Limitless Cinema in Broken English

February 29, 2008


Filed under: Uncategorized — celinejulie @ 11:47 pm

This is my reply to Matthew Hunt in my blog with some added information:

I didn’t understand ONE AND THREE PANS (1965, Joseph Kosuth) when I saw it in ARTSPACE GERMANY. Fortunately, someone wrote about it and her writing makes me appreciate this work much more than before.

This is what Monnita wrote:

“His work of ‘One and Three Pans’ appears to echo his other work of “One and Three Chairs” made in the same year. Here, he displayed a photograph of a pan, an actual pan, and a dictionary of the word “pan”. The piece distinguishes between the three aspects involved in the perception of a work of art: the visual representation of a thing (the photograph of the pan), its real referent (the actual pan), and its intellectual concept (the dictionary definition). Reality, image, and concept: the three “sides” of a perceived thing. ”

–I haven’t seen anything like ONE AND THREE PANS before—the juxtaposition between “the real thing”, “its representation” and “its concept”. However, the juxtaposition between the real thing and its representation reminds me of many things I like, including:

1.RE-PRESENTATION (2007, Chai Chaiyachit + Chisanucha Kongwailap, A+)

This short film is about a man gaining some knowledge on arts and Thai politics. Since I have no knowledge in these two areas, the film introduces me to some ideas which I find very interesting. This film makes me wonder if “Thai democracy” is the representation of “something essentially undemocratic”.

2.DESIRE (2001, Fred Kelemen, A+)

This is a stage play directed by Fred Kelemen. The videotape of this stage play was shown at Thammasat University Library last year. One interesting thing in this stage play is the difference between “the real thing” and “its projection” (I don’t know if I use the right English word or not.) In this play, Eben hates Abbie whenever Abbie appears as a real person in front of him. But sometimes Abbie appears on some giant screens hanging on the stage. Whenever Abbie appears on the screen and talks to Eben, Eben seems to like her. In conclusion, it seems as if Eben hates Abbie as a real person, but he loves her projection and desires her projection.


There’s one scene I love in this film. It is the scene in which three woman carry a giant photo of a part of the Berlin Wall and place this giant photo next to that exact part of the Berlin Wall. We see two doubling images at the same time, side by side—the real Berlin Wall and its photo. I don’t understand what this scene means, but I love it.

–Talking about Joseph Kosuth reminds me that I have no knowledge at all about conceptual art. As for some concepts or ideas found in films, I think I like some ideas or concepts in the films of Tulapop Saenjaroen. I think you saw one of his films last year—WHEN THE MOVIE LISTENS (2007, A+). The idea of this film is to let each viewer talk anything he/she wants to talk to the film, and the film will listen to us. I just saw his new film several weeks ago. It is called 2008, and lasts about 3 minute. In this film, we saw nothing except some strange sentences in “the ending credit”. At first I misunderstood that this film is the ending credit of another short film shown before it, but after the film ends, I got to understand that “the ending credit” is actually “the film”.

–Talking about some concepts in art, I like the concept of an artwork by Rirkrit Tiravanija very much. I saw a videotape recording of his artwork last year. In this video, he presented “rice” at an art exhibition and treated the rice as if the rice was a very precious diamond.


–You can see the image from my favorite scene in THE ALL-ROUND REDUCED PERSONALITY here:

Timothy Corrigan described this great scene in his book called NEW GERMAN FILM: THE DISPLACED IMAGE (1983).

This is a quote from the book:

“At another extraordinary point, however, the women carry the photo into a cinematic frame that replicates the very scene and angle of the photo, setting the image against the same wall that divides the center of the photographic space. The result is much more than a postmodern play with mise-en-abyme; it becomes rather a temporary but trenchant measure of imagistic difference as depth. Here the empty geometry of this street scene—which had developed a certain dynamic across the tension of the wall dividing those spaces—receives a critical turn through its doubling in the hands of the three women. What is added in the difference between the two representations of the scene is the self-consciousness of the image as always dramatizing a distance from a “real” scene or another image of it and the presence of a specific time and point of view (these three women again in this place) as the determination of the “depth” which that particular temporal and spatial position creates in distinguishing itself.”

February 28, 2008


Filed under: Uncategorized — celinejulie @ 10:26 pm

The exhibition ARTSPACE GERMANY at Silpakorn University includes ATLANTIC WALL by Magdalena Jetelova. If I don’t remember it wrongly, it includes a text by Paul Virilio, a sketch or a map of something, a painting, and some interesting photographs.

After I watch some films, I like to imagine a new film or a new story inspired by the films I watch. When I see a photo of Magdalena Jetelova, I imagine that this photo is what happens before the story in BIRTH OF THE SEANEMA (2004, Sasithorn Ariyavicha, A+++++++++++++++).

This is the photo:

You can read a review of BIRTH OF THE SEANEMA by Wise Kwai here:

You can read a review of BIRTH OF THE SEANEMA in Thai by Filmsick here:

You can read a review of ATLANTIC WALL by Colin Darke here:

ATLANTIC WALL is inspired by the writing of Paul Virilio. I have never read Virilio’s work, but I like an animation inspired by his writing very much. The animation is called DAS DRITTE FENSTER (THE THIRD WINDOW) (1998, Hanna Nordholt + Fritz Steingrobe, A+).

These are other photos from ATLANTIC WALL:

This is the painting in ATLANTIC WALL:

I would like to quote a review on ATLANTIC WALL from the wonderful book WOMEN ARTISTS IN THE 20TH AND 21ST CENTURY. The review is written by Frank Frangenberg:

“When she employed lasers to project text sequences by Paul Virilio on fortified bunkers – Virilio’s theme – in her project ATLANTIC WALL, 1995, Jetelova came very close to Plato’s compelling image of reality as shadows cast on the walls of a cave. Her interest in the looming concrete structures of the German line of defence in the Second World War was to translate linear real time into a discontinuous time, into a context of interpretation beyond time, which would bring history and the present moment, memory and experience, objectivity and subjectivity, into a complex whole. Jetelova works with us and our imagination to make time a concrete experience, by showing space to be subject to change, forever in flux. She engenders a new, holistic space-time experience, a space of immediate perception, artistically staged and aesthetically refined.”


There are many things I like in ARTSPACE GERMANY. One of them is HERE AND THERE (1989, Ayse Erkmen, A+), which is a 16-part sculpture. It looks like a stone to sit on.

You can read an interview of Ayse Erkmen here:

CANDLE TV (1975, Nam Jun Paik, A+++++)

Filed under: Uncategorized — celinejulie @ 9:17 pm

I just knew from Cinebeats’ blog about a clip from EDEN AND AFTER (1970, Alain Robbe-Grillet).

You can watch the clip here:


This is my comment in Matthew Hunt’s blog:

I’m glad you like MALDOROR. I agree with you that the glowworm looks like a refugee from David Lynch’s film. Hahaha. I couldn’t follow the story of LA FIN DE NOTRE AMOUR in the first viewing. Maybe I should give it a second chance. I like that the female character in this film has a blank black face. It gives such a weird feeling.


This is my reply to Matthew Hunt in my blog:

Mat, thank you very much for your information. I wonder if there will be a feminist response to “77 TESTICULAR IMPRINTS”. But I like Rachel Lachowicz’s response to Yves Klein very much. Hahaha.

Nam Jun Paik is a very interesting artist. I first saw his work last year when Thammasat University Library showed his video called GOOD MORNING, MR. ORWELL (1984, A+). This video is a little bit funny and seems to show some interesting aspects about television broadcasting. Many great artists appear in this video, including Laurie Anderson, John Cage and Oingo Boingo.

I just went to see the exhibition ARTSPACE GERMANY at Silpakorn University last weekend. The exhibition includes two works by Nam Jun Paik: “Internet dwellers: jswg.dreizehn.xulf” (1997, video sculpture, A+) and CANDLE TV (1975, object installation, A+). I love CANDLE TV very much. It seems like a sacred object. As for INTERNET DWELLERS, I think the 7-minute video is not very interesting now, but it might be very interesting back in 1997. However, I like the sculpture very much.

February 25, 2008


Filed under: Uncategorized — celinejulie @ 10:01 pm

–Jeremy Richey on Robbe-Grillet

–Mike Dekalb on Robbe-Grillet

–Mike Dekalb on SLOW SLIDINGS OF PLEASURE (1974, Alain Robbe-Grillet)

One of the films I would like to see very much is SLOW SLIDINGS OF PLEASURE. I found a review of this film in the magazine LITERATURE/FILM QUARTERLY, 1995, No.1. The article is written by Roch C. Smith.

These are some quotes from the magazine:

“Not surprisingly, perhaps, given Robbe-Grillet’s source, he makes use of various images of blood and flames to incorporate the motifs of the vampire and the sorceress. Such images are associated with a red kneeler, a shoe, a broken bottle—sometimes filled with red liquid—the sea, a metal bed and other objects of “punctuation,” as Robbe-Grillet calls them. All these images become part of a narrative contest between the young female protagonist—called Alice in the cine-roman, but never named in the film itself—and a cast of authority figures: the magistrate, the lawyer, the nun, and the priest. For the forces of authority and order, these images and objects become pieces of evidence that would establish Alice’s guilt.”

”The magistrate, the priest and the nun seek to impose a coherent story, one that would account for the disparate elements, by establishing that there was a crime and Alice was guilty of it. They seek to reestablish the reassuring and conventional world of traditional narrative. The character of Alice is scandalous to these figures of traditional authority, as it might be to like-minded spectators. Through her rebelliously playful responses, Alice subverts all efforts to impose a closed narrative by multiplying the possible meanings. Hers is the scandal of the open work.”

–There is a very interesting scene in SLOW SLIDINGS OF PLEASURE, in which nude Alice covers the front of her body with the red paint and presses herself against the white wall in four different spots, leaving imprints of her body on the wall.

This scene is clearly an homage to Yves Klein’ “Anthropometrie de l’epoque bleu (ANT 82)” (1960). Coincidentally, the Alliance Francaise in Bangkok just showed a short TV documentary about this artwork in January. The TV documentary is called SUIVEZ L’ARTISTE, in each episode of which a famous person got to choose his/her favorite artwork. In the episode I saw, it is Agnes Varda who chose Anthropometrie de l’epoque bleu (ANT 82).

In that red painting scene in SLOW SLIDINGS OF PLEASURE, there is also an interesting conversation between Sister Julia, who is the nun in charge of the convent, and Alice. I quoted this dialogue from LITERATURE/FILM QUARTERLY:

SISTER JULIA: You asked for paint and brushes to do that?

ALICE: Yes, Sister. You don’t find that pretty? Maybe you don’t like modern art?

SISTER JULIA: Don’t touch me, you disgusting, shameless girl, you criminal! Anyone can tell by looking at you that you’re the assassin.

ALICE: I don’t see the connection Sister. Jesus was innocent. He was condemned to death because he had the gift of exaggeration. I’ll speak to my lawyer about your libelous statements…Here Sister, here’s Veronica’s veil. [Alice holds up a red cloth which virtually fills the screen.]

–For more information on VERONICA’S VEIL, please read:

–Yves Klein’s artwork and that scene in SLOW SLIDINGS OF PLEASURE make me feel interested in works which use human bodies as paintbrush. I found that Ana Mendieta also created some artworks by the imprints of her body, and Nicolas Guagnini also had an exhibition called “77 TESTICULAR IMPRINTS”, in which he used his testicles as paintbrush.

This is the description of 77 TESTICULAR IMPRINTS:

“The paintings were produced with oil paint applied directly to the artist’s testicles and imprinted on various bound and ephemeral printed matter including: mainstream magazines such as Time and Life; art market staples such as Artforum, Art in America and Art News; exhibition and auction catalogues; rare magazines and artist’s books; personal letters; and lastly, on an assortment of original artworks, poems and studio notes by Vito Acconci, Simon Bedwell, Alejandro Cesarco and Dan Graham.”

February 23, 2008


Filed under: Uncategorized — celinejulie @ 12:27 am

This is about a poll in my bilingual blog:


My twelfth poll is inspired by my most favorite film of January 2008—CORN IN PARLIAMENT: LE GENIE HELVETIQUE (2003, Jean-Stephane Bron, Switzerland). I saw this film at Alliance Francaise in Bangkok. I had never heard the name of this film or this director before, but I ended up liking this film very much. It’s hard to tell exactly why this film makes me feel so great. Everything in this film looks very ordinary. The director just interviewed some Swiss politicians while they were drafting a bill on GMO. We see some politicians offering their different opinions to the camera. We see who supports GMO, who is against GMO, and who is undecided on this topic. We follow the bill from the drafting stage until it goes to the parliament to be voted. There seems to be nothing special at all in this film. But why did I feel so good watching this film? I don’t know. Maybe the director creates the right amount of distance between the interviewer, the interviewees, and the audience. Maybe that female politician is very charismatic. Maybe the director just makes everything right in this film, including creating a little tension or a little suspense, but not manipulating the emotions of the audience too much.

After seeing and falling in love with CORN IN PARLIAMENT: LE GENIE HELVETIQUE, I decided to make a list of my favorite political documentaries. The countries listed here are the countries of the “subject” or “topic” of the film, not the nationality of the director nor the funding source of the film.


1.AFTERSHOCKS (2001, Rakesh Sharma, India)

2.BALSEROS (2002, Carlos Bosch + Josep Maria Domenech, Cuba)

3.BEFORE THE FLOOD (2005, Li Yifan + Yan Yu, China)

4.CEASE! FIRE! (2003, Saw Eh Doh Wah + Scott O’Brien, Myanmar)

5.CHECHEN LULLABY (2001, Nino Kirtadze, Chechnya)

6.CORN IN PARLIAMENT: LE GENIE HELVETIQUE (2003, Jean-Stephane Bron, Switzerland)

7.THE DAY I WILL NEVER FORGET (2002, Kim Longinotto, Kenya)

8.DIAL H-I-S-T-O-R-Y (1998, Johan Grimonprez)

9.FORD TRANSIT (2002, Hany Abu-Assad, Palestine)

10.THE HEART OF WHITENESS (2006, Rehad Desai, South Africa)

11.INCIDENT AT OGLALA (1992, Michael Apted, USA)

12.THE LAST BOLSHEVIK (1993, Chris Marker, Russia)

13.MINAMATA: THE VICTIMS AND THEIR WORLD (1972, Noriaki Tsuchimoto, Japan)

14.NIGHT AND FOG (1955, Alain Resnais, France)

15.PUNITIVE DAMAGE: A MOTHER’S TRIAL (1999, Annie Goldson, East Timor)

16.SEAPORT (2006, Attapon Pamakho + Benya Poowarachnan, Thailand)

17.11’09”01 – SEPTEMBER 11: SEGMENT “UNITED KINGDOM” (2002, Ken Loach, Chile)

18.THE TENTH DISTRICT COURT: MOMENTS OF TRIALS (2004, Raymond Depardon, France)

19.VIDEOGRAM OF A REVOLUTION (1992, Harun Farocki + Andrei Ujica, Romania)

20.VILLAGE PEOPLE RADIO SHOW (2007, Amir Muhammad, Malaysia)

–You can cast multiple votes.

–I try to make this list to include many countries, so I have to drop some great documentaries about Palestine from my list. Palestine may be the country which has the most number of excellent political documentaries.

–There are two films from France in my list (NIGHT AND FOG and THE TENTH DISTRICT COURT), because these two films cover very different periods of time. I decided to include NIGHT AND FOG here, because though the subject of the film is very old, something in it reminds me of Thailand nowadays. If I remember it rightly, there is a scene in NIGHT AND FOG in which many Nazi high-ranking officers said that they were not guilty of the Holocaust. That scene reminds me of some famous Thai people who have been saying all through the past 30 years that they are not guilty nor involved with the Bangkok Massacre in October 1976.

February 22, 2008


Filed under: Uncategorized — celinejulie @ 11:09 pm

My eleventh poll ended long time ago. I’m sorry for not creating a new poll as fast as I can. I have been busy lately and there were many more things I wanted to write before I start a new poll. I guess now it’s time I start a new one.

Thank you very much for everyone who participated in my poll. This is the result of my eleventh poll. There are six votes in it, including my vote for FEAR OF HEIGHTS and TO CRY UNTIL EXHAUSTION:


1.THE THIRD PART OF THE NIGHT (1971, Andrzej Zulawski, Poland)
It got 2 votes or 33 %.

2.ALICE (2005, Marco Martins, Portugal)
+L’ENFER (1994, Claude Chabrol, France)
+FEAR OF HEIGHTS (1994, Houchang Allahyari, Austria)
+IMPERATIVE (1982, Krzysztof Zanussi, Poland)
+I ONLY WANT YOU TO LOVE ME (1976, Rainer Werner Fassbinder, West Germany)
+SHOCK CORRIDOR (1963, Samuel Fuller, USA)
+SPIDER (2002, David Cronenberg, Canada/UK)
+TO CRY UNTIL EXHAUSTION (1972, Jochen Gerz, West Germany)
+WOYZECK (1979, Werner Herzog, West Germany)

Each of them got 1 vote or 16 % .

12.BYE BYE BLACKBIRD (2005, Robinson Savary, Luxembourg)
+DARK HORSE (2005, Dagur Kari, Denmark)
+DREAMS (2005, Mohamed Al Daradji, Iraq)
+THE HEART (1955, Kon Ichikawa, Japan)
+THE MACHINIST (2004, Brad Anderson, Spain)
+MOTHERLAND HOTEL (1987, Omer Kavur, Turkey)
+MY STEP BROTHER FRANKENSTEIN (2004, Valeri Todorovsky, Russia)
+SOOTH: HIS PURE STORY (2003, Patana Chirawong, Thailand)
+STATIC (1985, Mark Romanek, USA)

–The magazine FILM COMMENT, Jan-Feb 2008 has a short review on THE THIRD PART OF THE NIGHT, written by Alex Cox.

–I’m sorry to hear about the death of Kon Ichikawa (1915-2008). I like THE HEART (1955, Kon Ichikawa, A+) very much. I just saw it in January this year. It actually has two men on the verge of a nervous breakdown. I’m fascinated by the character of Kaji (Tatsuya Mihashi). He is a man who is too serious to enjoy life, too serious to live in this world. He is able to live very happily, but he just chooses not to do it. He is a man who sometimes acts or does against reasons or society. This character seems like a real complex human being. He seems like a real very interesting man.

After I saw THE HEART, my friends made some interesting comments on the film. They said that the film is very homoerotic, especially the relationship between Nobuchi and Kaji, and between Nobuchi and Hioki. They think that in fact Nobuchi may love Kaji, but maybe the Japanese society at that time didn’t allow this kind of love to blossom easily. When Nobuchi finds out that Kaji loves the girl (Michiyo Aratama), Nobuchi decides to propose for the girl, not because he loves the girl, but because he loves Kaji and doesn’t want Kaji to get married.

I don’t know if my friends’ guess is true or not. I love this film very much, anyway.


Filed under: Uncategorized — celinejulie @ 10:17 pm

This is my comment in Screenout Webboard:

Six Korean actors for Black Forest

1.Bae Soo-bin

2.Cheon Jeong-myeong

3.Han Jeong-soo

4.Ha Seok-jin

5.Jang Ji-woo

6.Kim Jeong-wook

February 21, 2008


Filed under: Uncategorized — celinejulie @ 12:32 am

I’m very sad to know about the death of Alain Robbe-Grillet (1922-2008).

Some new and old links:

English links:

Mubarak Ali’s blog:

GreenCine Daily:

Obituary written by John Sturrock in THE INDEPENDENT:

Jesse’s review on LA BELLE CAPTIVE:

A quote from John Sturrock:

Alain Robbe-Grillet interviewed by Tom Bishop:

Thai links:

Filmsick’s review on EDEN AND AFTER:

Some images from Robbe-Grillet’s films:

–I wrote about my feelings for LA BELLE CAPTIVE last year.

There is something I didn’t write at that time—comparing my feelings for LA BELLE CAPTIVE and PLOY (2007, Pen-ek Ratanaruang, A+), because I didn’t want to spoil the endings of these two films. But I guess many people have seen these two films already. So now I’m gonna write about my feelings for them.

I saw PLOY and LA BELLE CAPTIVE nearly at the same time, maybe within one month from each other. So I couldn’t help comparing these two very different films. In these two films, dreams, imagination and reality can’t be distinguished from one another. I think the structures of these two films have something in common—they seem to consist of dream within dream within dream, or in case of LA BELLE CAPTIVE—nightmare within nightmare within nightmare. However, though I love PLOY very much, I have to say that there is something I don’t like in PLOY, but that thing is not to be found in LA BELLE CAPTIVE.

After PLOY starts for about 30 minutes, there is something very bad happening in the film, then it is revealed that that evil thing is just a nightmare of a character. Then the story progresses. Some bad things happen. But the film seems to end with the reconciliation of the couple. And somehow I don’t like this kind of ending. I don’t like that the bad thing happening in the first part of the film is just a nightmare. Somehow I don’t like films which present some bad events and then tell the viewers that they are just nightmares and you will wake up to find a better reality.

But in case of LA BELLE CAPTIVE, I like the structure of the film very much. It seems as if a character has a nightmare, then he wakes up and finds himself still in a nightmare, then he wakes up and finds himself still in a nightmare, etc. But in the end he wakes up and finds that THE REALITY IS REALLY MUCH MUCH WORSE THAN ALL HIS PREVIOUS NIGHTMARES. I think this is the kind of a real great ending in my point of view.

–I read RECOLLECTIONS OF THE GOLDEN TRIANGLE (1978) by Alain Robbe-Grillet many years ago. The novel is translated by J. A. Underwood. I like it very much, though I understand nothing in it. There are many times in the novel when I don’t know exactly who is telling the story, what is happening, if it is really happening, if it is just a dream, if it is just a memory, who is dreaming, who is remembering, when the event takes place, where the event takes place, etc. I guess time and places are very fluid both in his films and his novels.

An interesting passage from RECOLLECTIONS OF THE GOLDEN TRIANGLE (from page 102-104):

“And suddenly she cries out in the unending silence, a long-drawn-out, manic cry that she could contain no longer. She says to herself: That’s it! Now I really am mad. I’ve finally succumbed to the darting demons of my adolescence, which have always been lurking in the still-water depths of my green eyes with their shimmering irises. On my identity cared I am Caroline de Saxe by birth, but my real name is Belzebeth, princess of the blood, more often called the bloody princess. I am walking now down the interminable corridor lined with tortures and murders. Even as a child, right at the back of the attic, where the beams came down too low…No, there’s no time for that now! This long black car with its window obscured by thick curtains, its motor ticking over, biding its time, on the grassy road that hugs the dune behind the row of bathing-huts, this I recognize: it’s the ambulance from the mental hospital where in a few minutes I shall be back with the sinister Dr. Morgan and his textual experiments, having once again passed through the black door that has neither number nor key and is surmounted by a vertical eye within a triangle of gold fillets, carved point downwards.

For how long have I today (when?) been shut up on my own in this cubical cell—already inventoried in detail several times—where, in the absence of any opening apart from the armour-plated door leading to the special interrogations and so-called clinical treatments along a narrow corridor that repeatedly bends at right angles in one direction or the other without any regularity, so that one can never manage to keep count of the multiple, inexplicable, unavailing detours…Where had I got to?…”Mistake! Penalty!” announces the cruel voice of the loudspeaker. Then, after a silence, the invisible corrector adds in a more neutral tone: “Go back to: where comma in the absence of any opening…”

…where, in the absence of any opening, it remains impossible to distinguish day from night. A uniform, wan light of which I have not yet managed to detect the source appears to diffuse from all directions simultaneously, reflected by the white walls, the white ceiling, and also by the floor, itself white like everything else with the sole exception of the armour-plated door, painted a very dark grey, beyond which begins the passage that gives access after many right-angled turns, to the series of…”

John Sturrock wrote a great article on Robbe-Grillet in the book THE FRENCH NEW NOVEL. Here is a quote from the book:

“Whenever Robbe-Grillet introduces roads, corridors, staircases and so on, he always does so in this fragmented and deliberately bewildering way. The progress of the narrator who tries to follow them and link them together into a coherent townscape or piece of architecture represents the will to find comfort in a definitive order of things. But the motion which Robbe-Grillet permits is only brief and fragmentary, each section of street, corridor, or the like, being simply the evidence of the mind’s frustration.”

February 18, 2008

IMPERATRIX CORNICULA (2007, Jerome Bertrand, A+++++)

Filed under: Uncategorized — celinejulie @ 7:12 pm

It was such an intense weekend. I enjoyed some great films I saw very much—BIRTH OF THE SEANEMA, A SHORT FILM ABOUT THE INDIO NACIONAL (2006, Raya Martin, A+), but the most surprising thing for me is the dvd that I saw—L’EROTISME. It is a compilation of short films made by the directors I never heard of. I was stunned by the films in this dvd. Most of them are erotic/controversial/experimental. I like them very much. I think they are very creative. Some of them seem to be made on tiny budgets, but can create powerful feelings. Most of the soundtracks in this dvd are among the best ones I ever heard.

Though the films in this dvd are controversial, I think I don’t feel guilty enjoying most of them. I think I often feel a little bit guilty when I watch films which involve the real killing of animals. I can’t help thinking those animals don’t deserve to be killed. But for most of the films in this dvd, I don’t feel guilty enjoying them because I know they are fictional. I think one is entitled to enjoy some wild imaginations as long as one doesn’t hurt other animals or people in the real world.

I think the dvd L’EROTISME is strongly recommended for those who love some controversial films such as BAISE-MOI, A CLOCKWORK ORANGE, SALO OR 120 DAYS OF SODOM, AN ARIA ON GAZE or LAST HOUSE ON THE LEFT.

I wonder what Kenneth Anger and John Waters would think about some films in this dvd.

You can buy this DVD from this website:

This dvd includes the following films:

1.IMPERATRIX CORNICULA (2007, Jerome Bertrand, Canada, A+)
Maybe one of the most effective horror films ever made.

2.ASS (2001, Usama Alshaibi, USA, 9 min, A+)

3.EXTASE DE CHAIR BRISEE (2005, Pierre-Luc Vallencourt + Frederik Maheux, Canada, 16 min, A+)

4.BABY DOLL (2006, Serge de Cotret, Canada, 3 min, A+)

5.MALDOROR: A PACT WITH PROSTITUTION (2005, Micki Pellerano + Nate Archer, USA, 9 min, A+)

6.THE LONELIEST LITTLE BOY IN THE WORLD (2000, Mike Dereniewski, USA, 5 min, A+)

7.KI (2001, Karl Lemieux, Canada, 3 min, A+)

8.RITUALIS (2004, Pat Tremblay, Canada, 8 min, A+/A)

9.PARANOID (2005, Anne Hanavan, USA, 3 min, A+/A)

10.LA FIN DE NOTRE AMOUR (2003, Helene Cattet + Bruno Forzani, Belgium, 9 min, A)

11.D’YEUX (2002-2007, Monk Boucher, Canada, 13 min)
This is a compilation of still images of some interesting erotic artworks.

You can read the review of this dvd from:

You can watch the trailer of this dvd from:

February 16, 2008

HOPE (2008, Siwadol Ratee, A+++++)

Filed under: Uncategorized — celinejulie @ 12:14 pm

I went to see 2008: VERY SHORT NEW YEAR CINE-BRATION yesterday. This event shows 29 Thai short films. Each of them is about 3-minute long. I like this event very much, though there might not be a real great film in this event. I think most of the films in this event are not highly ambitious. So watching these films makes me feel like having a casual talk with many people, instead of feeling like listening to someone making a presentation or making a report about some serious topics in front of the class. The latter kind of feeling is the feeling I get when I watch some films in the Thai short film competition.

These are the list of films:
(Some films have no official English titles, so some English titles which appear here are the ones I translate from the Thai titles.)

(in alphabetical order)

2.GIRAFFE (Nawapol Thamrongrattanarit)
3.HOPE (Siwadol Ratee)
6.TARN (Wanweaw Hongwiwat + Weawwan Hongwiwat)
7.2008 (Soraya Nakasuwan)
8.UNIFIED FIELD (Jakrawan Nilthamrong)

(in alphabetical order)

9.ANOTHER EVENING OF THE THIRD (Wiwat Lertwiwatwongsa)
10.2008, LET’S COME OUT (Thanapol Chaowanich)
12.WE SHALL TRY TO GIVE THIS FILM A DIFFICULT TITLE AS 200ooPs! (Kriangkrai Wachirathammaporn)

(in alphabetical order)

13.AMEE AMIGO (Thitimon Mongkolsawasdi + Nichamon Mongkolsawasdi)
15.A LITTLE BLISS (Teepisit Mahaneeranont)
16.NEW YEAR AGAIN (Winai Kitcharoen)
17.ROY TAI PRAE (Uruphong Raksasad)
19.2008 (Tulapop Saenjaroen)
20.2008…YEAR OF PROSPERITY OR BANKRUPTCY (Prempapat Palitpolkarnpim)
21.UP AND DOWN 2551 (Sivaroj Kongsakul)

(in alphabetical order)

23.GOODBYE, 2008 (Yanin Pongsuwan)
24.ONE MORE NIGHT STAND (Chakorn Chaipreecha)
25.OY IS 3 MINUTE LATE (Teepanun Petchsri)
26.REVERSE (Noppasorn Limchaiyawat)
27.STILL (Nuttorn Kangwanklai)

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