HAPPINESS DWELLS IN CRIME (2009, Denis Malleval, A+++++)

HAPPINESS DWELLS IN CRIME (2009, Denis Malleval, A+++++)

DEADSAMORE (2010, Nophand Boonyai, stage play, A+++++)

SPARROW (2008, Johnnie To, A+)

HIS GARDEN (2010, Ratapong Pinyosophon, stage play, A+)

THE PIGGY BANK (2009, Philippe Monnier, A+)

JOGGING CATEGORY (2009, Martin Le Gall, A+)

TUVALU: THE NEW REFUGEES (2009, Morad Äit-Habbouche + Hervé Corbière + Thierry Pasquet, A+)

ANTIGONE (2003, Nicolas Briançon, A+)

DOSSIER: CAROLINE KARSEN (2005, Bernard Rosselli, A+)

PERE ET FILS (2003, Michel Boujenah, A+/A)

THE POISONED PEN (2009, Eric Woreth, A+/A)

OPPAI VOLLEYBALL (2009, Eiichiro Hasumi, A)

SEX AND THE CITY 2 (2010, Michael Patrick King, A)

--I like the comedic surreal quality of DEADSAMORE very much. It is my second most favorite of Nophand's plays. My most favorite one is still WELCOME TO NOTHING (2008, A++++++++++). My most favorite scene in DEADSAMORE is the scene in which the hero is strangled by the ghost of a beggar. This scene is unexplainable. I don't know what it means. But I like something like that. Maybe the reason why I love DEADSAMORE less than WELCOME TO NOTHING is because WELCOME TO NOTHING is full of funny, unexplainable scenes, while DEADSAMORE have less scenes like this. There are many scenes in DEADSAMORE which is easy to understand, because they may teach us how to value our lives. These scenes are very touching. But for me, I sometimes prefer unexplainable scenes to touching scenes which try to teach something to the audience.

I think JOGGING CATEGORY can be shown together with DEADSAMORE, because both the short film and the stage play are about the afterlife.

Merveillesxx wrote about DEADSAMORE here:
http://www.bloggang.com/viewdiary.php?id=merveillesxx&month=05-2010&date=30&group=1&gblog=235

--I give "A" to the story of HIS GARDEN, but I give "A+++++" to the minimal style and the calm tone of this stage play. I saw THE CONSTANT GARDENER a few years ago, but I didn't recognize at all that this play is inspired by THE CONSTANT GARDENER until the director told the audience about this at the end. I think one of the reasons why I didn't recognize it is because the minimal style and the calm tone of the play is the opposite of what I saw in THE CONSTANT GARDENER. The contrast of styles between THE CONSTANT GARDENER and HIS GARDEN reminds me of the contrast of styles between JOAN OF ARC (1999, Christian Duguay) and THE PASSION OF JOAN OF ARC (1928, Carl Dreyer). One is so thrilling and straightforward, while the other is so minimal. I like the calm tone of HIS GARDEN because it makes the final scene, in which the hero is not calm any more, extremely hurtful.

Merveillesxx wrote about HIS GARDEN here:
http://www.bloggang.com/viewdiary.php?id=merveillesxx&month=06-2010&date=04&group=1&gblog=236

--I think DOSSIER: CAROLINE KARSEN should be screened together with SERIES 7: THE CONTENDERS (2001, Daniel Minahan, A+), because these two films are about reality TV, and I like the "emotional" quality of these two films very much.

--PERE ET FILS makes me want to move to live in Canada.

--I think OPPAI VOLLEYBALL is very formulaic, but the reason why I give "A" to this film is just because it reminds me of the time when I fell in love with a male teacher when I was 11 years old.

--If the characters of SEX AND THE CITY 2 didn't go to Abu Dhabi, I might have given this film A+. I think one of the reasons why I love this TV series is because they deal with problems found in everyday lives. The things I like very much in SEX AND THE CITY 2 include the need for private space, the feeling that you can't do nothing to satisfy your loved one, the feeling that you shouldn't keep a secret, the hatred for your own boss, the wrinkles on the actresses' faces, the fabulous dresses, etc. And all these things I like in SEX AND THE CITY 2 don't need Abu Dhabi.

--The reasons why I worship HAPPINESS DWELLS IN CRIME include:

1.The heroine (or antiheroine) has fighting skills. I wish the heroine of this film fight against the Countess of Cagliostro (Kristin Scott Thomas) from ARSÈNE LUPIN (2004, Jean-Paul Salomé, A+) or the villainess from JUDEX (1963, Georges Franju, A+).

2.The heroine of this film is unashamedly evil. I think she should fight against the heroine of PLEARNG PAI (1990, Thai TV series).

3.I like the ambiguous stance of this film towards the aristocracy. It seems the film sympathizes with and looks down on the aristocracy at the same time.

4.I like that the film asks important questions, such as, "Does God exist?" "Does the law of Karma exist?" "Why do evil people live happily ever after?"

5.It stars Marie Kremer, who is my favorite actress. I think her best role might still be in I ALWAYS WANTED TO BE A SAINT (2003, Geneviève Mersch, A+++++). But what I like very much about her wicked role in HAPPINESS DWELLS IN CRIME is the fact that it is the opposite of her virtuous role in UN VILLAGE FRANÇAIS (2009, A+).

HAPPINESS DWELLS IN CRIME is adapted from a novel of Jules-Amédée Barbey d'Aurevilly. THE LAST MISTRESS (2007, Catherine Breillat, A+), DON GIOVANNI (1970, Carmelo Bene), THE CRIMSON CURTAIN (1953, Alexandre Astruc), and DIE RACHE EINER FRAU (1921, Robert Wiene) are also adapted from his works.