excuse me, but what is "Syndrome"?
uncle boobmee>syndrome I love Uncle Boonmee because it is one hell of a demented film about futuristic man-chimpanzee, comical ghosts and a guy dying in a cave. I cannot really say why. Perhaps it’s because I find it like a work of a genius, compassionate child compare to Syndrome as a work of a concept-conscious, maturing artist.
I did not get this film. What is so special about it? Just shity Tarkovsky wannabe movie with a soulless story and boring camera shots. A movie for people who like every "art" film ever made and pretend to understand them.
I saw this movie two years ago during my senior year in high school after emerging from a long hiatus of movie-watching. I found this to be a frustrating experience. There are moments in Uncle Boonmee of pure beauty. Perhaps the film's strongest feature is its atmosphere. The feeling of lazy days in the jungle heat comes alive in a way only a film of this type can produce. But by the end I found myself frustrated and restless. There is no doubt that this is a challenging film to watch. Especially for someone, who despite having seen a great number of movies, is still very much used to traditional storytelling methods. I plan on seeing more of Joe's movies in the near future.
I can't still wrap my head around what I've seen in this movie, and I'm not sure whether that is a good or a bad thing. This felt like a tale, born out of folklore and ancient traditions that are mostly strange to western culture. Seeing "Uncle Bonmee" was an odd experience but it was also refreshing in its nonsense and dreamy vibe.
There are times when analyzing a film beyond its lyrical aspects becomes nothing but a repetitive act in the hopes of projecting a philosophical understanding, and meaning to what you just witnessed. To reduce "Uncle Boonmee Who Can Recall His Past Lives" down to a series of tropes that may or may not be true is counter-intuitive, and feels as though it misses the mark. This was melodic poetry in silent motion.
By adding pre-birth & post-death life to the menu, Weerasethakul invites CHAOS into his film, which he manages by keeping his camera as steady as his thoughts; riding one thought @ a time like a hitchhiker until the next strong thought/image asserts itself; breaking free from infinite options. It's not that the mundane & the monstrous are equivalent in his world but that both are given an equal chance to surprise.