A film in two parts which echo each other. The two protagonists are inspired by the filmmaker’s parents, in the years before they became lovers. The first part focuses on a woman doctor, and the second on a male doctor, set further ahead in time.
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I don't know how it does it exactly, but it effortlessly retains a sense of some biological singularity that’s running in tiny psychedelic loops in a spacetime beyond the hybrid of instinct and euphoric blackout, like an almost tangible ticking away of things being. So beautiful. / Evil meat eaters will never understand!!
Formally astounding; a graceful current, tranquilly breezing through fields and interiors, or, menacingly being sucked into a black void. A beautiful study of how memories are never concrete, but marked by smells, visions, touch, and feel, sensations. In the context of autobiography, perhaps it is also an effort to preserve memory as well.
Definitely one of the most singular and underrated work of the century. Damn, we need more artist like him, Zhang-Ke, Bing, Alonso, Godard or Denis. The cinematography is gorgeous and lit!!! The script is subtle and funny (a monk DJ). It's bizarre, spiritual, politically radical (in term of aesthetic and contents). Required endless viewings. The last 10 minutes of the film are incomprehensible, but jaw-dropping!
it flows so lightly through the green and white and it caresses my soul and it has small sensations of ordinary things turned into psychedelic trills and music is wonderful like a summer dress and i can smell a grass after the rain and i want to go to thailand to dance under the bridge,
I really have no idea how to rate this. It's perplexing and constantly fascinating, a heady brew indeed, one that constantly challenges and provokes thought. I won't pretend some of it went past me, but I imagine as I think this film over and chew it in my mind over the next few days it will reveal itself to be something remarkable, there's no doubt it's hypnotic, profound and endlessly poetic stuff.
Weerasethakul's one film (of the one's I've seen) I do not entirely love. The others, as soon as they finished, I loved. So maybe with time and thinking more about it, I could grow to love it. But somehow, it seems lesser compared to Tropical Malady or Uncle Boonme. Anyways, it's still imaginative like the scenes that repeat from different angles and locations. He's one of the most unique filmmakers working.
Seems like Apichatpong likes to recurr to public (and within its dimenssions, massive) aerobics sessions, and I have to say I love it. So enigmatic and well paced, there is something for everyone of us in this film.
The gentle beginning is a beautiful context and contrasting element for the latter half, besides being self-contained. The latter half feels aloof, vacuous, and has a strange indifferent emptiness. At the end, people are seen rejoined with nature again, but in small, compartmentalized ways. I do believe the machine in the basement was sucking life.