Limitless Cinema in Broken English

July 26, 2010

FUENG (2010, Teeranit Siangsanoh + Wachara Gunha + Thani Thitiprawat, A+++++++++++++++)

Filed under: Uncategorized — celinejulie @ 11:15 am

Things I like in FUENG including:

1.The opening scene, which begins with the breasts of a woman, then the text says that this film is about eyes, ears, nose, hands, mouth, etc. And the film also shows the images of these organs and the image of the face of a man in green light.

2.The unpredictability of the film. I cannot guess at all what will happen next in the film.

3.I think this film is classic in every second. It makes me want to scream out loud every five second. Every second in this film is beautiful and can’t be seen in many other films.

4.It uses superimposition very beautifully. I just notice that Wachara Gunha also uses superimposition in BLACK AND WHITE (2010, 12 min, A+). Wiwat Lertwiwatwongsa also uses superimposition beautifully in the fourth minute in PORTRAIT (2009, A+).
http://www.youtube.com/watch?v=RDRBQOuMB8w

5.It quotes “beautiful words” in an interesting, half-funny way. I think there are many Thai short films which use “beautiful words” (or words which are often found in poems or literature, but not spoken in real life). Sometimes Thai short films use beautiful words by putting them in the texts (such as in DARK SLEEP by Teeranit Siangsanoh, and in BELONGINGNESS AND LOVE NEEDS by Athawut Boonyuang, if I remember it correctly) or use them via voiceover. But in FUENG, the characters read the beautiful words straightforwardly from the books in a half-funny way, which corresponds to the overall mood of the film. The film finds a balanced way to avoid overemphasizing or ridiculing the beauty of these words.

6.I like the quoted words in FUENG very much, especially the ones about “the lonely penis drawn on the wall of a toilet which displeases you” and “be kind to children, women and old people”. If I remember it correctly, the voiceover says these words when we see images of a view outside a fast food restaurant. These sentences seem to be totally unconnected to one another, unconnected to the images, or maybe unconnected to anything in the film. Thus, the words spoken are extremely absurd, funny, thought-provoking, and yield an extreme pleasure. Some quoted words in FUENG are from DIAPSALMATA by Søren Kirkegaard. Some are from the book of Praiwarin Kao-ngarm.

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