http://www.bioscopemagazine.com/smf/index.php?topic=71.270
ดิฉันขอลองเขียนตอบน้อง merveillesxx เป็นภาษาอังกฤษสลับกับภาษาไทยนะคะ เพื่อความแร่ดจนหยุดไม่ได้ค่ะ
--กรี๊ดดดดดด พี่ลองไปเช็คแผ่นต้นฉบับดูแล้ว พบว่า MISSING YOU ภาพหายไปจริงๆด้วยค่ะ จริงๆแล้วหนังเรื่องนี้มันต้องมีภาพตลอดทั้งเรื่องค่ะ โดยช่วงต้นเรื่องจะเป็นคู่รักอยู่กันที่โต๊ะกินข้าว โดยที่ผู้ชายอ่านหนังสือพิมพ์ไปเรื่อยๆและไม่ค่อยสนใจแฟนสาวเท่าไหร่ แต่อยู่ดีๆแฟนสาวของเขาก็หายสาบสูญไป และเขาก็เลยคิดถึงเธอ โดยเฉพาะตอนที่เขาซักผ้าและตากผ้า ฉากที่ลืมไม่ลงในเรื่องนี้คือฉากที่เขากดโทรศัพท์มือถือเพื่อส่งข้อความอะไรสักอย่างที่ราวตากผ้า โดยที่เขาดูเหมือนจะส่งข้อความไม่สำเร็จ แต่เขาก็ตั้งหน้าตั้งตากดมันไปเรื่อยๆเหมือนกับว่าเขาได้กลายเป็นซอมบี้ผีดิบไปแล้ว
ดิฉันไม่เคยได้ดูหนังเรื่องนี้ในแผ่นดีวีดีที่คุณทศพลให้มาเลยค่ะ เพราะดิฉันเคยดูหนังเรื่องนี้แล้วตอนมันมาฉายที่ห้องสมุดมหาวิทยาลัยธรรมศาสตร์ เพราะฉะนั้นพอได้แผ่นดีวีดีนี้มา ดิฉันก็เลยกดข้ามหนังเรื่องนี้ไปเพื่อไปดูเรื่องอื่นๆที่ยังไม่เคยดูมาก่อน ก็เลยไม่เคยรู้เลยว่าภาพในหนังเรื่องนี้มันหายไปเกือบหมด
แต่ก็ยังดีที่น้องชอบหนังเรื่องนี้ถึงแม้ได้ฟังแค่เสียงเท่านั้น ปรากฏการณ์แบบนี้ทำให้นึกถึงเหตุการณ์ที่ร้านอินเทอร์เน็ตเมื่อหลายสัปดาห์ก่อนค่ะ เพราะที่ร้านอินเทอร์เน็ตที่ดิฉันไปนั่งเล่นเมื่อหลายสัปดาห์ก่อนนั้น ในร้านจะมีหนุ่มๆนั่งเล่นเกมคอมพิวเตอร์กันอยู่เต็มร้าน และก็มีทีวีเปิดอยู่ในร้านด้วย โดยที่ลูกค้าส่วนใหญ่ในร้านจะไม่ได้จ้องจอทีวี เพราะพวกเขาไม่ได้นั่งหันหน้าเข้าทีวี หรือไม่พวกเขาก็นั่งจ้องจอคอมพิวเตอร์มากกว่า แต่พวกเขาจะได้ยินเสียงจากทีวีอย่างชัดเจน แล้วทีวีก็ฉายหนังสั้นเรื่อง “ด.เด็ก ช.ช้าง” ของคุณทรงยศ สุขมากอนันต์พอดี ปรากฏว่าลูกค้าในร้านเกิดอาการ “อิน” กับหนังเรื่องนี้อย่างสุดๆ ถึงแม้ได้ฟังแค่เสียงเท่านั้น ลูกค้าในร้านเกิดอาการด่าทอคุณครูในหนังเรื่องนี้อย่างรุนแรงมาก ดิฉันก็เลยได้ข้อสังเกตว่า หนังเรื่องด.เด็ก ช.ช้างนั้นสามารถสะกดอารมณ์คนดูได้อย่างรุนแรงมากๆ โดยที่ไม่ต้องใช้ภาพเลยก็ได้
--The cafe in AFTERNOON TIME is really located at Samyan. I think Tossapol got one inspiration to make this film from his sister's real experience. I think he once told me that his sister used to open a restaurant but there were no customers.
--I think the long take in AFTERNOON TIME (in the packing up scene) might be one of the longest takes in Thai films. I don't know much about Thai films, but I think I have never seen such a long take like this in Thai films before.
--The story in AFTERNOON TIME reminds me of one of my most favorite animations of all time. It is a German animation called THE DAY THE MILKMAN DIDN'T COME (1998, Anja Langenbacher, A+).
http://www.interfilm.de/verleih/filme.php?film=8
Both AFTERNOON TIME and THE DAY THE MILKMAN DIDN'T COME have stories which break my heart. THE DAY THE MILKMAN DIDN'T COME is about a woman who seems to be secretly in love with a milkman who comes to deliver the milk at the front door of her house every day. One day the milkman disappears. The woman feels very sad. She loves this man so much that she decides to search for him. She keeps on searching and searching until she dies.
--If you like the leading actor in WHEN WILL I SEE YOU AGAIN? (2006, Tossapol Boonsinsukh, A+), I think you can’t miss this gay film: UNDISCOVERED HEART (2007, Tanwarin Sukhapisit, A+), because he also starred in this film and what is very very important is that he did a very hot love scene in this film. I don’t know how you can find this film, but I hope it will be available as a DVD in Jatujak soon. I like UNDISCOVERED HEART very much. It portrays a young gay boy and three guys involved in his romantic life. One guy is his regular lover who seems not to care so much about him anymore. Another one is a handsome guy who seems not to care so much about him, either. The only one who seems to care about him is a guy whom he met on the internet. But this guy only pretends to care for him just because he wants to have sex with the boy.
UNDISCOVERED HEART is very effective in portraying a kind of romantic life which many Thai gays have experienced. I think the director is very talented at stirring emotions of the viewers. The director knows very well how to end this film. I like the ending of this film very much. It is very sad. It made me feel as if something suddenly explodes in my chest. UNDISCOVERED HEART might not be an innovative film. It is a narrative film which has no surprise, no twist. It adds nothing new to the film art. Someone might say the director tries to manipulate the viewers’ emotions too much. But I don’t mind the director’s manipulation in this film, or in any films, as long as he or she successfully manipulates my emotions. And in this film, he (or she?) is successful in manipulating my emotions.
This kind of manipulation reminds me of other two films: THE MISSION (1986, Roland Joffe, A+) and THE HEART IS ELSEWHERE (2003, Pupi Avati, Italy, A+). I think these three films, including UNDISCOVERED HEART, make me want to cry, though I know that the sadness in my heart is caused by the manipulation of the directors. I think that the directors of these three films are like experts in pushing the buttons in the emotions of the viewers. This kind of experts might not be hailed as real great artists, but I don’t mind this kind of experts. I think that to become an expert like this is difficult enough.
--If you like Tossapol Boonsinsukh's films, you can also listen to his songs and read his short stories.
You can listen to his songs here:
http://www.myspace.com/coconutnutcreamcream
You can read his short stories here:
http://yrna.wordpress.com/
--I have to confess that I miss Tossapol's films very very much. I have seen many short films of his in 2005 and 2006. But I don't know where he is in 2007. I think he may go abroad to further his study now. Is he in Chiba? Anyway, I felt very very sad when I went to see many Thai short films in the marathon festival this year but didn't see any new films of his.
Though I think Tossapol can't be replaced by other directors, I feel better when I think that there are still many Thai directors who make great atmospheric films like Tossapol. There are still many atmospheric Thai films which I like this year. I use the word "atmospheric" here arbitrarily. I mean they are films which are slow, with little narrative, and seem to pay attention to other things beside story.
FAVORITE ATMOSPHERIC THAI FILMS I SAW THIS YEAR
1.FOURTH WORLD (2007, Chayanit Wongtongdee + Techanun Jirachoterawee, A+)
2.TWILIGHT VIDEO IN AFTERNOON (2007, Rachawadee Komolsut, A+)
3.OUR WAVES (2007, Tulapop Saencharoen, A+)
4.THERE, THERE (2005, Nawapol Thamrongrattanarit, A+)
5.BY THE RIVER (2006, Sathit Sattarasart, A+)
6.NEVER CONGREGATE, NEVER DISREGARD (2007, Arin Rungjang, A+)
7.AJINTAI (2007, Suracharn Mankongwongsiri, A+)
8.HALO, HOW ARE YOU THERE (2007, Maythus Chaichayanon, A+)
9.THUNDER (2005, Chulayarnnon Siriphol, A+)
10.CHANGE (2007, Wirat Yangyuen, A)
--I haven't seen M/OTHER (1999, Nobuhiro Suwa), but I like 2 DUO (1997, Nobuhiro Suwa, A+) very much. However, your talk with Grappa about motherhood is quite interesting.
I happened to read Valie Export's interview recently. Her interview also concerns about motherhood. So I think I should quote a part of her interview here in case you are interested. But don't ask me to explain her interview. I myself don't understand it completely.
Valie Export is a famous Austrian video artist. Her video, SEEING SPACE AND HEARING SPACE (1974, A+), was shown at Thammasat University last month. I like it very much. So I decided to glimpse through the book VALIE EXPORT: FRAGMENTS OF THE IMAGINATION, written by Roswitha Mueller, published by Indiana University Press in 1994. These quotes are from the book:
"VALIE EXPORT: I am interested in postmodern theories of the subversion of the subject since I would like to dissolve the traditional view of the subject, which had contributed to the oppression of women. It could also be helpful in freeing women from social norms and enforced codes like motherhood. But I do not follow postmodern philosophers when they equate the questions concerning women's subjectivity with a confirmation of phallocentrism. The phenomenological attempt to overcome Hegel's dialectics in certain postmodern theories seems rather conservative to me." (from page 213)
...
"VALIE EXPORT: First, I do understand the dangers of my recommendation to women to refuse natural reproduction. Yet, I think the whole essentialism debate has to be taken out of its abstract philosophical framework, because there one can always find yet another logical trip-up. What I am trying to call attention to is the necessity to change the whole concept of motherhood, the ideological coercion of women to become mothers and wives that is the core of the cultural determination of our bodies. Only in this framework can what I say make any sense. Certainly, I do not propose in actuality that an individual woman should no longer give birth if she feels like it; rather, it is the coercion I am trying to counteract. And from this perspective, artificial reproduction is equally dangerous, because it can potentially increase the pressure on women if they are not in charge of their lives and if they are not involved in these debates." (from page 222)
The book VALIE EXPORT: FRAGMENTS OF THE IMAGINATION is still available from http://www.amazon.com/
VALIE EXPORT's website
http://www.valieexport.org/?english
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