filmographie CCC recommendée:
  • Few of Us (1996/BARTAS/Lithuania)
  • Distance (2001/KORE-EDA/Japan)
  • La Libertad (2001/Lisandro ALONSO/Argentina)
  • Los Muertos (2003/Lisandro ALONSO/Argentina)
  • The Return (2003/ZVYAGINTSEV/Russia)
  • The Forsaken Land (2005/JAYASUNDRA/Sri Lanka)
  • Hamaca Paraguaya (2006/ENCINA/Paraguay)
  • Mogari's Forest (2007/KAWASE/Japan)
  • El Cant Dels Ocells (2008/Albert SERRA/España)
  • Le Voyage Perpétuel (2008/LAPSUI/LEHMUSKALLIO/France)
  • The Nymph (2009/RATANARUANG/Thailand)
  • Indigène d'Eurasie (2010/BARTAS/France)

Autres films sur la forêt :
  • Dead Man (1995/JARMUSCH/USA) 
  • La Ciénaga (2001/MARTEL/Argentina)
  • L'Intrus (2004/DENIS/France)
  • Worldly Desires (2005/WEERASETHAKUL/Thailand)
  • Un Lac (2008/GRANDRIEUX/France)
  • Independencia (2009/MARTIN/Philippines)


Friday, March 02, 2012

As Slow As Possible (AV Festival 2012)

AV Festival 12 : As Slow As Possible 
International Festival of Art, Technology, Music and Film
Newcastle, Gateshead, Middlesbrough and Sunderland (UK) 1st - 31st March 2012 [PDF] website

In the run-up to London 2012 with its motto of “Faster, Higher, Stronger” we propose an alternative slower pace and relaxed rhythm to counter the accelerated speed of today.
Titled after ASLSP (As SLow aS Possible) by pioneering artist John Cage, the theme explores how artists have stretched, measured and marked the passage of time. Some works last the full 31 days, others are infinite in duration or move imperceptibly slowly: 14 seconds become 31 minutes, one hour becomes 24, and we can all dream together in a 12-hour sleep concert

Century of Birthing (2011/Lav Diaz/The Philippines)

Slow Cinema is a series of over thirty landmark films from leading international filmmakers, focused around slowness, and interwoven through AV Festival 12.
From early pioneers to new releases, Slow Cinema presents films devoted to stillness, contemplation and the everyday. Providing a retreat from conventional cinematic speed, they create a more relaxed rhythm, heightening awareness of every minute and second spent watching them. In contrast to other first-release festivals, the curated focus of AV Festival brings a critical framework and focus to this important area, and the time and space for each film to breathe.

Projections :
  • Fred Kelemen: Fate / VerhaengnisFrost;  Nightfall / Abendland
  • Lisandro Alonso: La LibertadLos MuertosLiverpool
  • Lav Diaz: Elegy To The Visitor From The RevolutionMelancholiaCentury of BirthingButterflies Have No Memories
  • Ben Rivers: Slow ActionTwo Years At Sea
  • Bela Tarr: The Turin Horse
  • Fergus Daly & Katherine Waugh: The Art of Time
  • James Benning: Nightfall 
  • Sharon Lockhart: Double Tide 
  • Andrei Tarkovsky: Stalker
  • Alexander Sokurov: Russian Ark
  • Cristi Puiu: Aurora
  • Abbas Kiarostami: Five
  • Richard Fenwick: Exhaustion
  • Nuri Bilge Ceylan: Once Upon a Time in Anatolia
  • Bruno Dumont: Hors Satan
  • Pedro Costa: Colossal Youth
  • Albert Serra: Honor of the Knights
  • Sergio Caballero: Finisterrae
  • Pablo Giorgelli: Las Acacias
  • Carlos Reygadas: Stellet Licht
  • Rirkrit Tiravanija: Lung Neaw Visits His Neighbours
  • Jia Zhang-ke: Still Life
  • Sivaroj Kongsakul: Eternity
  • Apichatpong Weerasethakul: Syndromes and a Century
  • Kim Ki Duk: Spring, Summer, Autumn, Winter… and Spring 
  • Raya Martin: Independicia
  • Ben Russell: Let Each One Go Where He May

Taking its point of departure from this year's AV Festival theme As Slow As Possible (after John Cage), this symposium seeks to investigate how we might activate temporal concepts which are resistant to those normalized in mainstream commercially driven cultural forms.
How are artists, composers or musicians exploring Time in ways that often utilize the latest digital technologies but also challenge their conventional deployment? The subject of 'Slowness', albeit in its most varied manifestations embracing multiple non-linear 'speeds' and rhythms (and thus refusing any simplistic polarization with 'speed' as such), will provide a central theme for the panel discussion, and ideas relating to how Time can be multiplied, diversified, folded and suspended in contemporary art and culture will also be examined.

Panels :
  • As slow As Possible symposium (1st March 2012): Eric Alliez, Paul Morley, Laura Cull, John Mullarkey, Katherine Waugh, Rebecca Shatwell
  • Slow Cinema Discussion (9 March 2012): Fred Kelemen, Lav Diaz, Lisandro Alonso, Ben Rivers, Jonathan Romney, George Clark, Matthew Flanagan 

Articles :

Webcast :

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Unspoken Cinema resource  :

Monday, September 12, 2011

CCC moviebarcodes

Empire (1964/Andy Warhol) 1 shot

Wavelength (1967/Michael Snow) 1 shot

Ten Skies (2003/James Benning) 10 shots (+intertitles)

At Sea (2007/Peter Hutton)

Uncle Boonmee (2010/Apichatpong Weerasethakul) ASL= 34.1"
Source: moviebarcode 

Looking at the whole duration of a film in one glance, like a genome representation.

Each frame of the film (or 1 image every few seconds) is compacted into an image 1 pixel in width, and they are all stuck together, from left to right, like books on a shelf. The 1 pixel wide vertical slit gives the general colour tone of the frame, and the succession of slits shows the evolution of the colour scheme throughout the film, sequence by sequence.

In Ten Skies, it's easy to notice the very regular shot changes, every 10 minutes, with the black screen (intertitles) in between. We also see the drifting motion of the clouds in each scene (slowly moving up in the shots number 2, 4, 6, 8, 9 and 10, generally the top of the frame moves faster than the bottom, number 1 and 5 look pretty quiet skies).

In Wavelength, we see the gradual zoom inscribed into the barcode. If the center stripe has divergent edges, the zoom is moving forward, if the stripes are horizontal the zoom pauses.

In At Sea, we can see the changing weather with the colour of the top of the screen, corresponding to the sky, blue or grey, or red for a sunset.

Uncle Boonmee shows the indoor/outdoor and day/night alternations. The dark section in the middle with a blue hue corresponds to the "princess-fish" flashback, ending in a bright blue underwater scene. Followed by  a dark static shot (horizontal continuity): Tong changes Boonmee's dialysis. Then a pitch black portion (crossing the forest at night to the cave). The grey patch towards the end shows 4 static shots of equal length (the 2nd and 4th show the same traces because it's the same framing), ending with faster cutting in the same grey light environment : Jen and her daughter in the hotel room. And the darker ending at the night-time karaoke-restaurant.

I'm confused about the result of the Empire barcode... since it's a fixed shot, it should be remarkably uniform and also mark a clear difference between daylight and nighttime, whereas it looks like a nightscape throughout, interrupted by brief flashes of light at random places... Probably the black and white photography with high contrast gives to the overall frame a dominant tone of shadows rather than bright daylight. Since each "barcode" final image is formatted to the same size (1280*480px) the longest films are more compacted horizontally, thus the screen capture is less frequent, and the ambient tone of the screen might be over-saturated. In comparison, At Sea and Ten Skies are much lighter and also directly readable as is (because the shots are static and fewer). 

Monday, August 22, 2011

Déjà-vu (Köhler)

"[..]This map that did (as [Gilberto] Perez [The Material Ghost; 1998]) go out of style for a time, perhaps during the period of postmodernism, and definitely during the period when Fassbinder ruled the arthouse. But the map has been opened again by a new generation. Its influence can now be seen in films from every continent - too such extent that the Antonioni open film can be said to be in its golden age. There are some examples: the work of Apichatpong Weerasethakul from Blissfully Yours to Uncle Boonmee; Lisandro Alonso's La Libertad through to Liverpool; Uruphong Raksasad's Agrarian Utopia; C.W. Winter and Anders Edström's The Anchorage; Ulrich Köhler's Sleeping Sickness; the entire so-caled Berlin School of which Köhler is a part; Albert Serra's Honour of the Knights and Birdsong; James Benning; Kelly Reichardt; Kore-eda Hirokazu; Ho Yuang's Rain Dogs; Jia Zhangke's Platform and Still Life; Li Hongqi's Winter Vacation. The list goes on...
Some of these filmmakers may disavow any Antonioni influence - but we know that what directors (including Antonioni) say about their films can't always be trusted. Besides, the ways in which L'Avventura works on the viewer's consciousness are furtive and often below a conscious level. In Apichatpong's fascination with characters being transformed by the landscape around them; in Raksasad's interest in dissolving the borders between "documentary" and "fiction", or the recorded and the staged; in Alonso's precision and absolute commitment to purely cinematic ressources and disgust with the sentimental; in Köhler's continual refinement of his visualisation of his characters's uncertain existences; in Reichardt's concern for what happens to human beings in nature - especially when they get lost; in all these and more; the open film is stretched, remoulded, reconsidered, questioned, embraced. A kind of film that was first named L'Avventura." 
Source: Great Wide Open (Robert Koehler; Sight and Sound, August 2011)

I can't seem to remember where I've heard this before... could someone help me please?


Saturday, December 04, 2010

Friendly Thai ghosts

Thai ghosts are integer part of the dailylife folklore, they are not evil serial killers like in Hollywood movies... Witnesses of "paranormal activities" do not run away screaming in Thailand. A ghost is accepted as a genius loci, a facecious spirit attached to its territory in the common environment.

Sylvania (2008/Thanonchai Sornsriwichai/Thailand) 45" commercial for Sylvania (lightbulb)

Uncle boonmee, who can recall his past lives (2010/Weerasethakul/Thailand) excerpt

Ghosts are not there to trigger a jump scene, a scare suspense, an ominous threat, no shock nor awe. This contact with the undead, with the afterlife souls is more like a sudden encounter with a long lost neighbour. The attitude is more nonchalent, passive, fatalistic than in the image-action entertainment. The relation with the metaphysical is treated in a more natural and evident way, however scary looking or otherworldly these creatures may be.

Apichatpong Weerasethakul (Cannes 2010) : "For Thai people, old and young, especially in the North-East, we've been raised off the influence of the Khmer, you know the Cambodian belief of animism, that is about the transmigration of souls. The animals, plants, spirits, humans swaping places. Since I was young it was always like that. Even though now with contemporary time, the landscape changed, technology comes in... But, deep down in you, you can ask any Thai people, they believe in ghosts. And for me, maybe there is a ghost amongst us here. I would like to express in my movie this childhood belief of mine, through all the movies that had ghosts, comic books, that is part of the landscape that is no longer available in contemporary Thai cinema. It is disappearing. Even though we still believe in it now, we don't make films that deal seriously, in a personal way, it's usually more like a comedy. [..] I wanted to bring together this relationship between this childhood belief, death and birth, the fantasy of phantoms, they are kind of correlated in this movie. [..]"

Related :

Saturday, November 13, 2010

Nuit noire sur l'écran de cinéma

Uncle Boonmee (2010/Weerasethakul/Thailand) avant que Tong n'éteigne la lumière afin que les fantômes voient mieux

Semih Kaplanoglu éteint aussi la lumière dans Bal (2010), lorsque Yusuf se retrouve seul avec sa mère dans la cuisine, un autre repas sans son père. Yusuf s'amuse avec l'interrupteur électrique, pour agacer sa mère, rejouant le stade infantile de la disparition-apparition.

Il n'y a point de réponse à trouver sur l'écran. On peut bien éteindre l'écran, et le film continue. Le spectateur doit se fier à ses sens, ressentir l'expérience du film, même privé des indices visuels. Les personnages à l'écran sont toujours là, même si on ne les voit plus, ils sont présent dans la pièce, avec nous dans la nuit. Pousser la tolérance du spectateur à ses limites. On vient pour voir la lumière à l'écran et ces cinéastes nous plongent dans l'obscurité la plus totale.
C'est évidemment un geste provocateur de la part de ces cinéastes. Une façon de manifester leur confiance aveugle dans une contemplation dans la longueur, dans l'étendue du temps. Comme l'absence d'un hors-champ à l'intérieur du champ; un "hors-lumière" qui demeure diégétique. Le règne des spotlights sur le plateau est appelé à déchanter.

Apichatpong Weerasethakul (Cahiers du cinéma, n° 659, Sept 2010) : "L'écran, c'est un peu mes yeux, ma fenêtre... En fait, je ne suis pas très heureux avec la notion d'écran. C'est pourquoi j'ai essayé d'expérimenter d'autres formats avec mes installations. L'écran, le cadre, c'est aussi une limite. C'est pour cela que je me concentre beaucoup sur le son, qui se répand partout, sans limite. Parfois l'image se continue par le son. J'aimerais que l'on ressente devant mes films qu'il n'y a pas uniquement ce qui apparait à l'écran. Il y a plus, il y a d'autres choses, en dehors de l'écran, qui appartiennent au film. J'essaie de faire passer en images ce que j'éprouve sur le tournage, mais ce que je vois avec mes yeux ou ce que je ressens est trop grand pour être contenu sur un écran avec des bords. Le son permet de faire sentir cela, et de faire perdre la conscience et la sensation de l'écran au public." 

Uncle Boonmee. Jen s'isole dans la nuit, à l'écart du dîner avec les fantômes.
La nuit nous ôte notre preuve, nous ne savons plus où nous sommes. Nous sommes réduits à nous-même. Notre vision n'a plus pour limite le visible, mais l'invisible pour cachot, immédiat, indifférent, compact. Si la nuit occlut notre œil, c'est afin que nous écoutions plus.

"La lampe et la poche", Paul Claudel, in Connaissances de l'est, 1973.


Tuesday, August 31, 2010

Lenteur cérémonielle (Le Monde)

Uncle Boonmee Who Can Recall His Past Lives (2010/Weerasethakul/Thailand)
Jean-Luc Douin (Le Monde, 31 août 2010): "C'est un cinéma mystérieux, hallucinatoire, d'une lenteur cérémonielle, faisant appel à la mystique et à des émotions sensuelles déroutantes pour certains, qu'a couronné cette année le Festival de Cannes en décernant sa Palme d'or à ce film.[..]
La séquence inaugurale, celle d'un buffle égaré dans la brume, donne le ton : on la reçoit d'abord pour ce qu'elle est, l'image belle, majestueuse et intrigante, d'un animal traqué. On comprendra au fil des strophes de cet hymne à la vie éternelle que cette bête gémissante symbolise la disparition d'un monde. Et la revoyant à l'heure du trépas de son personnage principal, Oncle Boonmee, on acceptera volontiers qu'elle figure cet homme dont Weerasethakul nous invite à suivre le passage d'un monde à l'autre. [..]
Un oeil dans l'au-delà des rêves et des incarnations conceptuelles de ce qui hante l'esprit, Apichatpong Weerasethakul reste attentif à ce qui paralyse son paradis thaïlandais : la répression d'un Etat nationaliste qui contrôle, censure, pourchasse les immigrés clandestins (laotiens ou birmans) et combat les insurgés (l'armée combattait les "chemises rouges" pendant le Festival). Oncle Boonmee incarne une certaine foi en même temps qu'un temps révolu, une Thaïlande de jadis. [..]
Changer de peau est un réflexe existentiel depuis Blissfully Yours (2002) où le héros, atteint de psoriasis, mue tel un serpent. Un moine bouddhiste rêve qu'il se transforme en poulet dans Syndromes and a Century, une chienne décédée d'un cancer du pancréas réapparaît pour veiller sur le sommeil de son maître dans Tropical Malady (2004), où dans la jungle (asile du désir), un jeune homme guette un tigre, avatar de son amant. [..]
Ce qui fascine chez Apichatpong Weerasethakul, c'est la simplicité, l'évidence avec laquelle s'impose l'osmose de l'homme et de l'animal, loin des instincts sauvages et meurtriers. Ce Jacques Tourneur de la péninsule indochinoise convoque des âmes capables de toutes les métamorphoses, reflets fauves de pulsions d'harmonie.[..]
Pour Weerasethakul, rien que de très naturel là-dedans. Ou plutôt, rien que de très cinématographique. Les fantômes sont des projections, la caméra un outil pour capturer le passé, préserver le souvenir des défunts. Oncle Boonmee, c'est lui, sa façon de transformer ses souvenirs, ses fantasmes, ses expériences, en créatures surnaturelles. Oncle Boonmee est, en quelque sorte, un journal intime."
Victor Erice est membre du jury de la compétition officielle 2010 qui a décerné la Palme D'Or au film d'Apichatpong Weerasethakul.
Victor Erice (Le Monde, 31 août 2010) : "Dans l'article premier du règlement du jury international du Festival de Cannes pour les films en compétition, il est stipulé que le Festival a pour objet 'de révéler et de mettre en valeur des œuvres de qualité en vue de servir l'évolution de l'art cinématographique'. Cette condition suppose une qualité particulière, que les festivals de cinémas, au moment du palmarès, ne distinguent pas toujours. Peut-être par négligence, ou bien en raison de l'absence dans la sélection d'une œuvre répondant à cette exigence. Heureusement, cela n'a pas été le cas de l'édition 2010 du Festival de Cannes, ni de Oncle Boonmee, d'Apichatpong Weerasethakul, un film qui incarne de façon irréfutable cette condition première. C'est ce trait lumineux d'Oncle Boonmee qui a impressionné le plus durablement le jury cannois (...).
Il n'est en rien facile de décrire Oncle Boonmee (...). Il s'agit d'une oeuvre qui se déploie à tant de niveaux différents, où le fantastique et le surnaturel coexistent avec le quotidien, qui ne renonce ni à la chronique ni à l'autobiographie, tout en offrant le témoignage élégiaque sur une culture, qui, à l'image d'un certain type de cinéma, court aujourd'hui le risque de disparaître. Dans ses images, le grand thème de la réincarnation, fondement de la culture locale de laquelle il est issu, est indissociable d'un hommage au cinéma, à sa capacité exceptionnelle à se constituer en machine à voyager dans le temps."

Saturday, July 17, 2010

Boonmee contemplatif (Ganzo)

par Fernando Ganzo (traduction de Emilie Garcia); elumière, Juin 2010

"Joe aborde le cinéma en privilégiant sa radicalité d’art de la durée, du temps, sa capacité à reproduire, à chaque plan, la nature de l’instant : le mystère, l’incertitude, la menace de ce qui est imminent, et qui prend corps dans le changement de plan, dans l’irruption de l’énigme. Procédés dont le réalisateur profite pour créer ce présent qui, dans le cinéma, peut être projeté avec une linéarité visuelle, alors qu’il nous permet de voyager d’une époque à une autre, à travers les temps, au niveau du récit. [..]

C’est à ce titre qu’il nous est permis de situer le film et l’œuvre de Weerasethakul dans les rangs du « cinéma contemplatif », caractérisé non seulement par une attente face à l’imminence de l’inconnu, mais également par la ferme croyance défendant l’idée selon laquelle le simple fait d’observer un arbre, un buffle, les doux rayons d’un soleil chatouillant des branchages, ou un brouillard se frayant un chemin entre deux monts, permet de rentrer en contact avec tout ce que l’univers contient de plus énigmatique.

Si la beauté entre en jeu dans la contemplation, le processus en question s’opère à des degrés distincts : elle peut d’abord entrer en jeu en tant que concept absolu, et il s’agirait alors d’une beauté entendue comme clé permettant d’établir un lien sublime entre notre être et ce que nous contemplons. [..]"

Spoiler alert : fantôme et mortel enlacés.

Saturday, June 26, 2010

Reprendre à zéro (Delorme)

Ne plus rien reconnaître
Stéphane Delorme (éditorial, Cahiers n°657, Juin 2010)

La victoire d'Apichatpong Weerasethakul à Cannes n'est pas que justice: c'est la reconnaissance d'un des plus grands cineastes d'aujourd'hui, et certainement le meilleur de sa génération (il a 40 ans). A l'annonce du palmarès, des grognons ont manifesté leur mécontentement, certainement plus enclins à reconnaître des cinéastes « solides » restant dans les paramètres d'un cinéma balisé. La presse internationale n'a pas toujours été tendre avec le Thailandais; et un certain poujadisme pointe chez ceux qui s'inquiètent qu'un cinéaste « inconnu » reçoive la Palme, au désarroi du grand public. Mais le grand public ne devrait pas s'inquiéter: Apichatpong Wee-ra-se-tha-kul se prononce patiemment et ses films s'eprouvent dans la plus grande simplicité. II suffit de s'asseoir dans le noir et d'aimer se laisser étonner, vertu à la portée de chacun.
Rares sont les cinéastes aujourd'hui qui avancent dans le noir en tâtonnant, créant devant eux les hommes, les situations, les bêtes, les paysages, les lumières qui s'extirpent du néant. Rares sont ceux qui reprennent à zéro, totalement à zéro, sans s'aider de cadres, de repères et de normes. La plupart des bons films sont des variations qui alimentent le plaisir du spectateur du plaisir de reconnaissance: reconnaître un type de récit, un type de mise en scène, retrouver un acteur, suivre le style d'un auteur. Cela vaut autant pour le cinéma commercial que pour le cinéma d'auteur. La politique des auteurs elle-même est fondée sur la reconnaissance puisque c'est la cohésion d'un style qui fait la grandeur d'un auteur. Aujourd'hui, plus que jamais, on reconnaît des pans de cinéma. [..]
Et puis il y a des moments où on n'arrive plus à reconnaître. On se frotte les yeux, ce que nous voyons arrive pour la première fois. Un dîner en long plan séquence, les acteurs jouent de manière erratique, un fantôme apparaît, puis un homme-singe, et nous sommes laissés dans une torpeur, d'autant plus profonde qu'elle ne cherche pas à nous saisir, puisque tout se relâche entre somnambulisme et ironie. [..]
Combien de fois avons nous eu le sentiment de ne plus rien reconnaître? Chaque fois que « l'image d'un film » (non le récit ni la mise en scène) s'est gravée dans notre mémoire. [..] La Palme a été donnée cette année à tous les réalisateurs pas raisonnables.

Friday, May 21, 2010

Apichatpong at Cannes 2010

Trailer 2'33"

Press conference for
Uncle Boonmee Who Can Recall His Past Lives (2010/UK/Thailand/France/Germany/Spain) d'Apichatpong Weerasethakul, selected in Official Competition in Cannes. The feature film is part of a multi-platform PRIMITIVE project.

Sunday, November 22, 2009

Mysterious Object At Noon

Thai filmmaker Apichatpong Weerasethakul’s maiden feature Mysterious Object at Noon (2000) is an instant success. Loosely based on the game Exquisite Corpse, originally conceived by the surrealists, wherein the participants of the game take turns to advance a storyline, Weerasethakul’s film shows us the director and his crew traveling throughout rural and urban Thailand, picking people at random, presenting them with an audio tape that contains the narrative of a story as told by its previous bearers and asking them to further the tale in whatever way they like. The “story” in the film begins with a physically challenged kid, taught at home by a visiting teacher, who notices a strange, round object roll down from his teacher’s skirt one day, which later transforms into a mystic boy with superpowers! Wait till you see what this already bizarre setup mutates into. The “characters”, who narrate the story, almost run the gamut and include a sober tuna fish seller who, she believes, has been “sold” to her uncle, a talky old lady whose cheerfulness seems to conceal a tragedy, a gang of timid teenage mahouts who seem straight out of a Jarmusch movie, a troupe of exuberant traveling players, each of whom would have a quirk or two if probed, a bunch of TV show participants, two deaf and mute girls who seem to be the most excited of the lot and a bevy of primary school kids whose imagination would, literally, leave one speechless.

The original Thai title of the film, apparently, translates to “Heavenly Flower in Devils’ Hands”, evidently, calling attention to the film itself. It is undeniably true that what starts as a beautiful emotional drama is unfortunately mutilated and metamorphosed into a tale of fantasy, then, mystery, horror and romance. But, surely, this “heavenly flower” is not of much interest compared to the devils which hold it. Mysterious Object at Noon is, perhaps, closest in style and intent to Abbas Kiarostami’s Homework (1989), in which the director brings down a whole nation sitting in a stuffy room with a bunch of first graders (Actually, Weerasethakul’s whole body of work tempts one to equate him to Kiarostami, especially given his penchant for cars and roads!). Here, as in Homework, the initial objective of the filmmaker, eventually, turns out to be one big MacGuffin. The ultimate point of the movies is not to investigate whether the kids complete their homework promptly or if the story streamlines into a smooth narrative ready for Hollywood, but to draw out a portrait of a society derived from these first hand accounts. Weerasethakul’s movie may be a joke derived out of a simple afternoon game, but what it does, in effect, is to draw the cultural landscape of a country, not by taking a didactic top-down approach but by examining the most basic fears, desires, anxieties and interests of common folk who form its social structure.

Essentially, Mysterious Object at Noon examines the function and power of stories as cultural artifacts and explores how stories preserve and reflect the spirit of the age they originate in, much like every art form – major and minor. Additionally, Weerasethakul’s film acknowledges the tendency of these stories to undergo transformation through the years as they pass from one social class, age group, ethnicity and way of life to the other. These stories may get corrupt along the way, may absorb elements from real life and even end up losing their original meaning, but, in any case, they serve to perpetuate culture and build links between generations (One kid in the final segment recites a story about an uncle who recites to his nephew a story about an uncle and a nephew. Presumably, this story was told to him by his uncle). These stories may be passed on in the form of books, paintings, photographs, modern recording media (a la audio tapes, which are used in this film to record the story) and word-of-mouth, as Weerasethakul’s film indicates by turning on and off sounds, images and texts in an incoherent fashion. But, whatever the form, each version of these stories carries an imprint of the narrator’s sensibility and world view. With some effort, from each story, one should be able to reconstruct the realities of the world the narrator lives in and vice versa. Like the image of the railway tracks, which are parallel but seem to be converging at infinity, that punctuates the film, these stories, although appearing to be all over the place on the surface, have one point of convergence – they all help out in sketching the collective consciousness and the collective unconscious of a particular culture at a given point in time.

Moreover, by actually making a film out of the concocted story, Weerasethakul concludes that cinema, too, is one such medium that could well function as a sociological document and which the posterity can use to understand their own history from very many perspectives. By merely filming in black and white, Weerasethakul takes his film one step away from reality and makes it seem like an antiquated object that is being preserved for a long time. And like these stories that shape-shift with time, Weerasethakul, call it a running gag, makes certain folk tales and myths repeat themselves across his filmography, albeit in different avatars – another one of his many similarities to Kiarostami. The humourous father-daughter duo, who talk to the doctor about the old man’s hearing problem, reincarnate in the director’s next movie Blissfully Yours (2002). The story about the two greedy farmers and the young monk, which makes an appearance in the hypnotic Tropical Malady (2004), resurfaces with a more violent outcome in Syndromes and a Century (2006). And the tale about the shape-shifting “Witch Tiger” that the young boy begins to narrate at the end of Mysterious Object at Noon forms the entire second half of Tropical Malady, needless to say, in a completely transformed tone. For a writer-director who has consistently soaked his films in the themes of permanence of history and mythology, recycling of human memories and behaviour and the existence of a common binding spirit across generations, this gesture just can’t be considered as a mere prank.

Mysterious Object at Noon consistently reinforces and reminds of Weerasethakul’s preoccupation with juxtaposition of cultural extremes. Often in the director’s films, aptly highlighted by the “traveling shots” filmed from the car’s front and rear windows, we find ourselves wondering whether we are going forward in time or backwards. The very first shot of this film presents us everything that would become the director’s trademark in the following years. This single four minute point of view shot from inside a car presents us a host of extremes placed alongside each other. The car starts out on a broad highway, amidst tall buildings of the city, and takes a serpentine route to gradually arrive at a sparse and quieter suburban locale. The vehicle is that of an incense and tuna fish seller. He is broadcasting an advertisement using loudspeakers attached to the car, endorsing his brand of incense sticks, citing its virtues, and asking people to use only this brand while worshiping Buddha. This blatant lie on the soundtrack counterpoints the truth of the photographic image, which is also much more banal and undramatic compared to the fictional stories we hear on the car radio. Furthermore, by using an advertisement marked by scientific terminologies and latest capitalistic strategies to endorse a product used in a religious ritual, Weerasethakul brings total modernity and total antiquity – the future and the past – together to provide a broad outline of a country in transition (Tokens of American influence on contemporary Thai culture are abound in Weerasethakul’s films). Later, the director goes on to further explore the volatile boundary between reality and fiction and the object-mirror image relationship that they share with each other – using both the film within the film and its making-of. As it turns out in Panahi’s The Mirror (1997), reality deviates as significantly from fiction as it resembles it (The mystic kid seems, in actuality, far from being mystical and is more interested in KFC and comics).

Weerasethakul prefers to be called a conceptual artist rather than a film director (He cites Andy Warhol as a major inspiration). This tendency of his is most manifest in Mysterious Object at Noon, wherein he is content is merely triggering a chain of events and persevering to see what evolves. There is no manipulation of the mise en scène, the plasticity of the image is never harnessed and the camera is employed at a purely functional level. Weerasethakul does not even polish the gathered fragments and simply joins them, leaving all the interpretation to us. Shot in digital, cinéma vérité style, using handheld, and no predetermined script, Mysterious Object at Noon oozes with documentary realism. Like he does in most of his films, Weerasethakul keeps exposing the tools of his trade in an attempt to disillusion us from the belief of watching an alternate reality and to reinforce the fact that this movie indeed takes place in our world. At one point in the film, the director himself enters the frame to adjust the lighting for the film within the film he is shooting. As a result, he lets us see both the creation and the creator – the image and the process behind its construction – much like he does with his script and its authors in Mysterious Object at Noon. However, Weerasethakul’s self-reflexive moves do not end here.

The film’s title should, appropriately, be cleaved into “Mysterious Object” and “At Noon”. Weerasethakul, after presenting us the major part of film dealing with the “mysterious object”, adds an epilogue titled “At Noon” shot in the director’s hometown of Panyi, whose quiet nighttime images we are already acquainted with thanks to the director’s earlier film Thirdworld (1998). This one is a completely freewheeling, heavenly segment in which we witness a group of boys playing soccer in the afternoon, kicking the ball into a nearby pond and taking a bath in the process of retrieving it. This is followed by vignettes of people having lunch and a bunch of younger kids, before being called by their mother for lunch, tying an empty tin can to a dog’s neck and watching the poor animal go berserk due to the noise the can produces. They say that the essence of life lies in boredom. Likewise, Weerasethakul seems to be of the opinion that the most interesting things in life arise out of these dead times in the afternoon (one needs to just look at the director’s next film for proof). And like these kids who seem conjure up fascinating things from the most commonplace of objects, Weerasethakul, too, realizes a movie completely out of the “dead time” of his characters’ lives, creating something magical that only cinema could have brought to life. In a way, Mysterious Object at Noon is an elegy for the stretches of time we've lost in planning ahead, the times we've cast off in the pursuit of “higher” goals and the dead times we've killed in order to move into lifeless ones.

Monday, October 26, 2009


Apichatpong WEERASETHAKUL (born 16 July 1970; Bangkok, Thailand) = 39 yold in 2009
5 (feature) films / 4 screenplays (1st film: 1993/latest film: 2009)
C.C.C. films (strict model in red) : White Malady?; Uncle Boonmee Who Can Recall His Past Lives; A Letter to Uncle Boonmee; Mobile Men; Luminous People; Emerald; The Anthem; Syndromes and a Century; Worldly Desires; Tropical Malady; Blissfully Yours; Mysterious Object at Noon; Thirdworld; Like the Relentless Fury of the Pounding Waves

Uncle Boonmee Who Can Recall His Past Lives (2010) 113' part of the installation The Primitive IMDb - Cannes 2010

A Letter to Uncle Boonmee (2009) 17'40" short from installation The Primitive IMDb -
Phantoms of Nabua (2009) 10'40" short from installation The Primitive -
Mobile Men (2008) 3'15" segment in Stories on Human Rights IMDb -
  • Kick The Machine (Official website)
  • "Beyond The Frame: Mobile Men" By: Rob Dennis (Vertigo UK, Vol.4 No.3, Spring/Summer 2009)
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Sud Vikal / Vampire (2008) 19' Short Louis Vuitton -

Unknown Forces (2007) Installation
Luminous People (2007) 15'22" segment in O Estado do Mundo IMDb - Cannes 2007
Morakot / Emerald (2007) 11'50" short -

The Anthem (2006) 5' Short - Frieze Art Fair 2006

Sang sattawat / Syndromes and a Century (2006) IMDb - Venice 2006
Ghost of Asia (2005) 9' Short with Christelle Lheureux IMDb -

Worldly Desires / Memories to the Jungle 2001-2005 (2005) 42' Short with Pimpaka Towira IMDb -
Sud pralad / Tropical Malady (2004) IMDb -

  • Kick The Machine (official website)
  • "Ivres de la jungle" By: Dider Péron (Libération, 19 May 2004) [FRENCH]
  • "Course mythologique à travers la jungle à la poursuite d'un homme tigre" By: Jean-François Rauger (Le Monde, 20 May 2004) [FRENCH]
  • "Traque chamanique dans la jungle du désir" By: Jacques Mandelbaum (Le Monde, 24 Nov 2004) [FRENCH]
  • "La magie opère" By: Louis Guichard (Télérama, #2863, 24 Nov 2004) [FRENCH]
  • "Moins on est de fous, mieux on filme" By: Annick Peigné-Giuly (Libération, 25 Apr 2005) [FRENCH]
  • "Tropical drive, Mulholland Malady" By: Hervé Aubron (Vertigo FR, #27, Mar 2005) [FRENCH]
  • "Un trou dans le mur" By: Charles de Meaux & Cyril Neyrat (Vertigo FR, #27, Mar 2005) [FRENCH]
  • "Tropical Malady" By: James Quandt (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "The Strange Story of a Strange Beast. Receptions in Thailand of Apichatpong Weerasethakul’s Sat Pralaat" By: Benedict Anderson (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Texte zu Weerasethakul. Eine Sammlung" A collection of texts by Weerasethakul By: Apichatpong Weerasethakul (Cargo, ?) [GERMAN]
  • "The Rupture. A Thai interpreter of Malady explains his split decisions" By: Chuck Stephens (The Village Voice, 21 Jun 2005)
  • "For those who have seen Tropical Malady" By: Brian Darr (Hell On Frisco Bay, 8 Apr 2007)
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46664 / Give 1 Minute of Your Time To AIDS (2003) 1' Short -

Hua jai tor ra nong / The Adventures of Iron Pussy (2003) IMDb -

  • Kick The Machine (official website)
  • "The Adventure of Iron Pussy and other collaborations" By: James Quandt (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Texte zu Weerasethakul. Eine Sammlung" A collection of texts by Weerasethakul By: Apichatpong Weerasethakul (Cargo, ?) [GERMAN]
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Second Love in Hong Kong (2002) Installation with Christelle Lheureux
Sud sanaeha / Blissfully Yours (2002) IMDb -
  • Kick The Machine (official website)
  • "Extase thaï" By: Philippe Azoury (Libération, 17 May 2002) [FRENCH]
  • "Un moment de bonheur arraché à la jungle" By: Thomas Sotinel (Le Monde, 18 May 2002) [FRENCH]
  • "Apichatpong Weerasethakul, l'endémoniste" By: Brice Pedroletti (Le Monde, 18 May 2002) [FRENCH]
  • "Septième ciel" By: Amélie Dubois (Les Inrocks, 9 Oct 2002) [FRENCH]
  • "Blissfully Yours" By: Louis Guichard (Télérama, #2752, 9 Oct 2002) [FRENCH]
  • "Sensuellement hypnotique" By: Annie Coperman (Les Echos, 10 Oct 2002) [FRENCH]
  • "Si singulier 'Blissfully Yours'" By: Didier Péron (Libération, 19 Oct 2002) [FRENCH]
  • "Love in the Afternoon" By: J. Hoberman (The Village Voice, 1 Jun 2004)
  • "A Sewer Rash, a River in Eden and a Stream of Tears" By: Manohla Dargis (NYT, 24 Sept 2004)
  • "Une maison dans les bois" By: Catherine Ermakoff (Vertigo FR; #31; 2007) [FRENCH]
  • "FOCUS: Blissfully Yours. Towards the Wondrous Void" By: Tony Rayns (Vertigo magazine UK, Vol. 3 No. 4, Winter 2007) PDF
  • "Blissfully Yours" By: James Quandt (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Texte zu Weerasethakul. Eine Sammlung" A collection of texts by Weerasethakul By: Apichatpong Weerasethakul (Cargo, ?) [GERMAN]
  • (add link here)
Haunted Houses Project Thailand (2001) 60' -

Masumi Is a PC Operator (2001) 6' Short from installation Narratives IMDb -

Dokfa nai meuman / Mysterious Object at Noon (2000) IMDb -

  • Kick The Machine (official website)
  • "Un jeu d'enfant" By: Cyril Neyrat (Vertigo FR, #27, Mar 2005) [FRENCH]
  • "Mysterious Object at Noon" By: James Quandt (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Texte zu Weerasethakul. Eine Sammlung" A collection of texts by Weerasethakul By: Apichatpong Weerasethakul (Cargo, ?) [GERMAN]
  • (add link here)
Boys at Noon (2000) 23' Short IMDb -
Malee and the Boy (1999) 25' Short IMDb -

Windows (1999) 17' Short -

Goh Gayasit / Thirdworld (1997) 17' Short IMDb -
Mae Ya Nang / Like the Relentless Fury of the Pounding Waves (1994) 22'37" Short IMDb -

0116643225059 (1994) 5' Short IMDb -

Kitchen and Bedroom (1994) Short IMDb -

  • (add link here)
Bullet (1993) Short IMDb -

  • (add link here)

  • "Les surprises du cinéma thaï" By: Seno Joko Suyone, Arif Firmansayah, Akmal Nasery Basral (Courrier International, #720, 19 Aug 2004) [FRENCH]
  • "Sur les traces de Tropical Malady" By: Jean-Marc Lalanne (Les Inrockuptibles, 24 Nov 2004) dossier 8p. [FRENCH]
  • "Un trou dans le mur. Entretien avec Charles de Meaux" By: Cyril Neyrat (Vertigo FR, #24, 5 Dec 2004) PDF
  • "Tropical drive, Mulholland Malady" By: Hervé Aubron (Vertigo FR, #27, Mar 2005) [FRENCH]
  • "Un coup dans la machine. Apichatpong Weerasethakul" By:Antoine Thirion (Vertigo Fr, #30, Apr 2007) [FRENCH]
  • "Two Letters" By: Mark Cousins & Tilda Swinton (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna April 2009)
  • "Resistant to Bliss: Describing Apichatpong" By: James Quandt (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Cinema of Reincarnations" By: Kong Rithdee (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Touching the Voidness. Films by Apichatpong Weerasethakul" By: Tony Rayns (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "A Man Who Can Recall His Past Lives. Installations by Apichatpong Weerasethakul" By: Karen Newman (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "AUTEUR, AUTEUR: After Tropical Malady" By: Graeme Hobbs (vertigo UK, Vol.4 No.3, Spring-Summer 2009)
  • (add reference here)




  • "Apichatpong Weerasethakul. Syndromes and a century. Carnet d'un cinéaste" (Cahiers du cinéma, #618, ?) [FRENCH]
  • "Ghosts in the Darkness" By: Apichatpong Weerasethakul (in Apichatpong Weerasethakul, FilmmuseumSynemaPublikationen; Vol. 12; Vienna; April 2009)
  • "Texte zu Weerasethakul. Eine Sammlung" A collection of texts by Weerasethakul (Cargo, ?) [GERMAN] on Mysterious Object At Noon, Blissfully Yours, The Adventure of the Iron Pussy, Tropical Malady, Syndromes and a century
  • (add reference here)


  • (add reference here)

Please complete, correct when needed. This is an ongoing resource page to be updated.