Rodada en Nabua en el noroeste de Tailandia, escena de un sangriento combate entre granjeros comunistas y el gobierno totalitario, Apichatpong Weerasethakul evoca los peligrosos ciclos de violencia y represión, junto a a la esperanza del recuerdo y el renacimiento perpetuo.
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Perfect to watch after the feature Uncle Boonmee Who Can Recall His Past Lives. Peter Greenaway has been a critic of cinema that is a mere ilustration of novels and plays. With Apichatpong, we do feel there is something truly other than just filming a narrative. There is a specific language. An intriguing one. Made with moving images, with words, sounds. With human emotion, landscape. This is cinema. At its best.
with minimal means & a meditative style this highly poetic short film reveals the project at the heart of Weerasethakul's films - such as Mysterious Object at Noon & Uncle Boonmee Who Can Recall His Past Lives, etc - is the impulse to commemorate the stories of the living & the dead from his community - every frame of this powerful film is infused with that inherently human, tragic, political endeavour - very moving
While I watched this I had the windows open in the house, and at times I could feel the wind swirling around my bare feet. Or maybe it was just the film. Weerasethakul's films feel like they should be watched outdoors, maybe in a park at night like in *Phantoms of Nabua*. Just beautiful.
[Revisiting A.W] Apichat meets Tarkovsky: The few stunning camera movements on his other features [as in the hypnotizing shot before the credits in Syndromes and Century] becomes the main subject here. Every shot shares a secret with you; as always in Apichat, it reaches this exceptional quality only by connecting the images. They don't have any magic separately. Where is Robert Bresson to watch these gems?