Limitless Cinema in Broken English

August 16, 2008


Filed under: Uncategorized — celinejulie @ 11:53 pm

This is my comment in Girish Shambu’s blog:

Maybe this is not directly related to your post, but talking about the interesting use of geography/locations in films reminds me of these films:

–WOLF CREEK (2005, Greg McLean), ROGUE (2007, Greg McLean)

These two Australian films present the most beautiful scenery I have ever seen, but these two films are extremely anti-tourist. I love the sense of evil lurking in these extremely beautiful locations.

–PHANTOM LOVE (2007, Nina Menkes)
In this film, the heroine seems to live in American neighbourhood, but the heroine works in a casino full of Chinese people, and the heroine seems to walk in India from time to time. Therefore, I don’t know exactly where the story really takes place.

–Some films can turn its real location into something fantastic: FATA MORGANA (1971, Werner Herzog), VACANCY (1998, Matthias Mueller), BIRTH OF THE SEANEMA (2004, Sasithorn Ariyavicha)

–Some films can turn its mundane location into something adventurous: LE PONT DU NORD (1982, Jacques Rivette), TURTLES SWIM FASTER THAN EXPECTED (2005, Satoshi Miki)

–Some films can turn its location full of junk and debris into something fantastic: 4 (2004, Ilya Khrzhanovsky), SAT WIBAK NAK LOKE (2008, Paisit Panpruegsachat)

–Some filmmakers turn an empty beach in the present day into one in the future world: GLEN AND RANDA (1971, Jim McBride),
THE STRANGERS IN THE SEA (2008, Wiwat Lertwiwatwongsa)

–The story of INDIA SONG (1975, Marguerite Duras) takes place in India, but I think the film was shot in France. The story of THE KUMPANY 2 (2008, Nathan Homsap + Dhan Lhaow) takes place in China, but the film was shot in a university in Bangkok.


1 Comment »

  1. This is my reply to Filmsick and Renegade Eye in my bilingual blog:

    –Filmsick, I love landscape in Kiyoshi Kurosawa’s film very much, especially the landscape in KAIRO and RETRIBUTION (2006). As for Paisit’s film, I like the early scene in SAT WIBAK NAK LOKE very much. We see a train junkyard which looks the same as the train junkyard today, but Paisit can make us believe that this is the train junkyard in the future world by using just dialogue and sound effects.

    –Thanks Renegade Eye. Talking about Hollywood set somehow reminds me that I love the Hollywood set when it is shown that it is Hollywood set, or may we can call it “Hollywood set playing itself”. These scenes may be found in BUGSY (1991, Barry Levinson) and SCREAM 3 (2000, Wes Craven).

    Comment by celinejulie — August 18, 2008 @ 6:40 pm

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