LFF: Rak ti Khon Kaen (Cemetery of Splendour, 2015)

BFI London Film Festival This film was presented at the London Film Festival, introduced by the film’s director alongside the director of the Festival. There was a Q&A session afterwards as well. In his introduction, Weerasethakul joked that we might fall asleep during the film (a play on its thematic content, see below), but as it was a late screening and I’d had a few glasses of wine, I did drift off for some short periods, so the review (more than usual) should be taken as provisional.


Like many of Thai director Apichatpong Weerasethakul’s films, this newest one (ostensibly his last to be made in his home country) is imbued with a deep sense of mystery even as it seems on the surface fairly straightforward. Jenjira Pongpas plays a woman with the same name who is a carer at a rural hospital looking after sick soldiers, including Itt (one of the director’s regular stars, Banlop Lomnoi). The nature of the soldiers’ illness is rather oblique but they have a sort of sleeping sickness that renders them comatose. Others who work there embrace spiritualism and faith-based healing, and Jenjira is certainly receptive to this, praying at a local shrine for the health of her wounded leg. One of the princesses to whom the shrine is dedicated comes to her and shows her hidden features of the local area, including a royal palace and a cemetery under the hospital. As these plot details accrue, the line between reality and the dream world is blurred, in very subtle ways — the different states are almost entirely intertwined with one another with only slight visual clues indicating the non-naturalistic nature of this resulting world. Both Jen and the audience are drawn into an imaginary landscape, which is apparently intended as a critique of the ruling regime in Thailand and their call to patriotic royalist feelings and relying heavily on appeals to a syncretic pantheistic religious practice — or at least, this is my provisional response to one viewing of the film, myself partially under the influence of sleep. It’s a fascinating work, perhaps one of Weerasethakul’s strongest, and I shall certainly be seeking out another viewing when it is released properly.


FILM FESTIVAL FILM REVIEW: London Film Festival
Director/Writer Apichatpong Weerasethakul | Cinematographer Diego Garcia | Starring Jenjira Pongpas, Banlop Lomnoi | Length 122 minutes || Seen at Vue West End, London, Tuesday 13 October 2015

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Sud pralad (Tropical Malady, 2004)


SPECIAL SCREENING FILM REVIEW || Director/Writer Apichatpong Weerasethakul | Cinematographers Jarin Pengpanitch, Vichit Tanapanitch and Jean-Louis Vialard | Starring Sakda Kaewbuadee, Banlop Lomnoi | Length 125 minutes | Seen at Institute of Contemporary Arts, London, Sunday 24 October 2004 and Sunday 28 April 2013 || My Rating 2 stars worth seeing


© ICA Projects

There is no doubting that Tropical Malady is a strange film. It is perplexing and operates in registers that few films do, and thinking back on it I really want to like it for what it does, and for being so resolutely unlike other films. It is a film that pushes at the boundaries of what being human means, and what separates us from animals, but it does so in a demandingly oblique way, so much so that I’d actually seen the film nine years earlier but could not remember it at all (though that may just be my own memory being terrible).

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