Limitless Cinema in Broken English

March 26, 2008

“IT’S FOR VIP ONLY”

Filed under: Uncategorized — celinejulie @ 11:01 pm

My friend and I just went to Esplanade Cineplex today to buy a ticket for BEFF CORE – TRACK CHANGES (20.30-21.50 hrs), but the ticket seller told us that this film program is for VIP only.

What a waste of time for today! 😦
http://www.project304.org/beff5/

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March 24, 2008

FAVORITE SONG — HI N BYE — TILL WEST & EDDIE THONEICK

Filed under: Uncategorized — celinejulie @ 11:07 pm

FAVORITE SONG

HI N BYE (Guitarra remix) – Till West & Eddie Thoneick
http://www.youtube.com/watch?v=8fGwNZpJ3IM

Thanks to Parichaba for recommending this song.

——————————————–

This is my reply to Zeren in a post below:
https://celinejulie.wordpress.com/2008/03/20/did-i-see-deadly-snail-vs-kung-fu-killers/

–Talking about Peter Greenaway, his first film which I saw is THE COOK, THE THIEF, HIS WIFE & HER LOVER. I like it a lot, though it doesn’t make me feel as excited as Derek Jarman’s films.

I saw DROWNING BY NUMBERS at the British Council in Bangkok in 1996. My English listening comprehension was (and still is) very bad, so I couldn’t understand any dialogues in the film. But I still like the idea of this film very much—letting the viewer playing a game of spotting the numbers in the film. I hadn’t heard any ideas like this before. I also like the girl who jumps rope very much.

I just read a review on DROWNING BY NUMBERS, written by Alain Masson in the book POSITIF 50 YEARS. Masson compared the unrealistic shadow of the rope-jumping girl to the unrealistic shadow of the woman in a painting by Domenico Feti. Masson also talks about the painting of SAMSON AND DELILAH quoted in this film, but I could not remember any paintings in this film. I think I have to see this film again.

PARABLE OF THE LOST DRACHMA (1618-22, Domenico Feti)

SAMSON AND DELILAH (1610, Peter Paul Rubens)


SAMSON AND DELILAH (1620, Anthony van Dyck)


–This is a quote from Alain Masson’s review of DROWNING BY NUMBERS in the book POSITIF 50 YEARS:

“There is therefore symmetry. The first murder coincides with the three and the last with the one hundred; as it happens, the little girl added three stars to her hundred, implying some form of equivalence between the two numbers; is not one hundred the first three-digit numbers? So many subtleties and questions! As for symmetry, how to justify the enormous 50 that appears in the middle of the beach and looks like 05 backwards, which does not follow correct geometry. And what of the numbers that appear out of turn, and those that repeat themselves? Those that are mentioned rather than seen? Those larger than one hundred? Can the four tines of a fork be read as IIII, like the Roman numeral four? What to do when we don’t see a number? Does numbering govern the increase in the number of characters? The required series proliferates indefinitely, and filmgoers are caught up in a brutal oulipian progression.”

–I had never heard of the word “oulipian” before. It is not included in my English dictionary. Fortunately, wikipedia explains this word, and this word sounds very interesting.
http://en.wikipedia.org/wiki/Oulipo

From Wikipedia:

“Oulipo (pronounced oo-lee-PO) stands for “Ouvroir de littérature potentielle”, which translates roughly as “workshop of potential literature”. It is a loose gathering of (mainly) French-speaking writers and mathematicians, and seeks to create works using constrained writing techniques. It was founded in 1960 by Raymond Queneau and François Le Lionnais. Other notable members include novelists like Georges Perec and Italo Calvino, poets like Oskar Pastior or Jacques Roubaud, also known as a mathematician.”

“Some examples of Oulipian writing: Queneau’s Exercices de Style is the recounting of the same inconsequential episode ninety-nine times, in which a man witnesses a minor altercation on a bus trip, each unique in terms of tone and style.

Plaisirs singuliers by Harry Mathews (the only American member of Oulipo) describes 61 different scenes, each told in a different style (generally poetic, elaborate, or circumlocutory) in which 61 different people (all of different ages, nationalities, and walks of life) masturbate.

Queneau’s Cent Mille Milliards de Poèmes is inspired by children’s picture books in which each page is cut into horizontal strips which can be turned independently, allowing different pictures (usually of people) to be combined in many ways. Queneau applies this technique to poetry: the book contains 10 sonnets, each on a page. Each page is split into 14 strips, one for each line. The author estimates in the introductory explanation that it would take approximately 200 million years to read all possible combinations.”

March 20, 2008

FIFTEENTH POLL: MOCKUMENTARIES OR MY ALARMING INABILITY TO DISTINGUISH FACT FROM FICTION

Filed under: Uncategorized — celinejulie @ 10:37 pm

This is about a poll in my bilingual blog at http://celinejulie.blogspot.com

My fifteenth poll is inspired by one of my most favorite films in February 2008. It’s a short film I saw in the art exhibition called WANTANEE RETROSPECTIVE ENCORE (2008, Wantanee Siripattanantakul), which is a part of a group exhibition called PARADISE ENGINEERING (curated by Chattiya Nitpolprasert) at Art Center Chula. I don’t know if this short film has its own name or not. I just know that this short film was first shown as a part of a solo exhibition called A WANTANEE RETROSPECTIVE last year. So I apply the name of the first exhibition as the name of this short film.

When I went to see PARADISE ENGINEERING, I watched this short film on a TV. I don’t remember its exact details. I apologize in advance if I remember anything wrongly. This short film looks like a TV documentary made by Arte France. It consists of some foreign artists talking about Wantanee Siripattanantakul, claiming she is one of the most important artists in Europe. It also shows some clips from Wantanee’s previous videos. It seems Wantanee has made many artful videos in the past. The exhibition also displays details of her previous works in large letters on the wall. It seems she took part in many famous art exhibitions. Her works were shown in many galleries around the world. She is included in the book ART NOW or something like that. I was a bit surprised when I found that the exhibition also told us where or which gallery would display her work in 2009 or 2010. I had never thought a gallery would plan some exhibitions for one or two years in advance.

I thought this exhibition was a bit boring. How could a list of artist’s works or a list of galleries showing the artist’s work be interesting? Why didn’t the exhibition show the artist’s works? It showed only the list of works, but didn’t show the works. However, I thought this exhibition was very useful, because at least it introduced me to Wantanee. I had never heard the name of this important Thai video artist before.

A few days later, one of my friends asked me if I could make a list of several Thai video artists for him. I tried to make a list, including Araya Rasdjarmrearnsook, Montri Toemsombat, etc. Then I thought about Wantanee. Judging from the short film I saw, she seemed to be very famous. Maybe I should include her name in the list. I googled her name, finding nearly no result. Why couldn’t I find any information about one of the most important artists in Europe on the internet? I asked myself. Suddenly I understood why.

THESE FILMS MAY BE MOCKUMENTARIES. WHICH FILM DO YOU LIKE?

1.THE BLAIR WITCH PROJECT (1999, Daniel Myrick, Eduardo Sanchez, USA)

2.CLOVERFIELD (2008, Matt Reeves, USA)

3.DAVID HOLZMAN’S DIARY (1967, Jim McBride, USA)
http://www.imdb.com/title/tt0062864/


4.F FOR FAKE (1974, Orson Welles)

5.FORGOTTEN SILVER (1995, Costa Botes, Peter Jackson, New Zealand)

6.HOW TO MAKE A GOOD ART FOR GET WIN AWARD (Vasan Sitthiket, Thailand)

7.INTERVIEW (2003, Jeanne Faust, Germany)
I really believed this was an actual interview, a real documentary. But the information on the internet told us that the film is staged.
http://www.artfacts.net/index.php/pageType/exhibitionInfo/exhibition/16005

8.KOMBI NATION (2003, Grant Lahood, New Zealand)
I believed this was a real documentary when I was watching the first part of this film. Only when things started to get weird that I came to realize that this is a mockumentary.

9.THE LOVE MACHINE (1999, Gordon Eriksen, USA)
Many viewers, including me, really believed this film is a real documentary. We came to realize that the film is fictional when we saw the ending credit.

10.LUDWIG’S COOK (1973, Hans-Juergen Syberberg, West Germany)

11.MAN BITES DOG (1992, Remy Belvaux, Andre Bonzel, Benoit Poelvoorde, Belgium)
http://www.imdb.com/title/tt0103905/

12.MY LITTLE EYE (2002, Marc Evans, UK)


13.SERIES 7: THE CONTENDERS (2001, Daniel Minahan, USA)

14.SURF’S UP (2007, Ash Brannon, Chris Buck, USA)

15.TEN TINY LOVE STORIES (2001, Rodrigo Garcia, USA)
http://www.imdb.com/title/tt0301924/
I believed this film is a real documentary. When I was watching this film, I wondered why some women had such vivid memory, why they remembered some details in the past very vividly. I don’t have a good memory like that. But I still believed everything they said is true. A few days later, I talked about this film with Sonthaya Subyen, and he told me that the film is fictional.

16.A TOUGH CREATURE WHO BURDENS THE EARTH (2004, Paisit Panpruegsachart, Thailand)
The first part of this film is undoubtedly mockumentary. It shows a Thai film director being interviewed by an alien. The second part of this film, which shows him and his film crew being questioned by the police, is a real documentary. The next part of this film, which shows him and his girlfriend going upcountry, looks like a real documentary. It is so natural, so life-like. Many viewers also thought like me. We believed the rural part of this film was a real documentary.

After the film, there was a Q&A with the director, we were totally surprised to learn that the whole rural part is fictional, though there were some improvised moments.

I don’t know the official English title of this film. The official Thai title of this film is SAT WIBAK NAK LOK, which can be literally translated as A TOUGH CREATURE WHO BURDENS THE EARTH.

I don’t know which year I should apply to this film. I think this film was finished in 2004, but it got a world premiere at Bioscope Magazine office in 2008. I don’t know if I should use the year 2004 or 2008 for this feature film.

17.…UNPRONOUNCABLE IN THE LINGUISTIC IMPERIALISM OF YOURS (2008, Ratchapoom Boonbunchachoke, Thailand)

This film shows an interview with a female Thai artist. For the first half of this film, my friend and I believed it was a real documentary. We only came to realize that this film is a mockumentary when the artist starts talking about her masturbation show.

18.UOD DEE (ARROGANT) (2003, Sompot Chidgasornpongse, Thailand)
I wrote about this film a few months ago. At that time I transcribed the title of this film as AOD DEE.
http://celinejulie.blogspot.com/2007/09/pariya-wongrabiab-is-thai-stephane.html

19.A WANTANEE RETROSPECTIVE (2007, Wantanee Siripattananantakul, Thailand)

20.WELCOME TO HOLLYWOOD (2000, Tony Markes, Adam Rifkin, USA)
http://www.imdb.com/title/tt0169376/
This film really looks like a real documentary. I like Angie Everhart in this film very much.

You can cast multilpe votes.

Have you ever been fooled by any mockumentaries?

———————————

–WANTANEE RETROPECTIVE ENCORE shows me how blind I was. There are many clues which hint that the entire exhibition, or the entire biography of Wantanee, is fictional, but I overlooked them. This exhibition, including its short mockumentary, gives me the great lesson of this year: I am unable to distinguish fact from fiction, and I should not overlook any details.

–I think WANTANEE RETROSPECTIVE ENCORE (2008) is the restaging of the exhibition A WANTANEE RETROSPECTIVE (2007), which I didn’t visit. There was a seminar on A WANTANEE RETROSPECTIVE. The details of the seminar in Thai can be read at:
http://www.thaicritic.com/wantanee.htm

In the seminar, Jakapan Vilasineekul commented that the exhibition A WANTANEE RETROSPECTIVE was aimed at the viewers who already had some knowledge in art, and compared this exhibition to some works of Michael Asher, because some of Asher’s exhibitions can only be appreciated by people who already had some knowledge in art, too. One of the most interesting exhibitions of Asher is the one he did for the museum in Bern in 1980. His exhibition consisted of removing all heaters in the museum building and putting them outside, so that the viewers would realize that heaters or anything in an art exhibition, are actually parts of the language of the artist, not just the artworks shown.

–You can view some works of Jakapan Vilasineekul here:
http://www.rama9art.org/artisan/2005/october/recent/exhi.html

–Some information on Michael Asher can be found in the book CONCEPTUAL ART by Daniel Marzona. Here are some excerpts from the book:

“In 1969 Asher publicly exhibited one of his AIRWORKS for the first time at the group exhibition THE APPERING/DISAPPEARING IMAGE/OBJECT. In the vicinity of the entrance zone a fan, not visible to the public, generated between the ceiling and the floor a constant flow of air, which could be transversed by visitors to the exhibition.”

“In 1973, in the Galleria Franco Toselli in Milan, ….He decided on the spot to remove the white paint from all the walls and ceilings of the gallery with a sand-blaster. Beneath the many coats of the white paint, the brown plaster eventually came to light, and with it the various alterations to the building that had been undertaken over the years.”

“Asher himself pointed to the central aspect of the work when he observed: “Traditionally, the white interior of a commercial gallery presented an artist’s production within an architectural setting of false autonomy. If, through its abstinence, the viewer was reminded of the white paint, an interesting question was then raised: How does the white ‘partition’ of paint affect the context of art usually seen on that support surface?””

You can buy the book CONCEPTUAL ART here.
http://www.amazon.com/Conceptual-Art-Basic-S/dp/3822829625/ref=sr_1_1?ie=UTF8&s=books&qid=1206026590&sr=1-1

DID I SEE “DEADLY SNAIL VS. KUNG FU KILLERS”?

Filed under: Uncategorized — celinejulie @ 8:27 pm

My fourteenth poll ended with four votes, including one vote from me for THE MISSION. Thank you very much for everyone who participated in it. Here is the result:

THESE FILMS MAY HAVE SOMETHING CONCERNING THE COLONIAL ERA. WHICH FILM DO YOU LIKE?

1.GANDHI (1982, Richard Attenborough, UK/India)
+THE MISSION (1986, Roland Joffe, UK)

Each of them got 2 votes, or 50 %.

3.THE LAST COMMUNIST (2006, Amir Muhammad, Malaysia)
+THE LOVER (1992, Jean-Jacques Annaud, France/Vietnam)

Each of them got 1 vote, or 25 %.

5.THE BEWITCHING BRAID (1996, Yuanyuan Cai, Macau)
+CLEAN SLATE (1981, Bertrand Tavernier, France)
+COBRA VERDE (1987, Werner Herzog, Ghana/West Germany)
+DROPS OF LIGHT (2002, Fernando Vendrell, Portugal/Mozambique)
+THE FANTASTIC PLANET (1973, Rene Laloux, Czechoslovakia/France)
+THE MURMURING COAST (2004, Margarida Cardoso, Portugal)
+NED KELLY (2003, Gregor Jordan, Australia)
+NEVER SHALL WE BE ENSLAVED (1997, Kyi Soe Tun, Myanmar)
+NOWHERE IN AFRICA (2001, Caroline Link, Germany)
+QUEENIE (1987, Larry Peerce, USA, 233 min)
+RIZAL IN DAPITAN (1997, Tikoy Aguiluz, Philippines)
+A SHORT FILM ABOUT THE INDIO NACIONAL (2005, Raya Martin, Philippines)
+THE SIAM RENAISSANCE (2004, Surapong Pinijkhar, Thailand)
+UTU (1983, Geoff Murphy, New Zealand)
+VICTOR SCHOELSCHER, L’ABOLITION (1998, Paul Vecchiali, France)
+WHITE MISCHIEF (1987, Michael Radford, UK)

Each of them got 0 vote.

–Since I have no knowledge in history, I have nothing to say about the colonial era. I voted for THE MISSION, because I love this film very much and this film is very important for my life as a film addict. If I remember it correctly, THE MISSION is the first film that makes me cry in theatre. It’s the scene when Robert De Niro is dying, watching Jeremy Irons walking bravely.

I don’t remember which is the first film I saw in theatre. I only remember vaguely that I watched a children’s film in theater when I was very young. My school took me and my friends to see some good Thai films when I was in elementary school. I remember going with my family to see a Chinese film starring Yu On-on when I was very young. I don’t know the English title of this film. The Thai title of this film can be translated as THE GODDESS OF WHITE SHELL. I don’t know if the exact title of this film is DEADLY SNAIL VS. KUNG FU KILLERS (1977, Hueng Ling) or not.
http://www.mjsimpson.co.uk/reviews/deadlysnailvskungfukillers.html

I also saw GANDHI in theatre when I was very young. I think there is a massacre scene in this film, and it is unforgettable.

Anyway, I started going to see a film alone when I was in secondary school and very crazy for Tom Cruise. The first film that I went to see alone is THE COLOR OF MONEY. I think I became a film addict after that. THE MISSION is also one of the first films that I saw alone. It was such a powerful experience for me. Every time I thought about the soundtrack of this film, I cried. I think I was like this for ten years. Now I can listen to the soundtrack of THE MISSION without crying.

MY COMMENT IN JESSE’S BLOG

Filed under: Uncategorized — celinejulie @ 7:57 pm

This is my comment in Jesse’s blog:
http://memoriesofthefuture.wordpress.com/

–I totally agree with at least three things you wrote:

1.” I’m really allowing myself to merely be exposed to the things that interest me, and see where that eventually takes me.”

That’s what I’m doing, too. And I think that is the right thing to do.

2.” One of my resolutions for 2008: to undue my habit of watching a film or reading a book or whatever through a filter of “now what interesting thing am I going to say about this when I write my review?” I see now that such a mindset is severely limiting, and might even be robbing me of quite a bit of enjoyment I might not even realize I’m missing.”

Yeah, that’s absolutely right. Writing about a film should not lessen any enjoyment you can get from a film. I used to spend some time thinking about what I should write in my blog, but whenever I thought about that, it would distract me from any enjoyment I could get from other things I was experiencing at that moment. If I thought about my blog when I was watching a film, that thought would distract me from enjoying the film at that moment. If I thought about my blog when I was sipping coffee, that thought would distract me from really enjoying the taste of coffee. I will not let my blog or my writing preventing me from enjoying other things in life.

3.” it is impossible to expect ever reaching a place of “knowing enough,” and as a result it should never serve as a deterrent for writing”

That’s absolutely true, too.

–I don’t know how much you will write here in the near future. I just want to tell you that you should do whatever you feel happy to do. Whenever you feel happy to read, read. Whenever you feel happy to write, write. But there’s at least one thing I hope you will continue doing: whenever you experience such an indescribable joy from any film, any song, any book, or anything in your life, I hope you will let us readers know. If you don’t have time to analyze those great things you enjoy, at least I hope you make just a simple list of them. It would be very useful for us.

I would have never listened to Nina Simone or Regina Spektor if it’s not because of you, Jesse.

March 18, 2008

KEREN CYTTER = FASSBINDER + CASSAVETES + SOUTH PARK + BLAIR WITCH?

Filed under: Uncategorized — celinejulie @ 10:52 pm

–In the BEFF5 program, I’m very glad that I may have a chance to see these films:

1.DIRTY PICTURES (2007, John Smith, UK) in the program 3.1

2.OFFSHORE (2007, Andrew Kotting UK) in the program 3.3

3.SOMETHING HAPPENED (2007, Keren Cytter, Germany) in the program 3.5

I have seen some of John Smith’s films and I love them. I have never seen a film by Keren Cytter, but what I have heard about her films implies that her films are must-see.

You can read a review on Keren Cytter’s films from FRIEZE magazine in October 2007:
http://www.frieze.com/issue/article/true_romance/

There is a quote from Cytter in the article. She said, “A cliché for me is an absolute truth, it is like the practical bible, it is something that passed through many people and it is this one sentence that stuck with them all. At least one of these people must genuinely believe in it. If the majority holds on to it, obviously it affects them. I keep saying I’m one of those people but nobody believes me.”

These are images of SOMETHING HAPPENED (2007, Keren Cytter)
http://www.elisabethkaufmann.com/site/000134.html


–Keren Cytter’s films are also listed in Daniel Birnbaum’s TOP 10 BEST ART OF 2007 in ARTFORUM magazine, December 2007. You can buy this magazine from the link below:
http://www.artforum.com/inprint/issue=200710

This is what Birnbaum wrote about Cytter’s films in ARTFORUM:

“Wherever I go—Paris, Antwerp, Zurich, Moscow—I see a great new film by this Israeli artist that sticks the viewers, in the words of Willem de Rooij, “somewhere in between Fassbinder, John Cassavetes, SOUTH PARK, and THE BLAIR WITCH PROJECT.” In certain works, Cytter’s protagonists seem to have lost control of their own “stories”, as in DREAM TALK, 2005, in which a group of friends mistake themselves for characters in a reality TV show. In the dense, rapid, looped video THE VICTIM, 2006, five people gather around a table and one of them—the victim—is driven to the ultimate point of no return: suicide, The story pushes forward with great speed and shows there is no limit to Cytter’s technical skills. Her films are humorous and psychologically riveting. Next time I travel, I’m sure I’ll see another splendid piece. I can’t wait.”

This is DANIEL BIRNBAUM’S TOP 10 BEST ART LIST OF 2007 in ARTFORUM magazine:

1.PAINTING WITHOUT END by Andre Cadere


2.PALERMO by Blinky Palermo
http://www.frieze.com/issue/review/blinky_palermo/
http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:4474&page_number=1&template_id=6&sort_order=1

3.A MODERN CLASSIC and HELLDEN+BAERTLING by Olle Baertling

4.PUSS 1968-1973

5.ELECTRIC DRESS 1956-1986 by Atsuko Tanaka
http://mocoloco.com/art/archives/001084.php#more

6.Paul Chan

7.Saadane Afif
http://www.antidote-2006.com/en/artists/

8.Keren Cytter

9.LIKE ORIGAMI GONE WRONG by Simon Dybbroe Moller

10.RICHARD PRINCE: SPIRITUAL AMERICA
http://www.guggenheim.org/exhibitions/exhibition_pages/prince.html

–Talking about art and film reminds me of the film CAR PAINTING (2006, George Barber, UK, A). I saw this film last year, but it will be shown again in BEFF5 in the program 2.2 DATA-PAINTING: LIQUID REALITIES. This film uses a car (or the tires of the car) as a paintbrush, and the street as a canvas. I have been thinking about this film lately after I read the article THE BEGINNING OF THE END OF PAINTING by Graham Coulter-Smith in artintelligence’s blog:
http://artintelligence.net/review/?p=497

MY FAVORITE FILMS IN BEFF5

Filed under: Uncategorized — celinejulie @ 9:39 pm

MY TENTATIVE SCHEDULE FOR BEFF5

WEDNESDAY 26 MARCH

ESPLANADE
20.30-21.40 1.2 BEFF CORE – TRACK CHANGES (65)

THURSDAY 27 MARCH

ALLIANCE FRANCAISE
18.00-20.30 4.3 LOCAL LOOP: EMERGING HISTORIES FROM THE
PHILIPPINES

FRIDAY 28 MARCH

ESPLANADE
18.00-19.30 3.7 PHILIP SCHEFFNER’S THE HALFMOON FLIES (90)
20.00-21.40 3.3 INTERNATIONAL HARVEST II – VARIETY THEATRE (100)

SATURDAY 29 MARCH
WILLIAM WARREN LIBRARY
10.00-XXXX 7.1 REMAINS

ALLIANCE FRANCAISE
13.00-14.30 3.4 MOVING IMAGE WORKS FROM AUSTRALIA AND AOTEAROA/NEW ZEALAND

16.00-17.30 3.5 INTRODUCING BERLIN 1

18.00-19.45 4.1 DOCO LOCO: IF THESE WALLS COULD TALK…

SUNDAY 30 MARCH

ALLIANCE FRANCAISE
14.00-15.30 3.6 INTRODUCING BERLIN II

ESPLANADE
17.00-18.35 3.1 MEMORY MACHINE
19.00-20.15 2.2 DATA PAINTING

MONDAY 31 MARCH

WILLIAM WARREN LIBRARY

18.30-20.30 7.3 A CRIME AGAINST ART

According to my schedule, I will see the program 1.2, 2.2, 3.1, 3.3, 3.4, 3.5, 3.6, 3.7, 4.1, 4.3, 7.1, 7.3.

And that’s mean I won’t have a chance to see some films/stage play I would like to see very much. They are:

1.NATIONAL ANTHEM (2008, Chai Chaiyachit) in the program 1.3

2.A VERY SLOW BREAKFAST (2007, Edwin, Indonesia) in the program 3.2

3.PLOT POINT (2007, Nicolas Provost, Belgium) in the program 3.2

4.STRENGTH OF A MAN (Pintip Satpruedprai, Padungpong Prasartthong, Preechayut Saejung)
This is a stage play at Makhampom studio.

———————————-

Looking at the BEFF5 program, I found that I had seen many films in them already. There are many films I like in the program.

MY FAVORITE FILMS IN BEFF5 THAT I HAVE SEEN BEFORE:

(In alphabetical order)

1.BREEZE (Sathit Sattarasart) in the program 5.1

2.DRAMA, STRINGS AND HORN (Gunter Krueger, Germany) in the program 3.5

3.ESCAPE FROM POPRAYA 2526 (2007, Paisit Panpruegsachart) in the program 1.1

4.FALCON (Karo Goldt, Germany) in the program 3.6

5.LANDSCAPE 101 01 1101 01… (2007, Sompot Chidgasornpongse) in the program 5.2

6.LETTERS FROM THE SILENCE (2006, Prap Boonpan) in the program 1.2

7.LIVING A BEAUTIFUL LIFE (Corinna Schnitt, Germany) in the program 3.5

8.OBSERVATION OF THE MONUMENT (2008, Michael Shaowanasai) in the program 1.2
I’m not sure if I have seen this film yet, but I have seen a video which is a part of the exhibition OUR LADY OF THE LOW COUNTRIES by Michael Shaowanasai at Kathmandu Photo Gallery. I think the video I saw is this film.
http://www.kathmandu-bkk.com/exhibition_present01.html

9.SPORT NEWS: THE BULLSHIT ARE GOING, THE WANDERING GHOSTS ARE COMING (2008, Manussak Dokmai) in the program 1.1

10.STRAWBERRY (2008, Thaweesak Srithongdee, Boonchai Apintanaphong) in the program 5.3

BANGKOK EXPERIMENTAL FILM FESTIVAL’S FINAL PROGRAM

Filed under: Uncategorized — celinejulie @ 8:32 pm

BANGKOK EXPERIMENTAL FILM FESTIVAL’S FINAL PROGRAM

“SCREENING PROGRAM HERE** downloadable PDF file

*** UPDATE 17-03-08 ***

Final Program

schedule of Esplanade Cineplex

schedule_of Alliance Francaise

schedule_of Special Program

ALEXANDER UIJLEMAN

Filed under: Uncategorized — celinejulie @ 8:24 pm

THIS IS MY COMMENT IN SCREENOUT WEBBOARD:
http://www.xq28.org/zaa/viewtopic.php?f=5&t=79&start=150

From the magazine THE BOYS MODEL STORY NO.3, this is Alexander Uijleman
http://www.magazinedee.com/main/magall.php?mag=2701

March 16, 2008

GEORGES DE LATOUR

Filed under: Uncategorized — celinejulie @ 10:10 am

In the article THE REFRACTION OF LIGHT THROUGH LENSES, written by Paisit Panpruegsachart in the Thai book: FILMVIRUS 1 (1998), the name of Georges de Latour (1593-1652) is mentioned. I hadn’t heard this name before, so I tried to find some paintings of his on the internet. The book said that the candlelight in his paintings is interesting.

http://commons.wikimedia.org/wiki/Category:Georges_de_La_Tour

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