Wednesday, January 16, 2008


This is my reply to Carlos Ferrao in my blog:

--What a wonderful teacher you had! Well, I don’t know if Sapinho is a good teacher or not. But taking his students to go to see FROST is surely one great thing a teacher can do.

What you wrote is a very interesting information. I don’t know if FROST inspired Joaquim Sapinho to make THE POLICEWOMAN or not, but I love both films very much. Both of these films may have something similar, but they are also great in their own ways.

What I like very much in THE POLICEWOMAN is exactly “the policewoman”. This character may appear for 5 minutes in the movie, but she surely leaves a long-lasting impression. My friend points out that the role of the policewoman in this film is like an angel. Or maybe we can call her an exterminating angel, because she passes on the power to judge (or exterminate) a bad man to the mother. I think THE POLICEWOMAN looks more like a feminist film than FROST.

I also love GLORIA (1999, Manuela Viegas), which is written by Sapinho very much. I hope both Manuela Viegas and Joaquim Sapinho will make more and more movies in the future. Though many people in seem to hate their films, I just want to say I love their films very much. I wrote comments for both films in, but it seems the majority don’t agree with me. (That happens a lot of times in my life, though.)

--I just noticed that Manuela Viegas worked as an editor for THE BLOOD (O SANGUE) (1989, Pedro Costa), BY THE SEASIDE (1986, Joao Cesar Monteiro), THE ASPERN PAPERS (1985, Eduardo de Gregorio), and SILVESTRE (1982, Joao Cesar Monteiro). I wish I could see all her works. Her background as an editor may help explaining why the editing in GLORIA is very powerful for me. I still don’t understand what happens near the end of GLORIA, because Viegas seems to edit the film until it becomes incomprehensible. But I like it that way.


This is my comment in Unspoken Cinema’s blog:

I don’t have the Sontag article in The Guardian. But in Fred Kelemen’s website, there is a Susan Sontag’s article, printed in New York Times in 1996, called THE DECAY OF CINEMA. The version appeared in New York Times doesn’t mention Bela Tarr.

You can read THE DECAY OF CINEMA from the link below:

In Chicago Reader in 1996, Jonathan Rosenbaum wrote about Susan Sontag’s article. From what Rosenbaum wrote, it seems to me that Sontag wrote about Tarr, but his name was omitted when the article was printed in New York Times.

This is what Rosenbaum wrote:

“Tarr is mentioned twice in Susan Sontag's provocative, passionate essay about the decline and dissolution of cinephilia printed earlier this year in various publications around the globe, both times in contexts that make it clear she regards him as one of the few important filmmakers in the world. But when the New York Times Magazine printed the essay in its February 25 issue, both references were omitted, along with allusions to other directors (Theo Angelopoulos, Miklos Jancso, Alexander Kluge, Nanni Moretti, Krzysztof Zanussi) who have not curried much favor in recent years with New York Times reviewers or U.S. distributors.”

You can read Rosenbaum’s article from the link below:


This is my comment in Screenout Webboard:

ขอบคุณคุณ noinong มากๆค่ะที่มาช่วยเชียร์ละครเวทีเรื่อง “ตาดูดาว เท้าเหยียบเธอ” (A+) ละครเรื่องนี้มีเนื้อหาเกี่ยวกับเกย์ด้วยค่ะ


This is my comment in Bioscope Webboard:

กรี๊ดดดดดดดดดดดด ชอบคุณนพพันธ์ บุญใหญ่มากๆๆๆๆๆๆๆๆๆ เลยค่ะ เขาเคยเล่นหนังเรื่อง "โบอา งูยักษ์" (C-)

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