Mekong Hotel is a portrait of a hotel near the Mekong River in the north-east of Thailand which marks the border between Thailand and Laos, expressing the bonds between a vampire-like mother and her daughter, the young lovers and the river.
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Toujours fascinant de plonger dans l'univers évanescent d'Apichatpong, à mi-chemin entre le réel, la fiction et l'au-delà. Et cette guitare qui emballe ce doux cauchemar éveillé, comme une conscience collective qui nous berce. Un autre beau moment de pur cinéma!
Aqui, Apichatpong embaralha dois filmes, dois reinos diferentes, fato e ficção, homens e rios, expressando e poetizando os laços entre uma estranha mãe e sua filha. Filma, também, a realidade de um país devastado pela inundação. Uma Tailândia exótica tecida em camadas de demolição e memória. Um sonho à deriva do futuro. Uma sabedoria perdida escrita em pergaminhos de película.
A composite map of a cinema. Joe's cinema. No filmmaker has ever been better at documenting tremulous flirtation. Is any filmmaker as prepared to get as nation-specific weird on a plane of the lyrical? The river. What a way to come at a river! The form of the thing being beholden to guitar noodling is a glorious touch. A hotel is a port and a portal. A portal right into the here and now. Plus the then. And hereafter.
The last frame it's of an intense spatial and temporal perception, giving a decisive sense to the previous observed experience, which is less interesting in its elaboration. Starting in black with a conversation off about a blues to be played would not predict its perennial presence in the sound, making a connection carpet between the various scenes, reducing them to a common intuition and restricting its sense.
Cinema extracorporeo da microcosmo, in cui lo spettro d'(in)azione narrativo si svolge in questo celebrativo Overlook Hotel thailandese, in cui la "REDRUM" viene capovolta palesando un animismo a forza centripeta e non più centrifuga, assumendo una funzione immersiva e non più emersiva, ospitando stavolta il passato dei fantasmi e non più i fantasmi del passato.
Mekong Hotel is quite fragile, not to say something worst. Apichatpong works always between something mystical and some historical moment and this film is no exception. But that potential is completely wasted, by using music guitar until the point that is unbearable and the relations between ideas is entirely forced. Nevertheless there are some good moments related to the river (like the last one).