Limitless Cinema in Broken English

August 31, 2007

KOSIT JUNTARATIP’S EJACULATION ON CANVAS

Filed under: Uncategorized — celinejulie @ 11:03 pm

Matthew Hunt (http://www.matthewhunt.com/blog ) has left very interesting comments in my blog below:
http://celinejulie.blogspot.com/2007/08/are-they-thai-auteurs.html

This is my reply to Matthew Hunt and some further thoughts of mine:

Thank you very much for your comment, Mat. Your comment is very useful for me and it is thought-provoking.

As for Thai directors who keep making films in the same genre, another one that I think is very interesting is Panu Aree. He directed many wonderful documentaries. But I can’t figure out what is his unique filmic style, if he has one. His documentaries range from the straightforward, such as IN BETWEEN (2006, A), to the experimental, such as MAGIC WATER (A+). But as I said above, I’m glad enough that he keeps making good documentaries. It doesn’t matter if he has unique filmic styles or not.

There are also some other Thai directors that I wonder if they are auteurs or not, such as Araya Rasdjarmrearnsook, Montri Toemsombat, or Santiphap Inkong-ngam. I have seen very few films of these artists-directors, so I can’t figure out what may be their unique filmic styles.

Talking about this topic also makes me think about some great directors who make films which are very different from each other. For example, I have to confess that if no one tells me the name of the director, I would never have guessed by myself that THE GOSPEL ACCORDING TO ST. MATTHEW (1964, A+) and SALO OR THE 120 DAYS OF SODOM (1975, A+) are directed by the same person.

–I have seen only two Kubrick films—A CLOCKWORK ORANGE and THE SHINING. I like them very much, but I saw THE SHINING when I was too young. I have to see it again to be able to fully appreciate it.

There is a shot of Kubrick that I like very much. It is in BARRY LYNDON (1975). I haven’t seen this film, but I saw a scene of this film in the documentary A PERSONAL JOURNEY WITH MARTIN SCORSESE THROUGH AMERICAN MOVIES (1995). It is a scene of a lady walking slowly. This scene is very impressive.

–As for directors who work in many different genres, I’m interested in Howard Hawks. I have seen only ONLY ANGELS HAVE WINGS (1939) and THE BIG SLEEP (1946). I have heard that he was admired very much as an American auteur, though I don’t know what is the important characteristic of his films.

–Thank you very much for your comment on Pasolini. I also like his ARABIAN NIGHTS (1974, A+) very much. I always think there’s something unique in ARABIAN NIGHTS, something which makes it very different from other films dealing with myths or fairy tales, but I can’t figure out what it is. I think it might be what you said. There’s a verite-style realism in it, though most directors wouldn’t have chosen this style for a story like that. Pasolini might be one of very few directors who choose this style to film such a story as ARABIAN NIGHTS, and can do it successfully. This kind of style wouldn’t be strange if used in a film like ACCATTONE (1961), which deals with working class people. But it looks strange to me when used in a film like ARABIAN NIGHTS. Strange means good in this case, though.

–Thank you very much for your comment on Araya. I like her works very much. I really agree with you that Araya is a video artist. I think Montri Toemsombat is, too.

———————————————————–

I apologize if my writing confuses my readers. I hope all of you don’t mind that in my writing I usually don’t differentiate between video artists and film directors, nor differentiate between video arts and films. It is because differentiating between them will give me a great headache. I think it’s very good and totally right for other people to differentiate between them, but I can’t do it because I can’t tell by myself if this or that piece of work is a video art or an experimental film, or this piece of work is shot on video or shot on film, or something like that. So I call all of them ‘films’ just for my convenience, laziness, and stupidity.

Talking about video arts and Thai artists-directors also lead me to think about many things, including:

–I don’t know if I should call Sathit Sattarasart a video artist or a film director. I only know that I love his works.

–The Thai video artist that makes me very excited this year is Arin Rungjang with his video installation NEVER CONGREGATE, NEVER DISREGARD.

–I regret that I didn’t go to see CLOSET, which is the video installation of Wasan Riaoklang at Whitespace Gallery near Lido Theatre in late August. Did anyone go to see it? Is it good or not? I saw some short films by Wasan Riaoklang many years ago. He directed THE TREE (2003). His films are not my type, but I’m still interested to see what his video installation would be like.
http://www.whitespaceasia.com/gallery/work.html

A video of Wasan Riaoklang can be watched from the link below:
http://www.matraksiyon.com/izle,wasan_boom_performance,XRX8js3seNs.html

–Though I think of Michael Shaowanasai as one of my most favorite directors, I guess he can be called a video artist, too. He directed many films/videos in late 1990’s. But unfortunately in 2000’s I have seen very few films/videos by him. I think he directed a video satiring consumerism in 2001. I don’t know the name of this video, but I remember that it is very funny. It portrays three girls smiling and walking back and forth in a market. One of the girls has a broken neck and her neck has to be supported by a medical device or something like that. This video is a part of a video installation in Siam Discovery. I also saw PLAYGIRL (2005, Michael Shaowanasai, A+), which is a film/video specifically made to be shown at PLAYGROUND department store. I don’t know if this is an experimental film or a video art. I also saw NANG KWAK: EQUAL OPPORTUNITY? (2006, Sakarin Krue-On + Michael Shaowanasai, A+), which is a video installation.

–Some Thai films that I love are a bit like video arts, such as TWILIGHT VIDEO IN AFTERNOON (2007, Rachawadee Komolsut, A+) and LIVING DOLL OR A DEAD (2006, Kamolpan Chotvichai, A+). My most favorite film of Apichatpong Weerasethakul, WINDOWS (1999, A+), is also a bit like video art.

–I think some artists are not as successful in directing films as doing their own kind of works. For example, I think Cindy Sherman is a great artist in photography, but I think the film OFFICE KILLER (1997, Cindy Sherman, A-) is not as great as her photography.

–Another Thai artist who directed film is Kosit Juntaratip. I love his film very much. It’s called WHEN KOSIT WENT TO DEATH (2001, A+). I saw it only once and can’t remember any details in the film now. But I remember that the film is very very powerful. However, unlike Araya, Montri, or Santiphap, Kosit doesn’t make many films/videos that get to be shown in Bangkok. WHEN KOSIT WENT TO DEATH is still the only film of his that I’ve seen.

Apart from directing a film, Kosit creates many interesting pieces of art, such as

1.COPULATE WITH LOVE (1994), which is ejaculation on canvas.
http://www.khm.de/~kosit/html/copuB1_1.html

2.LOVE GARDEN (1996)
http://www.khm.de/~kosit/html/garden1_1.html

3.BODY TALKING (1998)
http://www.khm.de/~kosit/html/body1_1.html

More information on Kosit can be found here:
http://www.khm.de/~kosit/

—————————————————-

These are some photo works by Montri Toemsombat, one of my most favorite Thai video artists.

http://farm2.static.flickr.com/1238/1285788357_d591e42e48_o.jpg
http://farm2.static.flickr.com/1439/1285788361_1369dc7a2f_o.jpg
http://farm2.static.flickr.com/1284/1285788381_8db79b5a26_o.jpg
http://farm2.static.flickr.com/1437/1285788371_e7feb42057_o.jpg
http://farm2.static.flickr.com/1175/1285788447_39eeeba1b8_o.jpg

This is a poster of WHEN KOSIT WENT TO DEATH
http://farm2.static.flickr.com/1190/1285788457_4445f42b3b_o.jpg

August 29, 2007

ARE THEY THAI AUTEURS?

Filed under: Uncategorized — celinejulie @ 10:25 pm

Watching the films in the Spoken Silence program makes me wonder how many auteurs are working in the Thai independent cinema? Because many films in this program really reflect the distinct styles of each director, though they make films under the same theme. I don’t really know what ‘auteur’ means. So here in my blog I will give my own meaning to it. The word ‘auteur’ I use here means ‘a director who has distinct styles of his/her own’. I hope you understand that the meaning of the word ‘auteur’ I use here might differ from the real meaning of the word ‘auteur’ used by other persons.

What I write here is a question. I just wonder about it and think you might want to think about it, might want to answer it, provide more information about it, or discuss it. I don’t declare that the following directors are auteurs. I just ask, “Do you think they are auteurs or not?”. It’s you who can answer, not me.

I’m just an ordinary audience, so I can’t analyze deeply the distinct styles of each director. I can’t analyze how uniquely they compose a shot, or how uniquely they edit the scenes. I just think most of these directors repeatedly make films under the same themes. Some of them keep making films about lovely children. Some of them keep making films about politics. Some of them don’t really have to put their names in the films’ opening credits, because many viewers can guess by themselves like this– “With this kind of scenes, with this kind of topics, with this way to tell a story, with this way to create atmosphere, with this style to film an object, or film a person, this must be the work of this one and only Thai director.”

THE THAI DIRECTORS WHO MAY OR MAY NOT BE AUTEURS INCLUDE:

(in alphabetical order)

1.Anocha Suwichakornpong
Female trouble

2.Chulayarnnon Siriphol
Camera as observer

3.Kullachat Jitkajornwanit
Cult films

4.Manussak Dokmai
Essay films, social issues with personal opinions, non-linear narrative

5.Michael Shaowanasai
Gay manic

6.Nathan Homsup + Dhan Lhaow
Cult films, non-linear narrative

7.Nuttorn Kungwanklai
Lovely children, absence of evil

8.Pimpaka Towira
Feminine cinema

9.Prap Boonpan
Essay films, political records with his personal opinions

10.Punlop Horharin
I think many of his images are not obviously surreal—the forest in EVERYTHING WILL FLOW, the views from a train in A HALF LIFE OF CARBON 14, the views in Bangkok in SILENCE WILL SPEAK–but he can make great surreal feelings out of them.

11.Sasithorn Ariyavicha
Indescribably atmospheric, extremely slow

12.Sathit Sattarasart
Atmospheric

13.Tanwarin Sukhapisit
Gay romantic

14.Thunska Pansittivorakul
Gay erotic, friendship, hybrid between fiction and documentary

15.Tosaporn Mongkol
Non-linear narrative

16.Tossapol Boonsinsukh
Loneliness, atmospheric, extremely slow. Some of his films are non-linear narratives.

17.Tulapop Saenjaroen
Semi-abstract

18.Uruphong Raksasad
Rural lifestyles

19.Zart Tancharoen
Atmospheric, romantic, non-linear narrative

I just put my questions here because I think it’s interesting. However, I want to point out that:

1.I’m not an expert in any directors above. So please correct me if I write anything wrong or understand anything wrong.

2.Many directors above don’t make films in one style. For example, Uruphong Raksasad also directed an animation and a romantic film shot by a mobile phone (if I remember it correctly.) Tanwarin Sukhapisit also directed experimental films.

3. I ask questions here just because I am curious. I don’t mean to encourage any directors to create a distinct style of his/her own, or stick to only one style of filmmaking. I think every director should make a film they feel happy to make, which may or may not mean the same style of films they used to make. It differs on each director and each situation in life.

I think each human being has many aspects inside oneself, so in order to express oneself, some of us might have to show these many aspects by making many different styles of films. It’s only the director who knows if he/she is really happy to stick with the same style of filmmaking at any time or not.

Many directors are great though they seem to have no obvious styles of their own—Louis Malle, Olivier Assayas.

Some directors seem to have distinct styles of their own—Poj Arnon, Yuthlert Sippapak. But I don’t know if they are great or not.

In conclusion, my questions about Thai auteurs are not important at all. It doesn’t matter to me if they are auteurs or not. I just want all of them to keep on making great films for us to see. And it doesn’t matter to me if they will or will not change their styles. I just want them to be happy in what they choose to do.

August 28, 2007

REMEMBER…WHAT YOU HAVE DONE IN 24 HOURS (A)

Filed under: Uncategorized — celinejulie @ 10:01 pm

MY FAVORITE MUSIC FOR THE MOMENT

1.JAMES YORKSTON
http://www.myspace.com/jamesyorkston

My favorite song is A MAN WITH MY SKILLS from the album ROARING THE GOSPEL.

ROARING THE GOSPEL (2007)
http://ec1.images-amazon.com/images/I/41pf-OuDMJL._SS400_.jpg

THE YEAR OF THE LEOPARD (2007)
http://ec1.images-amazon.com/images/I/61kGJ2uwsZL._SS500_.jpg

JUST BEYOND THE RIVER (2004)
http://ec1.images-amazon.com/images/I/41S19M9HPPL._SS500_.jpg

SOME PLACE SIMPLE (2003)
http://g-ec2.images-amazon.com/images/I/61F5C8V1ZEL._SS500_.jpg

MOVING UPCOUNTRY (2002)
http://ec1.images-amazon.com/images/I/41CM2VZDYVL._SS500_.jpg

2.THE CINEMATIC ORCHESTRA
http://www.myspace.com/thecinematicorchestras

I like the track “Channel 1 Suite Live” very much.

MA FLEUR (2007)
http://ec1.images-amazon.com/images/I/51JYnn08YvL._SS500_.jpg

MAN WITH A MOVIE CAMERA (2003)
http://ec1.images-amazon.com/images/I/31RYT8WTB7L._SS500_.jpg

EVERY DAY (2002)
http://ec1.images-amazon.com/images/I/41V87NM7VTL._SS500_.jpg

REMIXES 1998-2000 (2000)
http://ec1.images-amazon.com/images/I/61Y8QZ303QL._SS500_.jpg

——————————————————-

FILMS SEEN LATELY

1.200 POUNDS BEAUTY (2006, Kim Yong-hwa, A)
http://www.imdb.com/title/tt0940642/

2.THE INVASION (2007, Oliver Hirschbiegel, A/A-)

3.THE CONDEMNED (2007, Scott Wiper, A-/B+)
I think this is a kind of Grindhouse movie for this generation.

4.THE ONE (2007, Marut Sarowat, B+)

FAVORITE ACTRESS

Sarawanee Tanatanit in the dance performance REMEMBER…WHAT YOU HAVE DONE IN 24 HOURS (2007, A)
http://www.newswit.com/news/2007-08-20/0758-9807f0135855a80bdb3747ac70ea02df/

http://farm2.static.flickr.com/1117/1258716292_5b9355d652_o.jpg
http://farm2.static.flickr.com/1313/1258716284_851235def5_o.jpg

DESIRABLE ACTOR

1.Manu Bennett in THE CONDEMNED
http://www.imdb.com/name/nm0071847/
http://farm2.static.flickr.com/1021/1257930789_a3185418b7_o.jpg

2.JOO JIN-MO in 200 POUNDS BEAUTY
http://www.hancinema.net/korean_Joo_Jin-mo.php#pictures
http://farm2.static.flickr.com/1327/1257930843_8dd0642a50_o.jpg
http://farm2.static.flickr.com/1002/1257930819_b50e430174_o.jpg
http://farm2.static.flickr.com/1006/1257930797_10640ac2eb_o.jpg

 

FAMILY PICNIC (2006, HONG SEUNG-WAN, A+++++)

Filed under: Uncategorized — celinejulie @ 9:57 pm

INTERNATIONAL ANIMATIONS SEEN IN LATE AUGUST

1.BUTTERFLY (2002, Glenn Marshall, 10 min, A+)

2.POUR MAMAN (Matthieu Rouget, Canada, A+)

3.TO HAVE AND TO HOLD (2003, Emily Mantell, 3.52 min, A+)

4.GUY 101 (2005, Ian Gouldstone, 8 min, A+)
This film is about gays.

5.CAREFUL (2005, Damian Gascoigne, 6 min, A+)
http://farm2.static.flickr.com/1248/1257136403_c7b092fc65_o.jpg


6.EXTN. 21 (2002, Lizzie Oxby, 9.00 min, A+)

7.HOW MERMAIDS BREED (2002, Joan Ashworth, 9.41 min, A+)

8.NSPCC: CARTOON (2002, Frank Budgen + Russell Brooke, 1 min, A+)

9.RABBIT (2005, Run Wrake, 8 min, A+)

10.FISH NEVER SLEEP (2002, Gaelle Denis, 6.30 min, A+)

11.LITTLE THINGS (2003, Daniel Greaves, 11 min, A+)

12.GIFTED (2002, Emily Mantell, 3.12 min, A+)

13.PERPETUAL MOTION: IN THE LAND OF MILK AND HONEY (2004, AL+AL, A+)
Second viewing

14.MUM IS BORN (2006, John Chan, 22 min, Hong Kong, A+)
http://www.cgvisual.com/headlines/IFVA_fish/CGVheadlines_fish_p2.htm
http://farm2.static.flickr.com/1127/1258157496_ff1b554cb0_o.jpg


15.OBSERVER MAGAZINE: FROM ABBA TO ZAPPA (2004, Smith & Foulkes, 1 min, A+)

16.TAKUSKANSKAN (2003, Selina Cobley, 5.48 min, A+)

17.CARE (2005, Mario Cavalli, 1 min, A+)

18.MOTOROLA: GRAND CLASSICS (2005, Smith & Foulkes, 1.13 min, A+)

19.MINEMA CINEMA: REVENGE IS COLD (Tim Hope, 7 min, A+/A)

20.SLEEP WITH THE FISHES (2005, Belle Mellor, 4.30 min, A+/A)

21.SURVEY (2002, Joe King, 4.36 min, A+/A)

22.DAD’S DEAD (2003, Chris Shepherd, 6.36 min, A)

23.JOSEF M. (Juan Antonio Pascaul Albarranch, 4 min, Spain, A)

24.FBIZOO (2006, Yohann Angelvy + Julien Vray, 12.40 min, France, A)

25.CITY PARADISE (2004, Gaelle Denis, A)
Second viewing

26.TAPS (2003, Matthew Gravelle, 3.18 min, A)

27.THE GIRL AND THE HORSE (2003, Rebecca Manley, 3.15 min, A)

28.KILLING TIME AT HOME (2003, Neil Coslett, 3 min, A)

29.KAMINYA’S CORRESPONDENCE (Sumito Sakakibara, 7 min, A)

30.ATOMIC SPACE SHEEP (Guillaume David, France, A)

31.ASTRONUTS (2005, Matthew Walker, 8.30 min, A)

32.TERRENCE HIGGINS TRUST: CAVERN CLUB (2002, Manu Roig, 1 min, A)

33.THE CAGE (Gilles Lepore, Switzerland, A)

34.FETCH (Dana Dorian, Scotland, A)

35.MINEMA CINEMA: KEEP GOING (2004, Tim Hope, 7 min, A)

36.TARZANSE (Torben Meyer, Germany, A/A-)

37.HOW TO COPE WITH DEATH (2002, Ignacio Ferreras, 3.10 min, A/A-)

38.HOW TO FLY (Tibor Na’das, Hungary, A-)

39.TENNENTS: BODY ARMOUR (2002, Darren Walsh, 0.40 min, A-)

40.BUS STOP (Matthew Abbis, A-)

41.PLAY (2004, Matthew Abbis, A-)

42.MINEMA CINEMA: LOVE THEN FIRST FIGHT (2007, Tim Hope, 7 min, A-)

43.BAA TITLE SEQUENCE (Bob Cosford, 1.20 min, A-)

44.VODAFONE: MAYFLY (2005, Darren Walsh, 1 min, A-)

45.HONDA: GRRRR (2004, Smith & Foulkes, 1 min, A-)

46.SONY PSP: A DAY IN THE LIFE…(2005, Alex Rutterford, 1 min, A-)

INTERNATIONAL SHORT FILMS SEEN IN LATE AUGUST

1.FAMILY PICNIC (2006, Hong Seung-wan, South Korea, 24 min, A+)

This film should really be screened together with THE BANGKOK BOURGEOIS PARTY (2007, Prap Boonpan), or this film can be retitled as THE KOREAN BOURGEOIS PICNIC. This film begins like a Thai melodramatic film, in which a lower-class girl might have a chance to be a bourgeois’ wife. But fortunately, the film doesn’t turn out to be a melodramatic one like that. In fact, what happens in this film really reminds me of a recent case of a Thai rich boy who killed poor people brutally.

Sometimes I wish a character in a film can jump into another film to do some justice. That’s what I feel after seeing FAMILY PICNIC. I wish Isabelle Huppert and Sandrine Bonnaire from LA CEREMONIE (1995, Claude Chabrol, A+) can jump into FAMILY PICNIC and punish the bourgeois family. And I wish Nadine and Manu from BAISE-MOI (2000, Virginie Despentes, Coralie Trinh-Thi, A+) can jump into TO BE TWENTY (1978, Fernando Di Leo, A+) to punish the murderers. That’s just my fantasy.

2.IN THE RANK (2006, Cyprien Vial, 14.45 min, A+)
This is a gay film.

3.TO WHOM IT MAY CONCERN (2007, Wakai Makiko, Japan, A+)
This is a lesbian film.

4.EXCEPT THE SILENCE (2006, Lea Fehner, 14 min, A+)

5.HEROS AND SCOUNDRELS (2007, Murielle Iris, France, 18 min, A+)

6.T’AS UN GERANIUM (Also, France, A+)

7.THIRTY YEARS (2006, Nicolas Lasnibat, 20 min, A+)

8.TWICE (Joseba Fuentes, 24 min, A+)

9.PAYSTATION (Also, France, A+)

10.BARKING TIE (Sophie Lagues, Czech, A+)

11.REVOLUTIONARY SONG (2005, Istvan Kantor, Canada, 9 min, A+)

12.THE SONG OF THE CRICKET (Dany Campos, 17 min, A+)

13.ABOUT ROMANCE OR SOMETHING ELSE (2007, Fong Wing Leung, Hong Kong, 14 min, A+)

14.THE CRAZY ON THE ROCKS (2007, Altaf Mazid, India, 15 min, A+)

15.DVD (Ciro Altabas, 17 min, A+)

16.THE PARABOLIC DISH (Xavi Sala, 12 min, A+)

17.HOMELESS (2006, Chen ChiaKuei, 21 min, Taiwan, A+)
You can watch a trailer of this film at:
http://tdb.berlinale-talentcampus.de/campus/garage/profile?tid=20072668

18.TRANSFERT (Alexandre Marcheguet, France, A+)

19.THE COMMUTER (Martin Pickles, England, A+)

20.UNDER THERE (Jeremy Lanni, USA, A+)

21.STONG (Dang-Thai Duong, France, A+/A)

22.ROADKILL (Jeroen Annokkee, Netherlands, A+/A)

23.LES PIEDS DEVANT (2006, Luc Meilland, 15.40 min, A+/A)

24.LONDRES LONDON (2007, Eva Tang, 10 min, A+/A)
This is a lesbian film.

25.LES PETITS SABLES (Chloe Micout, France, A+/A)

26.THE CROSSING (2006, Maeva Poli, 12 min, A)

27.CARCAN (Stephane Levallois, France, A)

28.GOODBYE TO THE NORMAL (Jim Field Smith, UK, A)

29.MY DAY (2006, Bela Lukac, South Africa, 14 min, A)

30.BIR DAMLA SU (2006, Deniz Gamze Erguven, 18.57 min, A/A-)

31.SUPERMAN VA EN BAVER (Frog & Rosbeef, France, A/A-)

32.BEFORE AND AFTER KISSING MARIA (Ramon Alos, 7 min, A-)

33.E-MOTION CAPTURE (Alex Feil, Germany, A-)

34.WELCOME BACK (S. Schmidt + F. Becker, Germany, A-)

35.NOT SO SMALL TALK (K. Roeters + S. Kelly, USA, A-)

36.TICKET PLEASE (Lucas Figueroa, 14 min, A-)

37.DADDY’S LITTLE HELPER (Daniel Wilson, UK, A-)

38.SECOND CHANCE (2006, Wade Muller, Thailand, 11 min, B+)

MOST DESIRABLE ACTOR
The leading actor in TICKET PLEASE

FAVORITE ACTRESS
Dinara Drukarova in EXCEPT THE SILENCE

Drukarova also stars in SINCE OTAR LEFT (2003, Julie Bertucelli, A)
http://farm2.static.flickr.com/1342/1257466845_6cc86744f3_o.jpg

ALL THE CHAPTER OF THE SONG YOU ATE ME

Filed under: Uncategorized — celinejulie @ 9:54 pm

THAI FILMS SEEN BETWEEN 19-24 AUGUST 2007

1.THE BANGKOK BOURGEOIS PARTY (2007, Prap Boonpan, 28.51 min, A+)
Second viewing

2.LETTER FROM THE SILENCE (2006, Prap Boonpan, 5.11 min, A+)

3.FOURTH WORLD (2007, Chayanis Wongthongdee + Techanan Jirachotrawee, 13 min, A+)
Second viewing

4.THE OTHER WORLD (2007, Chutchon Ajanakitti, 16.05 min, A+)

5.DREAM WATCH FOR ANYONE WHO IS BELIEVED TO VIOLATE GOOD MORALITY (2007, Manussak Dokmai, 14 min, A+)

6.A STRANGER FROM THE SOUTH (2007, Phuttiphong Aroonpheng, 20 min, A+)
Second viewing

7.KANG KOW DUD KLUOY (2001, Kullachat Jitkajornwanit + Benjamin Traipipat, 22 min, A+)
Second viewing

8.WHEN THE MOVIE LISTENS (2007, Tulapop Saenjaroen, 11 min, A+)

9.THE SPECTRUM (2006, Yanin Pongsuwan, 48 min, A+)
This documentary has some parts concerning gays.

10.SAWADEEKA (1999, Kullachat Jitkajornwanich + Ruechai Pohkul, 6 min, A+)
Second viewing

11.MIDDLE-EARTH (2007, Thunska Pansittivorakul, 10 min, A+)

12.MOKEN, RIGHT? (2007, Phisan Sangjan + Taryart Datsathean + Nattawit Kaosri, A+)
This documentary has some parts concerning gays.

13.KRU KRUB…KRU (TEACHER…TEACHER) (2007, Panuwat Nilrak, 30 min, A+)
Second viewing

14.THE ROCKET (2006, Uruphong Raksasad, 19 min, A+)
Documentary, Second viewing

15.THE INSTRUCTIONAL MANUAL OF AERIAL VIDEOGRAPHY FOR WEDDING PRESENTATION (2007, Deja Piyavhatkul, 18 min, A+)
Documentary, Second viewing

16.A VOYAGE OF FORETELLER (2007, Jakrawal Nilthamrong, 8 min, A+)

17.3-0 (2006, Anocha Suwichakornpong, 8 min, A+)

18.ESCAPE FROM POPRAYA 2526 (2007, Paisit Punpruksachat, 9 min, A+)

19.HI (2006, Bundit Thianrat, 9.13 min, A+)

20.SILENCE IN D MINOR (2006, Chalida Uabumrungjit, 7 min, A+)

21.LIVE IN BANGKOK (2007, Unnop Saguanchat, 7 min, A+)
Third viewing

22.ALWAYS (2006, 17 min, Sivaroj Kongsakul, A+)

23.LOVE & LEARN (2007, 33 min, Matchima Ungsriwong + Nat Aphipongcharoen, A+/A)
Documentary, second viewing

24.(APPLICATION) (2007, Wanweaw Hongwiwat + Weawwan Hongwiwat, A+/A)
Second viewing

25.TAO TAI 11 (2007, Wimolrat Saekaw + Kullachat Jitkajornwanich, 6 min, A+/A)

26.APPARTEMENT THAI (2007, Satja Uasamanjit, 24 min, A+/A)
Second viewing

27.THE DAY BEFORE REVOLUTION (2007, Pass Patthanakumjon, 22 min, A)
Second viewing

28.BEHIND THE SCENE (2006, Rachanon Taweephol, 13 min, A)

29.A SERIES OF SALINEE EVENT (2007, Napat Treepalawisetkun, 14 min, A)

30.THE ZOMBIE CHICK (2007, Thitimon Mongkolsawat, 15 min, A)
Second viewing

31.TAM JAI (2003, Kullachat Jitkajornwanich + Nattapong Rungrueng, 15 min, A)
Second viewing

32.LA RERM RI LERK (2000, Kullachat Jitkajornwanich + Ruechai Pohkul, 3 min, A)

33.THE LOVE CULPRIT (2006, Sanchai Chotirosseranee, 6.30 min, A)

34.LOOK AT ME! (2007, Tanwarin Sukhapisit, 6 min, A)
Second viewing

35.THE REFLECTION REMAINS (2007, Deja Piyavhatkul, 18 min, A)

36.THE GREEN MILLION (2007, Panuwat Yuchung, 22 min, A)

37.SIN SEE (1997, Kullachat Jitkajornwanich + Ruechai Pohkul, 5 min, A)
Second viewing

38.MANG KON KIN ME (A DRAGON EATS NOODLE) (1998, Kullachat Jitkajornwanich + Ruechai Pohkul, 6 min, A)
Second viewing

39.SHE’S SO SILENCE (2006, Pison Suwanpakdee, 26 min, A)

40.BANGKOK TANKS (2007, Nawapol Thamrongrattanarit, 6 min, A)
Second viewing

41.THE JASMINE IN PATTANI (2007, Weangkwan Prasongmaninil, 8 min, A/A-)
Documentary

42.GOING HOME (2006, Pratchaya Lampongchat, 6 min, A/A-)

43.THE OTHER CHILDREN AND THIS CHILD (2007, Thip Tang, A/A-)

44.FAKE WORLD (2007, Tanwarin Sukhapisit, A-)

45.EVERYTHING MUST GO (2006, Patchara Eaimtrakul, 16.30 min, A-)

46.THE DUCK EMPIRE STRIKES BACK (2006, Nutthorn Kangwanklai, 2.30 min, A-)

47.MAN WITH A VIDEO CAMERA (2007, Jakrawal Nilthamrong, 9 min, A-)

48.EVER SEEN (2007, Pichaya Jarusboonpracha, 4.13 min, A-)

49.THE HIDDEN AFTER (2006, Chawalit Ahdhan, A-)

50.FORGOTTEN (2007, Pichaya Jarusboonpracha, 6.27 min, A-)

51.MEMORIES (2007, Sittipong Patchagoa, 12 min, A-)

52.SOUL MOMENT (2007, Supakit Seksuwan, 29.25 min, B+)

53.TWO WORDS TRUE WAY (2007, Nattaporn Wongchaksu, 9.27 min, B+)

THAI ANIMATIONS SEEN ON WEDNESDAY 22 AUGUST 2007

1.ALL THE CHAPTER OF THE SONG YOU ATE ME (2006, Arnont Nongyao, 9.40 min, A+)

2.ENOUGH (2007, Chawit Waewsawangwong, 3.45 min, A+)
Fourth viewing

3.HUMAN DESIRE (2006, Chatchai Ngamsirimongkhonchai, 5 min, A+)
Second viewing

4.PHEE NANO (2007, Thitiwat Dumrak, 10 min, A+)

5.PANDA (2007, Nathan Homsup, 4 min, A+)

6.WELA TEE MEE (THE TIME WE HAVE) (2006, Patwut Tosen, Romesilp Sookprasert, Annop Musikapodok, Anupas Premanuwat, 5 min, A+)

7.THE PLANET (2007, Uruphong Raksasad, 7.30 min, A)

8.BULLET (2007, Chat Tanaruangamorn, 4 min, A)

9.FAT ROOM (2007, Thawatchai Chunhachai, 6 min, A)

10.UNSEEN (2007, Orapim Chernkwansri, 9.44 min, A)
Second viewing

11.THE MOMENT (2006, Apid Busayasiri, 7 min, A)

12.LESSON (2006, Apid Busayasiri, 1.30 min, A/A-)

13.CIRCLE (2006, Sittisak Jiampotjaman, 2.10 min, A-)

14.PLAMEEKON – A LITTLE PIECE OF MEMORY (2007, Sittisak Jiampotjaman, 9.20 min, A-)

15.A WAY: A PATH TO A DREAM (2007, Sriprachum Kongwissawamitr, 8.52 min, B+)

VIDEO PAINTINGS AND ART FILMS BY SUCHART SAWASDSRI

All films were first shown in 2006.

1.THE LONG SILENCE (A+)

2.DON’T EVEN THINK ABOUT IT (A+)

3.DANCING MOON (A+)

4.THE BODY GATHERER (A+)

5.“RED” AT LAST (A+)

6.JOURNEY TO THE END OF THE NIGHT (A+/A)

7.THE KINGDOM OF THE SHADOWS (A)

8.IN THE LIGHT OF LOVE (A)

9.THE GIVING TREE (A)

10.TURN TURN TURN (A)

11.MIDSUMMER NIGHTMARE: THAI-AMERICAN MOVIES (A-)

12.SECRET GARDEN (A-)

13.AFTER THE RAIN FALL (A-)

14.SONG OF JOY (A-)

FILM AND REAL LIFE 5: THE BANGKOK BOURGEOIS PARTY

Filed under: Uncategorized — celinejulie @ 5:25 pm

–PARTIAL FILMOGRAPHY OF PRAP BOONPAN

1.TWO WORLDS IN ONE WORLD (TAWIPOP NAI EKAPOP) (2004, A+)

2.”POLITICAL” MOVIE (NANG GARNMUANG) (2005, 28 min)

I haven’t seen this film, but the synopsis says that “the film illustrates the meanings of ‘politic’ in Thai society through photographs of historically political events.”

3.THE SPECTRE: 16 YEARS LATER (NANG PHEE: 16 PEE HANG KWAMLANG) (2006, A+)

4.LETTER FROM THE SILENCE (JODMAI JAK KWAMNGIAB) (2006, 5.11 min, A+)

5.THE BANGKOK BOURGEOIS PARTY (KWAM LUKLUN NAI NGAN RUENREANG) (2007, 28.51 min, A+)

(I used to refer to this film as AN INCONVENIENCE IN A HAPPY PARTY)

I don’t know if Prap Boonpan directed other films than these or not. It would be much appreciated if anyone can give more information.

——————————————————-

–THE BANGKOK BOURGEOIS PARTY talks about many issues, one of which is the fear that there might be a war between the rich and the poor in Thailand.

Recently I just read an article in Prachatai.com which reminds me of THE BANGKOK BOURGEOIS PARTY. The article is an interview with Attachak Sattayanurak, who talks about current class struggles in Thailand.

http://www.prachatai.com/english/news.php?id=159

Interview with Attachak Sattayanurak: The Meaning of Ten Million Votes: “The Poor and Class Consciousness”!

Papan Raksritong25 August 2007
News

The referendum on the draft 2007 constitution was not important just as a ritual to either accept or reject the supreme national charter. There are many hidden meanings in the tense, distorted and manipulative political manoeuvring by the powers that be in the past few months. Despite that, more than ten million voters dared to come out and voice their opposition to the powers that be.

Assoc. Prof. Attachak Sattayanurak from the Department of History, Faculty of Humanities, Chiang Mai University and a member of the Midnight University which has been a major force in the campaign to reject the draft 2007 constitution has this to say about this historic referendum.

Prachatai – What does the result of the referendum tell us?

Attachak – There are many interesting aspects about this referendum. First off, it took place amidst a vehement campaign to promote the endorsement of the draft 2007 constitution. Despite that, ten million people opted to challenge this campaign. It is remarkable how grassroots villagers rose up and I do not think their action could be attributed to the mobilization by the United Front of Democracy against Dictatorship (UDD) or our group (Midnight University).

Our campaign might influence a dozen people in Bangkok, whereas the UDD’s campaign might reach a few more, but not all ten million people. In the North, including Chiang Mai and other areas I am familiar with, I heard nothing about allegations of vote buying by the Thai Rak Thai people. We ought to look beyond what the government or the CNS (Council for National Security) imagines. This is not just a matter of pro-Thaksin people.

The two red zones (in which the ‘no’ votes were higher) in the North and Northeast are actually the constituencies of the poor whose livelihoods depend on agriculture on the one hand and the informal sector on the other. After 19 September 2006, their two-pronged livelihood has been seriously affected. Just go and ask any of the vendors on the street in Chiang Mai and everyone will tell you that their income has fallen by something in the range of 30-50% after 19 September 2006. As a result, they have vented their frustration and anger (in the referendum). They voted to reject the draft constitution as they felt that the coup and the draft constitution will continue wrecking the economy.

To put it plainly, many of them have not properly read the constitution. What they feel is that the constitution has been backed the army and that will lead political instability. Some may miss the 1997 constitution and as a result voted against the draft 2007 constitution. Nevertheless, this was a class struggle waged by the suffering poor.

It is a fact that our brothers and sisters in the Central Plains, the East or the South are wealthier than those in the North and Northeast. Therefore, if we look beyond the careless thinking put out by the army that their votes were the result of their support for Thaksin, the new government will really have to plan thoroughly on how to tackle income distribution and welfare for the poor. Here the class struggle began, and conflict between the classes will become even more intense.

Class issues are always there and poor people do exist. But now, the poor are starting to become conscious of class issues, and the new government and civil society have to bear this in mind. The middle classes have to learn to understand the poor. Right now, the middle class in Bangkok thinks they are cleverer and use SMS to attack the poor folk on TV.

We have to think anew. Past development has left many poor people to their own devices. Now, these ten million people are yelling “you ought to take care of us, too”.

P–All these “red zones” have had unique backgrounds and many of these areas have in the past rejected state authority. Did this play any role in their rejection of the draft constitution?

A–The North and Northeast are significantly different from the South. Of course, Northerners still retain the consciousness of being part of the Lanna Kingdom. But we have been annexed as part of Siam for so long that it is too difficult to resurrect the past. I tend to believe that their rejection of the draft constitution was largely due to their desire to make the agenda of the Northern poor known to the public. There are definitely those in some areas who voted against the draft constitution to show their loyalty to Thaksin, but I think they were the minority.

P–Did incidents from the past play any role in their current decision, such as the abduction of politicians in the Northeast or the Communist smear campaign?

A–There might be some remnant feeling from the cases of Mr. Thong-in Phuripat (Ubon Ratchathani 1906-1949), Mr. Chamlong Daorueang (1910-1949), Mr. Thawin Udon (Roi Et 1909-1949), Mr. Tiang Sirikhan (1909-1952) and Dr. Thongplew Chonlaphum (Samut Sakhon 1912-1949) from the Northeast. Their names still resound, but none from the North. During that time, the Northern MPs were politically less active than MPs in the Northeast including four Northeastern Ministers who were abducted.

In the Northeast, the feeling still remains and there have always been references made to the Phi Bun Uprising during the reign of Rama V, or the cases of the Northeastern MPs or the Communist campaign. But I do not think these historical facts play a more important role than their class consciousness.

P–With this sign of class consciousness, how should the state react?

A–The CNS and the government have to be more cautious and humble. With humility, candidates for the next Senate could be slightly better even though the recruitment structure is inherently weak. For the rest, they have to careful about their role in providing services and control.

One remnant from Thaksin is undeniably the reshaping of state mechanisms to provide extensive services to the villagers and the privatization of control or administration such as the introduction of CEO and marketing systems in place of bureaucratic systems.

This state reengineering cannot be undone. The new government has to live with it and ought to be aware that this state reengineering is not a personal matter of Thaksin or by Abhisit (Democrat Party leader). Don’t pretend to say you can do better than Thaksin and that you can provide people with free education. Don’t go looking for votes based on false promises. At least, you cannot now reject this legacy of state reengineering by Thaksin, so you simply have to capitalize on it and make it serve the people even better.

P–What should be the next political move?

A–Now that our poor brothers and sisters have voted against the draft constitution, we have to wait and see how the new state, new constitution or new political parties will react, how they will change their role in providing services and control.

To mobilize now is premature and may produce weak results. I have no idea what the thinking is of the student anti-coup group, or the 19 Sept group.

As for the Midnight University, we will keep monitoring the proposed laws related to the constitution, the draft Internal Security Act, etc. I would like to reiterate here that the Midnight University has not played that big a role in triggering the ten million votes.

P–Looking back to the past, coupled with an analysis of the current situation, what do you think will be the long-term changes?

A–If the new coalition, the military and those political factions behind the 2007 constitution, are clever enough and understand the dynamics of Thai society, then after they form a new government, the first thing they must do is to promote public participation. For example, if the villagers submit complaints to the Senate, they have to act promptly in order to minimize class tension. This is my dream. But I am not so hopeful as their previous actions have proven that they are not that clever.

If they do not perform well, their honeymoon period may last just five or six months. And we ought to keep a close watch. After that the conflicts will get heightened until the government or the coalition becomes too weak to do anything. I cannot think of what will happen then. It could be that all the rifts will get entangled across the board, or the villagers will rise up. Or there could be internal conflicts within the military and this may lead to another coup.

Therefore, if we want to contain military power, during the first six months after the election, we have to gradually ostracize their role in politics. We have to push them hard to return to the barracks. But to achieve that, we have to work with greater unity.

Translated by Pipob Udomittipong

SEEING SPACE AND HEARING SPACE (1974, VALIE EXPORT, A+++++)

Filed under: Uncategorized — celinejulie @ 3:22 pm

http://www.medienkunstnetz.de/works/raumsehen/images/7/

 

BEING STILL, FEELING UNBEARABLY STRONG

Filed under: Uncategorized — celinejulie @ 3:08 pm

–THIS IS WISE KWAI’S COMMENTS ON THUNSKA PANSITTIVORAKUL
http://www.rottentomatoes.com/vine/journal_view.php?journalid=100000335&entryid=444125&view=public

–THIS IS MATTHEW HUNT’S COMMENTS ON THE SPOKEN SILENCE PROGRAM AND THUNSKA PANSITTIVORAKUL
http://www.matthewhunt.com/blog/2007/08/thai-short-film-video-festival-2007.html

—————————————————-

Recently I have seen some films which have something in common: they show a character which is doing nothing except standing still or sitting still, or a character which is in a non-moving stage in life. However, by showing characters which is in a still mode, these films are not at all boring. In fact, they afftect my emotions very strongly very aggressively.

Films in this group may include:

1.SEEING SPACE AND HEARING SPACE (1974, Valie Export, A+)

This film shows a woman standing still in a room, but shows the image of this woman from various angles or from split screen techniques. The woman does nothing except standing still, but the exhilarating feelings I get from this film are nothing less than the excitement I got from watching extraordinary dance music videos or dance films such as IBERIA (2005, Carlos Saura, A+). This film really shows the power of the editing. You don’t have to move. You just stand still. Let the editor do the work for you. The editor can make your “still images” very very moving.

More innformation about this film from Medien Kunst Netz:
http://www.medienkunstnetz.de/works/raumsehen/images/7/

“Like in ‘Split Reality’, the personality conveyed by a medium in this performance tape appears to be schizophrenic. Two video cameras and a mixer make possible a closed-circuit action that demonstrates not only the differences in the way the viewers perceive a person who is physically present in the room and simultaneously electronically reproduced, but also how the image is manipulated by its electronic conveyance. The camera zooms in and out, subjecting the performer’s monitor likeness to permanent alteration. Specific synthetic sounds are linked to the picture: optically close = loud sound and rapid tone repetition, optically remote = quiet sound and slow tone repetition. The work is arranged in 6 parts: 1. space position, 2. split images, 3. space position composition, 4. split image composition, 5. body, 6. body composition.”

2.WORLD MASTER (1994, Zoran Solomun, 71 min, Germany, A+)
http://www.imdb.com/title/tt0108545/

In this film, a young girl enters a music competition, but when it’s her turn to compete on the stage, her turn to show her ability to the world, she just sits still on the stage, refuses to play, and says, “Everything is fine.”

I can’t give you the solid reasons why she chooses to sit still like that and throws her chance of being famous away. But I think I understand her feelings. She just doesn’t want to do it, so she doesn’t do it. Maybe she feels too sad to play the music after many things happening in the film. Anyway, by choosing to sit still on the stage, the heroine makes this scene unforgettable for me.

3.THE FOURTH WORLD (2007, Chayanis Wongthongdee + Techanan Jirachotrawee, 13 min, A+)

One of my most favorite scenes this year is the scene of a girl sitting still in this film while the music seems to reach the highest point. The girl just sits there. Her face is covered in the dark, while the music gives the feeling of something very aggressive. There is nothing at all happening in this scene. But I feel as if the girl is about to get killed or transform into a monster or something like that. It’s the clever use of music, the clever use of lighting, and the stunning cinematography which make me feel like that. The camera doesn’t have to move. The girl doesn’t have to move. The music, combined with other elements in the scene, can take the audience to the brink of insanity.

4.WHEN THE MOVIE LISTENS (2007, Tulapop Saenjaroen, 11 min, A+)

This film shows a boy sitting still, facing the camera, willing to listen to anything the audience want to say to him. However, after watching the boy doing nothing except staring at the audience for about 5 minutes, I began to feel some kind of stress. And the stress keeps rising and rising until the film ends.

5.MY GRANDMOM (2007, Nawanont Wongkhajit, 5 min, A+)

Though many Thai directors have made documentaries about their old relatives, this film still makes me feel as if I saw something new. In this film, the grandmom does almost nothing. The camera doesn’t move. There is not an ounce of sentimentality.

I think the duration of the scene is really important in a scene in which nothing happens. I like the length of WHEN THE MOVIE LISTENS very much, because the length of the scene creates some kind of high tension for me. But I like the briefness of MY GRANDMOM very much, because the briefness of the scene prevents the scene from being too sentimental.

6.ESCAPE FROM POPRAYA 2526 (2007, Paisit Punpruksachart, A+)

The first scene of this film shows a little girl sitting and doing nothing except saying, “No”, “I won’t tell you”, and “I won’t go”. She keeps saying these three phrases many times. The girl tries to resist someone outside the frame. She does a strong resistance by sitting still and keeps saying no, no, and no. The scene is very funny, but at the same time, the character is very interesting in my point of view because of her strong will to fight, her disobedience, her spirit of rebellion. The viewers never know why the girl is like that or what really happens. It’s hard to decide whether to admire or hate this stubborn character because the film never tells you what the girl resists. Does she resist the command of a good person or a bad person? The viewer never knows and never be able to judge.

7.YOU’RE (2007, Sarun Srisingchai, 5 min, A+)

This film show some stunning images shot in black and white. The images are mostly dark. The viewers can only see the silhouettes of the characters posing in various ways. However, the film can create some strong and intense atmosphere. And that’s why I love it.

8.(APPLICATION) (2007, Wanweaw Hongwiwat + Weawwan Hongwiwat, A+/A)

The heroine in this film does many things, but she seems to really move nowhere. The film chooses to tell a part of her life which may be the most “undramatic” part of her life—being unemployed and waiting for a job. There’s nothing exciting happening in this film. But the charm of this film lies in the small details of the heroine’s activities in her boring daily life. The scenes that I like very much include the scene in which the heroine tries to pull out a certain dvd stuck in the middle of a high stack of dvds without causing the stack to fall down, and the scene in which she writes her name and surname in the same box in an application form and then erases her surname because she just notices that there is another box for surname. These are the kind of things that I do in daily life, but I hardly see them shown in other films.

9.APPARTEMENT THAI (2007, Satja Uasamanjit, A+/A)

This film also chooses to depict the most “undramatic” part in a woman’s life. The heroine of this film seems to experience something very bad before the film begins, but the film doesn’t show us that dramatic or exciting parts in her life. The film only shows us the part when she is waiting to go home. She really does nothing exciting. She talks to some people and seems to gain some wisdom. She has problems with her ways of washing clothes. She hangs clothes in her room. Does she really do anything meaningful in this film? I can’t remember, but the most important thing is that I don’t feel bored at all in this film. I just like looking at the heroine’s face. Her face seems sad, seems like the face of someone who really has bad life experience in the past.

MORE OF MY AWARDS

MOST FAVORITE ACTOR

The leading actor in A STRANGER FROM THE SOUTH (2007, Phuttipong Aroonpheng, A+)

August 26, 2007

MY FAVORITE FILMS IN THAI SHORT FILM FEST

Filed under: Uncategorized — celinejulie @ 2:29 am

MY FAVORITE LISTS FOR THE THAI SHORT FILM FESTIVAL 2007

NOTE:
1.This list is meaningless. The rankings only indicate the pleasures I gain from the films.

2.Excluding some films which I saw for the first time before 2007, such as some films by Suchart Sawasdsri, Kullachat Jitkajornwanit, Chawit Waewsawangwong, and Chatchai Ngamsirimongkhonchai)

3.Including films I saw in the Marathon Festival

FAVORITE THAI FILMS

1.THE BANGKOK BOURGEOIS PARTY (2007, Prap Boonpan, 28.51 min, A++++++++++)

2.LETTER FROM THE SILENCE (2006, Prap Boonpan, 5.11 min, A++++++++++)

3.FIREFLIES (2005, Chawit Waewsawangwong, 4.12 min, A++++++++++)

4.FOURTH WORLD (2007, Chayanis Wongthongdee + Techanan Jirachotrawee, 13 min, A++++++++++)

5.THE OTHER WORLD (2007, Chutchon Ajanakitti, 16.05 min, A++++++++++)

6.LITTLE PLANT AT THE OLD HOUSE (2007, Sasikan Suvanasuthi, 5 min, A++++++++++)

7.DREAMWATCH FOR ANYONE WHO IS BELIEVED TO VIOLATE GOOD MORALITY (2007, Manussak Dokmai, 10 min, A++++++++++)

8.MEMORY OF THE LAST DECEMBER (2007, Artit Choatsajanant, 41 min, A++++++++++)

9.DHAMMA (2007, Watthana Rujirojsakul, 22.20 min, A++++++++++)

10.ALONE (2006, Teera Prachumkong, 20 min, A++++++++++)

11.A STRANGER FROM THE SOUTH (2007, Phuttipong Aroonpheng, 20.20 min, A+++++)

12.RE-PRESENTATION (2007, Chai Chaiyachit + Chisanucha Kongwailap, 29.08 min, A+++++)

13.TWILIGHT VIDEO IN AFTERNOON (2007, Rachawadee Komolsut, 17.22 min, A+++++)

14.OUR WAVES (2006, Tulapop Saenjaroen, 12 min, A+++++)

15.NEGATIVE THINKING (2007, Satit Ngerntong + Nattapong Kumpuengoun, 20 min, A+++++)

16.THE ORGANISATION (2007, Thanapol Chaowanich, 15 min, A+++++)

17.FAT GIRL (2007, Chanchana Akjiratikarl + Chayanuch Akjiratikarl, 11.30 min, A+++++)

18.WHEN THE MOVIE LISTENS (2007, Tulapop Saenjaroen, 11 min, A+++++)

19.BROTHERS (2007, Jiraporn Jaipang + Paisit Punpruksachart, 9.66 min, A+++++)

20.KRASOB (2006, Nitipong Thinthapthai, 12 min, A+++++)

21.KRU KRUB…KRU (TEACHER…TEACHER) (2007, Panoowat Nilrak, 30 min, A+)

22.THINKING…OF MY FATHER! (2006, Thip Tang, Teera Prachumkhong, Chutchai Chantanawong, 9 min, A+)

23.HEAR THE WIND SING (2007, Unnop Saguanchat, 7 min, A+)

24.MY GRANDMOM (2007, Nawanon Wongkhajit, 5 min, A+)

25. “__” (2006, Tulapop Saenjaroen, 8 min, A+)

26.A VOYAGE OF FORETELLER (2007, Jakrawal Nilthamrong, 8 min, A+)

27.LITTLE ANGEL (2007, Kitisak Koonpetch, 22 min, A+)

28.IMAGINED LANDSCAPE (2007, Wannisa Aiamlaong, 20 min, A+)

29.3-0 (2006, Anocha Suwichakornpong, 8 min, A+)

30.THE EVERLASTING REPLICATION OF TIME (2007, Zart Tancharoen, 20 min, A+)

FAVORITE THAI DOCUMENTARIES
1.SEAPORT (2006, Attapon Pamakho + Benya Poowarachnan, 22.31 min, A+)

2.ONE TRUE THING (2007, Vichart Somkaew, 80 min, A+)

3.THE SPECTRUM (2006, Yanin Pongsuwan, 48 min, A+)

4.THE ROCKET (2006, Uruphong Raksasad, 18.30 min, A+)

5.ADMIT (2007, Natthapon Timmuang, 19 min, A+)

FAVORITE THAI ANIMATIONS
1.ALL THE CHAPTER OF THE SONG YOU ATE ME (2006, Arnont Nongyao, 9.40 min, A+)

2.PHEE NANO (2007, Thitiwat Dumrak, 10 min, A+)

3.PANDA (2007, Nathan Homsup, 4 min, A+)

4.WELA TEE MEE (THE TIME WE HAVE) (2006, Patwut Tosen + Romesilp Sookprasert + Annop Musikapodok + Anupas Premanuwat, 5 min, A+)

5.THE PLANET (2007, Uruphong Raksasad, 7.30 min, A)

OBVIOUSLY AND UNASHAMEDLY GUILTY PLEASURES

1.UNDISCOVERED HEART (2007, Tanwarin Sukhapisit, 22 min, A+)

2.MIDDLE EARTH (2007, Thunska Pansittivorakul, 10 min, A+)

3.MOKEN, RIGHT? (2007, Phisan Sangjan + Taryart Datsathean + Nattawit Kaosri, 40 min, A+)

4.NORTH COLD (2006, Veramon Liptawat, 24 min, A+)

5.HI (2006, Bundit Thianrat, 9.13 min, A+)

MOST DESIRABLE ACTOR
Itthipat Jirasukprasert — THE GREEN MILLION (2007, Panuwat Yuchung, 22 min, A)
http://www.gsquare.tv/gj.php?id=24

FAVORITE ACTRESS
1.Gritsana Kunajitpimol in (APPLICATION) (2007, Wanweaw Hongwiwat + Weawwan Hongwiwat, A+/A)

2.Leading actress in APPARTEMENT THAI (2007, Satja Uasamanjit, 24 min, A+/A)

3.Leading actress in DEK CHAI JAK TANG DAN (2007, Tosaporn Mongkol, 20 min, A+)

August 19, 2007

I AM A VERY BIASED PERSON

Filed under: Uncategorized — celinejulie @ 10:56 am

This is my comment in BIOSCOPE WEBBOARD
http://www.bioscopemagazine.com/smf/index.php?topic=492.0

About YEMAR 2, I just noticed that there’s a big dog doll in the room of the police. It’s in the background of the police officers. I guess it’s the same doll which appears as a character (?) in DHAMMA (2007, Wattana Rujirojsakul, A+).

This is just my useless observation. I just love the big dog doll in DHAMMA very much. In that film, it was treated as if it was an injured living dog which a monk tries to heal. So I am glad to see it again in YEMAR 2. These two films also share the same leading actor. The monk in DHAMMA is the big police in YEMAR 2. I’m not sure if he is Wattana or not, but I think he is a great character actor.

The big dog doll in YEMAR 2 seems to serve no obvious purpose in the film. If it doesn’t appear in the film, the film will not change a little bit. However, I’m still very glad to see it.

This is in contrast with other films, in which the placing of objects seems to have some special meanings, such as the book DEATH NOTE which appears on the foreground of a scene in ALONE.

There’s another thing that I like in ALONE very much. It’s the friend of the heroine. She seems to contradict herself within a few seconds. She is the one who put some supernatural beliefs into the heroine’s head by suggesting that the call might be from the grave. But a few seconds later she suggests to the heroine that the ghost might be just an imagination. I think this friend is very funny.

The call from the grave in ALONE also reminds me of a scene in THE PHANTOM OF LIBERTY (Luis Bunuel, A+), while the ending of NORTH COLD (2007, Veramon Liptawat, A+) also reminds me of the ending of an Eric Rohmer’s film.

Sometimes I don’t understand myself. When I saw that Eric Rohmer’s film, the little twist at the end which gives a new romantic hope to the heartbroken heroine is not what I really like. I think it’s a kind of giving false hope to the audience. I wish Eric Rohmer didn’t end the film like that. But when I see the same ending appears in NORTH COLD, I just love it very much. Why is my feeling so different for the same kind of scene, for the same kind of ending, appearing in two different films. I guess it just shows that I am a very biased person, or I am very prejudiced. The main difference between the two films is just that Rohmer’s film is about heterosexuals, while NORTH COLD is about homosexuals and bisexuals. I seem to feel awkward with a happy ending in films about heterosexuals, but feel so glad with a happy ending in films about bisexuals. I can never be objective.

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