Something strange happened. In parts, I'd doze off, quickly wake up and realize the scene hadn't ended. In others, I'd be completely awake, the scene would end and I'd feel as if I'd just woken up. As usual, there's a lot of symbolism to unpack, but what's truly remarkable is that Joe has given us a true waking dream. This was a joy to fall asleep in and wake up to.
Even knottier than Boomee, Cemetery of Splendour feels like a synthesis of Weerasethakul's previous work (the spiritualism and repressed politics of Boonmee, the jazzercise of Syndromes). The premise is fascinating and the execution delivers—even when the camera alights on two characters talking about things that are unrelated to the "plot". The sort of movie I'd have to watch another few times to truly appreciate.
Weerasethakul continues to be one of the best filmmakers in the world. There's an aspect of his work that might be described as Antonioni with a sense of humor--but of course it's different than that too. I love anyone who can get a Cannes festival audience to watch someone take a shit in the woods.
notre réalisateur ne se contente pas de gérer ces lancinances existentielles et vaporeuses, il charge sa barque thaïlandaise de pesantes considérations incongrues, à connotations vaguement bouddhistes, perlées de résonances ésotériques qui ne peuvent que trouver un écho extatique chez certains critiques ébaubis et subjugués par leurs éblouissants discernements cinématographiques... www.cinefiches.com
on certain nights of the month, the head of a ram is pedestalled upon the thighs of a great woman and she cries from the ram's mouth. the land is lush with cached memories. imprinted like a sofa well-rested upon carpet. in my past life, i was a bird on four wheels that searched for a message worth distributing: "the kings will collect, they will fight, they will die, and still cycle back for a sip of pepsi"
Il film più ipnotico di Weerasethakul; quello che più di ogni altro dà allo spettatore la sensazione di essere sotto ipnosi. È anche il lavoro più consapevole e maturo del regista thailandese, nonché quello più fisico, equilibrato, compatto; stavolta, il "rapporto" inafferrabile tra mondo dei defunti e mondo dei vivi risulta soppesato e tangibile, definibile e rivelato, urgente, "moderno", non più sfuggente, insomma.
"I prefer the films that put their audience to sleep in the theater. I think those films are kind enough to allow you a nice nap and not leave you disturbed when you leave the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks." - Kiarostami.
I always like films that depict areas of the world caught between modernity and tradition. This film in particular does so in a way which is quite unique to the director in question; blending elements of Thai mythology with the most mundane aspects of everyday life without the film ever becoming unnatural, weird or demanding.
I wonder if this guy will someday give us a glimpse of something different from his usual thematics and almost by this point diagrammed formal style... In various moments this movie felt like a throwback of his previous films with some interesting experimentation.. Yet he still can hit us with some great imaginery like the final frames of this movie...
i definitely shouldn't have tried watching this on dvd at home. i would have probably loved it if i'd been in the cinema with no distractions but unfortunately i couldn't focus due to the slow pace of the story - maybe i'll give it another go one day.