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Monday, November 30, 2009

Bruno Dumont on Mysticism

@ 11/30/2009 05:02:00 PM By HarryTuttle
Interview de Bruno Dumont sur France Culture (25 Nov 2009) à propos d' Hadewijch (2009):
"Moi je comprends le cinéma quand je lis les Mystiques. C'est à dire quand je lis les visions, quand je lis les ravissements, quand je vis l'entretien des images, quand je vis la coïncidence des contraires, quand je vis les échelles mystiques. Ce degré de coupe, d'association d'images, des plans, c'est véritablement la matière même du plan. C'est à dire que les mystiques nous disent que c'est par l'apparence, c'est par la comparaison de l'extériorité des choses que le divin se manifeste.
Saint Thomas D'Aquin a parlé de la pluie par exemple, de la puissance de l'eau comme évocation justement de la présence de Dieu. Moi la présence de Dieu je ne peux pas la filmer. Je ne la filme pas. Je m'en garderais bien. Mais la pluie je peux la filmer. Et je sens bien quand je filme la pluie, je filme autre chose. Dans le cinéma il y a la présence et l'absence. C'est à dire que l'image évoque quelque chose d'autre que ce qu'elle montre.

Nous on est des mécaniciens. C'est une mécanicienne Julie [Sokolowski]. Elle fabrique, je fabrique de la maladresse, et vous voyez la fragilité. Mais nous on ne peut que travailler la maladresse. Je ne peux pas travailler la fragilité, ça me tombe des mains. Je ne peux pas faire ce travail-là. Il faut que je reste mécanicien.
Il faut que je brasse mes images. Il faut que je fasse mes plans, que je tourne ma caméra vers un saule pleureur et que j'espère que ce saule pleureur va transcender. Et cette transcendance c'est le regard qui va la faire. J'en suis persuadé. Moi je fixe le temps, le temps d'exposition de votre corps devant cette image et je fais le son, etc, mais si vous voulez, le miracle c'est le regard.
Et l'invisible c'est la contradiction quand vous dites que vous aimez, vous nous aimez pas... je suis persuadé de ça aussi. C'est à dire qu'on peut voir le contraire. Et c'est le contraire en fait, sa chasteté, qui évoque son érotisme. C'est la privation de son corps qui la rend plus désirable. Donc moi je ne peux pas filmer le désir. Je supprime son corps, je l'empêche, etc. Et vous voyez le contraire.

C'est ça qui est beau chez le spectateur, il est récalcitrant. Il est contradictoire et en filmant quelque chose il peut voir autre chose. C'est ça la mystique : ce lien entre les images et les corps. Vous avez un corps; j'ai un corps. Et l'image c'est aussi des corps filmés. Et ça brasse le secret, l'unité. C'est ça en fait la mystique, c'est l'Un.

Il y a une unité dans cette pâture. Et cette pâture est en moi. Quand je filme la pâture, je me filme à l'intérieur de moi, je ne peux pas faire autrement. Je ne peux pas m'atteindre sans ce champs. Et c'est ce champs qui m'amène à mon âme. Et si je peux pas faire autrement, je ne peux pas filmer mon âme. Ce serait idiot de ma part."
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Sunday, November 22, 2009

Mysterious Object At Noon

@ 11/22/2009 11:06:00 AM By Just Another Film Buff
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.

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Friday, November 06, 2009

LINKS :: James BENNING

@ 11/06/2009 04:10:00 PM By HarryTuttle
James BENNING (born 1942; Milwaukee, Wisconsin, USA) = 67 yold in 2009
42 films (20 feature length) / 6 screenplays (1st film: 1971/latest film: 2009)
INSPIRED BY : Henry David Thoreau, Andy Warhol, Bill Traylor, Michael Snow, Hollis Frampton, George Landow, Yvonne Rainer, Robert Smithson?
C.C.C. films (strict model in red) : 13 Lakes; Ten skies; RR; Ruhr;
INFLUENCE ON : ?
Ruhr (2009) 120' IMDb -
RR (2007) 112' IMDb -

Casting a Glance (2007) 87' IMDb -

One Way Boogie Woogie/27 Years Later (2005) 120' IMDb -

  • "Benning x 2 + 27" By: Dennis Harvey (San Fransisco Bay Guardian online, ?)
  • (add link here)
Ten Skies (2004) 102' IMDb -
  • "Lakes and Skies" By: Brian Darr (Hell on Frisco Bay, 12 Sept 2005)
  • "Lost Landscapes, Found Paintings. Two new films by James Benning" By: Ian Haydn Smith (Vertigo UK, Autumn/winter 2005)
  • "Ten Skies, 2004" By: acquarello (Strictly Film School, 26 Feb 2007)
  • "James Benning’s 13 Lakes and Ten Skies, and the Culture of Distraction" By: Scott MacDonald (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • (add link here)
13 Lakes (2004) 133' IMDb -

Sogobi (2001) 90' IMDb -

  • "On Future Arrivals of Container Drivers. Five Brief Comments on One Image from James Benning’s ‘California Trilogy’, expanded" By: Nils Plath (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • (add link here)
Los (2000) 90' IMDb -
  • "On Future Arrivals of Container Drivers. Five Brief Comments on One Image from James Benning’s ‘California Trilogy’, expanded" By: Nils Plath (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • (add link here)
El Valley Centro (2000) 90' IMDb -

  • "On Future Arrivals of Container Drivers. Five Brief Comments on One Image from James Benning’s ‘California Trilogy’, expanded" By: Nils Plath (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • (add link here)
UTOPIA (1998) 91' IMDb -

  • (add link here)
Four Corners (1997) 79' IMDb -
  • "James Benning's Four corners" By: Jonathan Rosenbaum (Chicago Reader, 12 Dec 1997; Essential Cinema, 2004)
  • (add link here)
Deseret (1995) 81' IMDb -
  • (add link here)
North on Evers (1992) 87' IMDb -
  • (add link here)
Used Innocence (1989) 94' IMDb -
  • (add link here)
Landscape Suicide (1986) 93' IMDb -
  • (add link here)
O Panama (1985) 28' short IMDb -
  • (add link here)
American Dreams (lost and found) (1984) 55' IMDb -
  • (add link here)
Him and Me (1982) 87' IMDb -
  • (add link here)
Last Dance (1981) IMDb -
  • (add link here)
Double Yodel (1980) IMDb -
  • (add link here)
Oklahoma (1979) IMDb -
  • (add link here)
Four Oil Wells (1978) IMDb -
  • (add link here)
Grand Opera (1978) 84' IMDb -
  • (add link here)
11 x 14 (1977) 80' IMDb -
  • (add link here)
One Way Boogie Woogie (1977) 60' IMDb -
  • (add link here)
A to B (1976) 2' short IMDb -
  • (add link here)
Chicago Loop (1976) 9' short IMDb -
  • (add link here)
3 Minutes on the Dangers of Film Recording (1975) 3' short IMDb -
  • (add link here)
9-1-75 (1975) 22' short IMDb -
  • (add link here)
An Erotic Film (1975) 11' short IMDb -
  • (add link here)
Saturday Night (1975) 2' short IMDb -
  • (add link here)
The United States of America (1975) 27' short IMDb -
  • (add link here)
Gleem (1974) 2' short IMDb -
  • (add link here)
8 1/2 X 11 (1974) 32' short IMDb -
  • (add link here)
I-94 (1974) 3' short IMDb -
57 (1973) 7' short IMDb -
  • (add link here)
Honeyland Road (1973) 8' short IMDb -
  • (add link here)
Michigan Avenue (1973) 6' short IMDb -
Art Hist. 101 (1972) 17' short IMDb -
  • (add link here)
Ode to Muzak (1972) 3' short IMDb -
  • (add link here)
Time and a Half (1972) 17' short IMDb -
  • (add link here)
Did You Ever Hear That Cricket Sound? (1971) 1' short IMDb -
  • (add link here)



GENERAL BIBLIOGRAPHY
  • "James Benning (USA)" By: Jon Jost (Framework, #13, 1980)
  • "James Benning: “Reeling in Utah: The Travel Log Trilogy”" By: Dick Hebdige (Afterall, #8, Autumn/Winter, 2003)
  • "Taking Position. did you ever hear that cricket sound? (1971) to 3 minutes on the dangers of film recording (1975)" By: Claudia Slanar (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "An Iconography of the Midwest. 8½ u 11 (1974) to Grand Opera (1979)" By: Barbara Pichler (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Milwaukee’s Finest" By: Sharon Lockhart (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Walking and Talking" By: Sadie Benning (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "“I’ll sneak in the back door.” Installations in the Art World: 1978–1985" By: Claudia Slanar (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "American Dreams, American Nightmares. Him and Me (1981) to Used Innocence (1988)" By: Barbara Pichler (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Using the Earth as a Map of Himself. The Personal Conceptualism of James Benning" By: Julie Ault (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Into the Great Wide Open. North on Evers (1991) to UTOPIA (1998)" By: Barbara Pichler (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Reeling in Utah: The Travel Log Trilogy" By: Dick Hebdige (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Looking and Listening" By: Amanda Yates (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Landscape, History and Romantic Allusions. El Valley Centro (1999) to RR (2007)" By: Claudia Slanar (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Encyclopedia Americana. James Benning: Times, Places, Perceptions" By: Volker Pantenburg (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "James Benning, musician" By: Michael Pisaro (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "RR JB" By: Allan Sekula (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007) / Translated in French (Vertigo FR, #36, Sept 2009) [FRENCH]
  • "James Benning : bienvenue dans la wilderness" By: Antoine Thirion (Cahiers du cinéma, #644, Apr 2009) [FRENCH]
  • "The James Benning Experience" By: Stephane Audeguy (Vertigo FR, #36, Sept 2009) [FRENCH]
  • "Beginning Benning. Voyage à Benning (with robert Smithson on my Mind)" By: Carlos Muguiro (Vertigo FR, #36, Sept 2009) [FRENCH]
  • "L'étendue qui dure" By: Yannick Haenel (Vertigo FR, #36, Sept 2009) [FRENCH]
  • (add reference here)

BOOK on James BENNING

GENERAL ONLINE ARTICLES

INTERVIEW

TEXT BY James BENNING
  • "James Benning on Place" By: James Benning (Framework, #13, 1980)
  • "Off Screen Space/Somewhere Else" By: James Benning (in "James Benning" ed. by Barbara Pilcher & Claudia Slanar; FilmmuseumSynema-Publikationen, vol. 6, Vienna, 2007)
  • "Life in Benning" By: James Benning (Frieze, #111, Nov-Dec 2007) also at Invisible Cinema ; Translated in Dutch (filmkrant, #304, Nov 2008) [DUTCH]
  • "Life is finite" By: James Benning (Warhol exhibition, Waxxner Center, Colombus, Ohio, Aug 2008); republished in French (Vertigo FR, #36, Sept 2009)
  • "Knit & Purl" By: James Benning (Cinema Scope, #40, Fall 2009)
  • (add reference here)

WEBSITES
  • IMDb
  • (add link here)

DOCUMENTARY ON James BENNING
  • James Benning: Circling the Image (2003/Reinhard Wulf/Germany), produced by WDR – Westdeutscher Rundfunk, Germany. IMDb
  • (add reference here)
Please complete, correct when needed. This is an ongoing resource page to be updated.
Tags : , 10 commentaires

Thursday, October 29, 2009

Sushi-conveyor filmmaking

@ 10/29/2009 10:07:00 PM By HarryTuttle

Lost in a moment | Shrift (1998/Dennis Wheatley/Stefan McClean) 4'56"

"one take impromptu film made in Tokyo by Dennis Wheatley and Stefan McClean.
We were sitting in this sushi bar pondering how best to set up a camera to film things all by itself whilst we were in Tokyo.
Take our hands out of the equation... let the camera have its own journey.
I'd taken a cannibalised record turntable with me from the UK with the idea of filming slow panoramas but it was painfully bumpy and stopped every minute.
Then we had our eureka moment and filmed this.
A few years later I was working on a piece of music and married the two together.
The music is all about that feeling when you're half asleep in the sun.. the ambiance of foreign voices becomes a lullaby to dream away.
There's something beautiful in not understanding a language.. it becomes abstract, musical.
Opera is so much better when you can't understand the words!
What we loved about watching this film back was the space that the camera was able to enter.. extremely personal and scrutinising but not too lingering."
dennis

The music is 'lost in a moment' by 'shrift' from the album of the same name.


Related 回転寿司 (Kaiten sushi):
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Monday, October 26, 2009

LINKS :: Apichatpong WEERASETHAKUL

@ 10/26/2009 02:40:00 PM By HarryTuttle
Apichatpong WEERASETHAKUL (born 16 July 1970; Bangkok, Thailand) = 39 yold in 2009
5 (feature) films / 4 screenplays (1st film: 1993/latest film: 2009)
INSPIRED BY : ?
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
INFLUENCE ON : ?
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)
  • (add link here)
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)
  • (add link here)
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]
  • (add link here)
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]
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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]
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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 -

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Bullet (1993) Short IMDb -

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GENERAL BIBLIOGRAPHY
  • "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)
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BOOK on Apichatpong WEERASETHAKUL

GENERAL ONLINE ARTICLES

INTERVIEW

TEXT BY Apichatpong WEERASETHAKUL
  • "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
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WEBSITES

DOCUMENTARY ON Apichatpong WEERASETHAKUL
  • (add reference here)
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