o cinema de weerasethakul aniquila o passado como espaço ultrapassado, forçando um campo narrativo (se é que dá pra recorrer à narrativa) em que tudo se apresenta não-hierarquizado; a floresta não tem a beleza natural romantizada, os romances são cercados por espíritos de animais e humanos, as coisas sempre manifestam outras coisas etc.
I adore the mysticality of Tropical Malady. Every frame of it is essential, but the final twenty minutes are on a different plane. It's un-rushed, but it never feels slow or aimless. And the final twenty minutes prove it was always headed somewhere, in both a poetic sense and the obvious plot-sense. A.W. crafts singularly unique films, from the pseudo-documentary (Mysterious Object...) to whatever you'd call this.
Un romance que se convierte en una meditación sobre la memoria, la espiritualidad, un viaje nocturno a través de la reencarnación y el misterio. Apichatpong convierte aquello tangible en fantástico, fantasmagórico. Lo ausente es lo que importa, lo que no se ve, el gesto, lo que subyace a nuestra realidad “objetiva”.
Syndromes and a Century hit me from the second it ended, the effect immediately pushing me into the realms of Weerasethakul's genius. Tropical Malady, on the other hand, flowed much more slowly into my veins. While I knew that what I had experienced was powerful, it was not until several days and dreams had passed that I truly felt its impact. It is a slower cinematic language, for sure, but not any less magical.
"The tiger trails you like a shadow. His spirit is starving and lonesome. I see you are his prey and his companion. He can smell you from mountains away. And soon you will feel the same. Kill him to free him from the ghost world or let him devour you and enter his world."
The film for me is less successful than Joe's later works, which tend to build upon the previous ones and recontextualize them in fascinating ways, but Tropical Malady is nonetheless an interesting journey into the world of homosexuality and spirituality in modern-day Thailand. The first half of this diptych is my favourite.
Rewatched. Seen ten years ago without subtitles (the ultimate experience ! ahahah), i captured a bit more this time what is it about, or did i ? So personal, Weerasethakul created after 100 years of filmmaking his own genre, quite casually. The second part is quiet unique and makes you rethink everything you watched so far. The last bit with the tiger is of course to watch on a big screen in a theater only !
8.5/10. What starts as a blossoming romance between a soldier and a country boy abruptly turns into a dark folkloric tale of survival. TROPICAL MALADY seems to be a cautionary tale about the dangers of love, its capacity to destroy and erase our own personalities.
Un film en deux volets très distincts qui représentent tous les deux une facette propre de la relation entre deux hommes. C'est avant tout un film construit au sens technique. En témoigne notamment la mise en abime avec la légende thaï qui guide le déroulement du deuxième volet.
High brow cinema. I can see how judges at festivals like this. The first part has all the everydayness they seem to look for in arthouse these days, and the second part gives us a poetic 'silent era aesthetic'. The abstractions make sense and the imagery is beautiful but it is a test of endurance. I preferred the second part but I see how it needed the less exciting first part.