LA MEMOIRE COURTE (1982, Eduardo de Gregorio, A+++++)

เพิ่งได้ดู LA MEMOIRE COURTE (SHORT MEMORY) (1982, Eduardo de Gregorio, A+++++++++++) ที่นำแสดงโดย Nathalie Baye กับ Bulle Ogier ตอนจบของหนังเรื่องนี้เป็นภาพสเก็ตช์ใบหน้าของนาตาลีที่ถูกใส่ความว่าเป็นผู้ก่อการร้าย ดูแล้วก็นึกถึงบางฉากในหนังเรื่อง DÉTECTIVE (1985, Jean-Luc Godard) ที่มีภาพสเก็ตช์ใบหน้าคน ไม่แน่ใจเหมือนกันว่าโกดาร์ดต้องการ refer ถึง LA MEMOIRE COURTE ในหนังของเขาหรือเปล่า

LA MEMOIRE COURTE มีเนื้อหาเกี่ยวกับล่าม/นักแปล (นาตาลี เบย์) ที่ได้อ่านไดอารี่ของเมียนักเขียนชาวละตินอเมริกาคนหนึ่ง และค้นพบเงื่อนงำเกี่ยวกับนาซีที่หลบหนีจากการถูกจับกุมในช่วงหลังสงครามโลกครั้งที่สอง หนังมีโทนที่ก้ำกึ่งดี มันไม่เหวอเหมือน PARIS BELONGS TO US (Jacques Rivette), ไม่ได้สะท้อนสังคมแบบหนักหน่วงเหมือนหนังของ Costa Gavras หรือ THE INTERPRETER (2005, Sydney Pollack) และก็ไม่ได้มีความเป็นทริลเลอร์มากนักด้วย ทั้งๆที่เนื้อหาในหนังมันเอื้อให้ทำเป็นทริลเลอร์แบบ SHORT NIGHT OF GLASS DOLLS (1971, Aldo Lado) ก็ได้

KRABAT (2008, Marco Kreuzpaintner, A+)

What I like very much in this film includes

1. It reminds me of old-styled fairty tales, like SNOW WHITE, THE SLEEPING BEAUTY, BEAUTY AND THE BEAST, THE TWELVE DANCING PRINCESSES, etc. But it is still entertaining. I think it is very difficult to make an old-styled fairy tale "entertaining" as a feature film these days, because if the story is too familiar for the audience, it would lack suspense and become too predictable.

2. There are not too many events in the story, which makes it different from such films as THE LORD OF THE RINGS (A+), THE VOYAGE OF THE DAWN TRADER (2010, Michael Apted, A+/A), or THE GOLDEN COMPASS (2007, Chris Weitz, B), etc. Many current Hollywood fairy-tale films try to cram too many events into their 120 minutes. The stories in these films sometimes move too fast. They are adapted from long novels. On the other hand, the story in KRABAT makes me feel as if it is adapted from a short story.

3. I like the dark atmosphere in this film. It is nearly as compelling as the dark atmosphere in HARRY POTTER AND THE HALF-BLOOD PRINCE (2009, David Yates, A+) and HARRY POTTER AND THE DEATHLY HALLOWS: PART 1 (2010, David Yates, A+/A). I think the dark atmosphere in KRABAT is what makes it different from THE LAST AIRBENDER (2010, M. Night Shyamalan, B+). While I was watching KRABAT, I wondered how the hero could defeat the villain, because the villain looked so powerful. And that makes KRABAT exciting. While I was watching THE LAST AIRBENDER, I was sure that the hero would defeat the villain, because the hero looked so powerful. And that makes THE LAST AIRBENDER boring.

4. I like the lack of humor in KRABAT. There are some funny moments in KRABAT, but not too many. If there are too many funny moments in KRABAT, it would destroy the dark atmosphere in the film. It would make the danger less threatening, the situation less frightening. It would make KRABAT become like a Hollywood animation adapted from a fairy tale.

5. Some magical practice in this film looks a bit believable for me, like the magical practice in LONG KHONG (2005, Kongkiat Khomsiri, Seree Phongnithi, Pasith Buranajan, Isara Nadee, Yosapong Polsap, Putipong Saisikaew, Art Thamthrakul, A+), NECROMANCER (2005, Piyapan Choopetch, A), MIDNIGHT OFFERINGS (1981, Rod Holcomb, A+), and THE INITIATION OF SARAH (1978, Robert Day, A+).

However, I also would like to change something in KRABAT, including:

1. I would make it as a gay film, in which all the boys in the mill have orgies every night. Poj Arnon should consider remaking KRABAT.

2.The heroine wouldn't look so innocent or helpless like this. At least she should be able to defend herself as good as Christina Ricci in SLEEPY HOLLOW (1999, Tim Burton, A-).

3.The film should have no resolution, no explanation, or no happy ending, like THE CURSE (1988, Ralf Huettner, A+).

4. The film should start as a fairy tale, and then develop into a real horror film. Maybe like KURONEKO (1968, Kaneto Shindô, A+).

5.The soundtrack should be less obvious. I think both KRABAT and GERDA'S SILENCE (2008, Britta Wauer, B+) suffer from the overuse of soundtrack.

This is the photo of Marco Kreuzpaintner.

DUCKS & WOMEN (2011, Keren Cytter, A++++++++++)

http://www.youtube.com/watch?v=OOORnvlxpOc

I wish to screen this film together with L'EXPERIENCE PREHISTORIQUE (2003-2008, Christelle Lheureux, A++++++++++), because DUCKS & WOMEN presents same dialogues with different images, while L'EXPERIENCE PREHISTORIQUE presents same images with different dialogues in each country the film is screened.

Thanks to Filmsick for telling me about DUCKS & WOMEN.

"THE SIX PRINCIPLES" (A++++++++++) NOW HAS ENGLISH SUBTITLES

THE SIX PRINCIPLES (2010, Abhichon Ratanabhayon, A++++++++++) is now available with English subtitles. It is one of my most favorite films I saw last year. :-) :-) :-) :-) :-)

http://vimeo.com/18866840

THE FESTIVAL OF DEMON SPIRIT (2011, Sittiporn Racha, A++++++++++)

FILMS SEEN IN THE POSTCARD CINEMA PROJECT:

1.THE FESTIVAL OF DEMON SPIRIT (งานนักขัตฤกษ์ของภูตพราย) (2011, Sittiporn Racha, A++++++++++)
The film seems to be composed of found footage, audio clips, and text. In the first scene we see a traditional Thai dance from the past, while we hear the sound from an international sports competition, in which the commentator is obviously cheering for Thailand. This scene reminds me of something I hate in Thailand—the fact that traditional things and sports are highly regarded by the powerful people in Thailand, while arts and creativity are not only ignored, but they are also considered as detrimental to national security in some cases.

In the second scene we see a massacre happening somewhere, and we seems to hear something from a massacre happening in Thailand.

In the third scene we see some found footage from Thailand in the past, maybe 30-50 years ago, including a shot of the Democracy Monument. We hear a sound bite of a politician. I'm not sure.

What does this film mean? I don't know. But I would like to screen it together with some films by Jean-Luc Godard, Alexander Kluge, Harun Farocki, and Arthur Lipsett.


2.THREE KINGS (2011, Taiki Sakpisit, A++++++++++)
The film starts with a scene of a male boxer sweating and bleeding. In the second scene we see a man giving a sacred cloth to the boxer to wear on his head, and also giving him a neck garland. The sacred cloth in this scene unintentionally reminds me of a crown. The third scene, which is about four minutes long, is about a brown squirrel which seems to be watching a boxing match.

The sound effect in THREE KINGS is as stunning as WHISPERING GHOSTS (2008, Taiki Sakpisit).

I have no idea what THREE KINGS means. How does this film make me feel? This film unintentionally makes me yearn to be the squirrel in the film, because it doesn't take part in the fight, in the bleeding, in the hurting or getting hurt, in the winning or losing. It just watches the fight from afar.


3.GLORY HOLE (เบื่อควย) (2011, Chaisiri Jiwarangsan, A+)
The film seems to contain one scene repeating three times. It's the scene of a boat sailing in front of a group of high-rise buildings which are being constructed amidst the rain. The text accompanying the scene changes each time the scene is repeated. The text in the first scene makes me think about a young girl. The text in the second scene makes me think about a romantic woman. The text in third scene makes me think about a hurtful woman.

I would like to screen this film together with some films by Jean-Marie Straub which have repeated scenes, or with MARILYN TIMES FIVE (1973, Bruce Conner), which also has repeated scenes, or with YOU AND ME PUT THE 'YOU' AND 'ME' IN 'YOU AND ME' (2010, Chi Too, Malaysia), which also has scenes of nearly empty landscape. :-)

THE MOONLIGHT OF SEOUL (2008, Yoon Jong-bin)

This is my comment in Screenout webboard:
http://zaa.xq28.org/viewtopic.php?f=5&t=79&start=1075

ตอบน้อง ZM
ของผมเข้ามาดู xq28 ได้ปกติดีครับ ไม่มีปัญหาอะไร ขอให้น้องหายป่วยเร็วๆนะครับ

ตอบคุณ black forest

ชอบผู้ชายใน BODYGUARDS AND ASSASSINS กับ MONGA มากๆเหมือนกันจ้า ชอบที่ MONGA มีประเด็นเกย์ด้วย

ขอบคุณมากๆครับสำหรับรายชื่อนักกีฬาหนุ่มๆ

ผมก็ชอบ THE WOLFMAN, REMEMBER ME, VALENTINE'S DAY และ ROBIN HOOD มากๆเหมือนกัน ดีใจที่ได้รู้ว่าคุณอ้วนก็ชอบสามเรื่องแรกเหมือนกัน เพราะไม่ค่อยได้ยินว่าคนอื่นๆชอบสามเรื่องแรกเท่าไหร่

ผมชอบบรรยากาศใน THE WOLFMAN มากๆ ส่วน REMEMBER ME ชอบการหักมุมช่วงท้ายเรื่อง ในขณะที่ VALENTINE'S DAY ก็น่ารักมากๆ ทั้งๆที่โดยปกติแล้วผมไม่ค่อยอินกับหนังโรแมนติกสักเท่าไหร่ แต่เรื่องนี้เป็นข้อยกเว้น ส่วน ROBIN HOOD ผมชอบอารมณ์ทางการเมืองในหนัง

หนังอีกเรื่องที่คัดนักแสดงชายได้ดีคือหนังเกาหลีเรื่อง BEASTIE BOYS หรือ THE MOONLIGHT OF SEOUL (2008, Yoon Jong-bin) ที่มีเนื้อหาเกี่ยวกับกลุ่มผู้ชายขายตัว ผมว่าพระเอกของเรื่องไม่ค่อยหล่อเท่าไหร่ แต่กลุ่มนักแสดงชายทั้งเรื่องดูเพลิดเพลินตาดี

Today is the Teacher's Day in Thailand

There are several teachers whom I want to kill, because they made me suffer when I was young. But I won't spend my time thinking about them. Or else I cannot suppress my urge to kill.

On the other hand, there are some teachers I like very much, including Gattiga Tangtanaganont, who was the class teacher when I was in Grade 9. She is one of the most sensible teachers in my life.

Another favorite teacher is Sonthaya Subyen. He unintentionally turns me into a cinephile. If I hadn't known him in the late 1990's, I might not have been a cinephile like this.

Sonthaya doesn't teach me directly. He teaches us indirectly by curating many film programs at his cinematheque and publishes some film books. Attending his film programs, reading his books, and talking to him influence me a lot.

If there had been no Sonthaya Subyen, there may not have been "MdS" at the Bioscope Webboard or "Celinejulie" at Limitless Cinema blog. So for the Teacher's Day today, I would like to pay a respect to Sonthaya. :-)

Sonthaya's film programs that I attended include:

1.BERLIN (10 NOV 1974 - 28 JAN 1975) -- EXERCISES IN NINE PARTS: DREAMING UNDER WATER OF THINGS AFAR (1974-1975, Rebecca Horn)

2.DAGUERRÉOTYPES (1976, Agnès Varda)

3.EGG (1987, Danniel Danniel)

4.KALYI—AGE OF DARKNESS (1993, Fred Kelemen)

5.DER KOMANTSCHE (1980, Herbert Achternbusch)

6.LUDWIG'S COOK (1973, Hans Jürgen Syberberg)

7.REALTIME (1983, Hellmuth Costard + Jürgen Ebert)

8.RHEINGOLD (1978, Niklaus Schilling)

9.SUMMER VACATION 1999 (1988, Shusuke Kaneko)

10.TAKE THE 5:10 TO DREAMLAND (1976, Bruce Conner)

--A favorite quote from Sonthaya Subyen in the book BOOKVIRUS 1 (2004). I change the format of his writing a little bit to make it easier to read :

“Cinephiles must dare to venture into the field of literature and go as far as they can into the universe of language. Cinephiles must read some particular books which can pierce through the strictest mindsets. These book are:

1.JACQUES THE FATALIST (Denis Diderot)

2.IMMORTALITY (Milan Kundera)

3.CANDIDE

4.IF ON A WINTER’S NIGHT A TRAVELLER

5.LOCOS (Felipe Alfau)

6.MY NAME IS RED (Orhan Pamuk)

7.THE NEW LIFE (Orhan Pamuk)

8.THE BLIND OWL (Sadegh Hedayat)

And the books of

9.Anton Chekhov

10.Anna Kavan

11.Milorad Pavic

12.Gabriel Garcia Marquez

13.Julio Cortazar

14.Jorge Luis Borges

15.Edgar Allan Poe

16.Virginia Woolf

17.Bruno Schulz

18.Jose Saramago

19.Torgny Lindgren

20.Steve Erickson

21.Marguerite Duras

22.Rainer Maria Rilke

23.William Blake

24.Jeannette Winterson

25.Herman Hesse

26.Paul Auster

27.Peter Handke

28.Some haiku poems

Book lovers should also see some particular films to understand that films can go much farther than you think. Films are neither mere spectacles nor mere entertainment. The films that book lovers should see are:

1.THE LAST HOLE (Herbert Achternbusch, West Germany)

2.THE ECLIPSE (Michelangelo Antonioni, Italy)

3.THE PERFUMED NIGHTMARE (1977, Kidlat Tahimik, Philippines)

4.FATA MORGANA (Werner Herzog, West Germany)

5.DIVINE INTERVENTION (Elia Suleiman, Palestine)

6.SOMBRE (Philippe Grandrieux, France)

7.THE ALL-ROUND REDUCED PERSONALITY – REDUPERS (Helke Sander, West Germany)

8.ALABAMA 2000 LIGHT YEARS (Wim Wenders, West Germany)

9.NOT RECONCILED (1965, Jean-Marie Straub)

10.BEGOTTEN (1990, E. Elias Merhige)

11.KASKARA (1974, Dore O., West Germany)

12.LATE SPRING (Yasujiro Ozu)

13.THE LAST OF ENGLAND (Derek Jarman)

14.CELINE AND JULIE GO BOATING (Jacques Rivette)

15.NATHALIE GRANGER (Marguerite Duras)

16.THE DEATH OF MARIA MALIBRAN (Werner Schroeter)

17.STALKER (Andrei Tarkovsky)

18.THE FALLS (Peter Greenaway)

19.ABENDLAND (NIGHTFALL) (1999, Fred Kelemen)

20.SUNLESS (Chris Marker)

21.TAKE THE 5:10 TO DREAMLAND (Bruce Conner)

22.LE RAYON VERT (THE GREEN RAY) (Eric Rohmer)

23.DAS DRITTE FENSTER (THE THIRD WINDOW) (1997, Hanna Nordholt + Fritz Steingrobe)

24.VACANCY (Mathias Mueller)

25.HITLER: A FILM FROM GERMANY (Hans-Juergen Syberberg)

26.TEN (Abbas Kiarostami)

27.RENDEZ-VOUS AT BRAY (1971, Andre Delvaux, Belgium)

28.The films of Werner Nekes

29.The films of Alexander Kluge

30.TROPICAL MALADY

31.BLISSFULLY YOURS

32.MYSTERIOUS OBJECT AT NOON

What is certain is that these books and films risk losing most of their power if they are transformed into another media. This is because the authors of these books and the directors of these films truly understand the essences of the art form they choose to use.

Cinephiles should also study every form of art, including paintings, sculptures, installations, photography art of Shomei Tomatsu, Werner Bischof, Robert Frank, experimental films, …”"

WAGING WAR ON BEAVERS IN BAVARIA (2009, Holger Riedel, A+)

I love this documentary, because this documentary presents a dilemma. It's the conflict between the farmers and the environmentalists. Most films present the conflicts between the farmers and the capitalists, or the environmentalists and the capitalists. The capitalists are easy to be portrayed as the wicked ones or the villains in most films.

As for what happens in this film, I don't know who I should side with. I'm just glad I'm not the one who must decide in this case. It's the responsibility of the Bavarian politicians.

In my heart, I side with the environmentalists. I think what the environmentalists do will yield good results in the long term, but it will cause disasters for the farmers. And I can't help putting myself in the farmers' shoes, trying to imagine what they would feel in this case.

What I like very much in AGRARIAN UTOPIA (2009, Uruphong Raksasad, A+) and FARMER FIELD SCHOOL (2007, Supong Jitmuang, A+) concerns with this problem, too. However, in the case of these two Thai films, it's easy for me to side with the environmentalists, because what the environmentalists do in these two films doesn't cause disaster for the opposite group of farmers. It's just different ways of farming, different ways of thinking. Some farmers love to use chemicals. Some don't want to use chemicals. And the ones who don't want to use chemicals don't harm the opposite group. So it's easy for me to decide who I side with in the conflicts between the farmers and the environmentalists in these two Thai films.

Apart from WAGING WAR ON BEAVERS IN BAVARIA, other enviromentalist documentaries I like include:

1.CHAD: THE DISAPPEARING LAKE (2009, Morad Äit-Habbouche + Hervé Corbière)

2.HOME (2009, Yann Arthus-Bertrand)

3.LE MYSTÈRE DE LA DISPARITION DES ABEILLES (2010, Mark Daniels)

4.A NARMADA DIARY (1995, Anand Patwardhan, India)

5.OCEANS (2009, Jacques Perrin + Jacques Cluzaud)

DERNIER MAQUIS (2007, Rabah Ameur-Zaïmeche, A+)

My most favorite part in the film is the part that deals with Giant trying to rescue an animal which looks like a beaver from the factory pit and returning them to nature. It is a very tender act.

The religion part in this film is very interesting.

I also like the distance between the characters and the audience. I think that most films that deal with the abusive boss and the abused laborers try to make the audience sympathize with the laborers and make the audience feel angry and sad with the laborers. But not in the case of DERNIER MAQUIS. I think the film doesn't try to make us feel close to any characters, which means we can't judge any characters' actions by our spontaneous feelings and emotions. At the moment the film ended, I didn't know who I should side with—the boss or the striking laborers. The film doesn't tell me clearly. I must think carefully first before I can come to the conclusion that the boss in this film seems to be more wicked than the striking laborers.

I don't know what the ending of this film means. I also don't know what DERNIER MAQUIS means. I also love BLED NUMBER ONE (2006, Rabah Ameur-Zaïmeche, A+) very much, but I don't know what its title means. :-)

I love films which concern factories. Apart from DERNIER MAQUIS, films in this group that I like include:

1.COUP POUR COUP (1972, Marin Karmitz)

2.DANCER IN THE DARK (2000, Lars von Trier)

3.ÉLISE, OR REAL LIFE (1971, Michel Drach)

4.IN COMPARISON (2009, Harun Farocki)

5.IT'S A FREE WORLD... (2007, Ken Loach)

6.LIKE REAL LOVE (2008, Anocha Suwichakornpong)

7.THE MACHINIST (2004, Brad Anderson)

8.MANUFACTURED LANDSCAPES (2006, Jennifer Baichwal)

9.MATAHARIS (2007, Icíar Bollaín)

10.NIGHTSHIFT (2001, Philippe Le Guay)

11.ORCHESTRA (2008, Jakrawal Nilthamrong)

12.RUHR (2009, James Benning)

13.SIGNORINA EFFE (2007, Wilma Labate)

14.LE SILENCE DES MACHINES (2007, Paul Calori + Kostia Testut)

15.WISEGUY: SEASON 2 (1988, TV series)—the part that stars Joan Chen and Anthony Denison

LE PENDU (THE THIRD PERSON) (2007, Claire Devers, A+)

I think of this film as an unintentional remake of CELINE AND JULIE GO BOATING (1974, Jacques Rivette). I guess LE PENDU and CELINE AND JULIE GO BOATING are both adapted from the same novel by Henry James. LE PENDU concerns two women with different personalities (Dominique Blanc + Dominique Reymond). Each of them gets involved with a haunted house and has different reactions with the ghost. Both of them try to appease the ghost, and one of them tries to smuggle someone to a safe place, like in the ending of CELINE AND JULIE GO BOATING.

LE PENDU may not be as great as CELINE AND JULIE GO BOATING, but LE PENDU is still a good film in its own way. When I was watching this film, I couldn't figure out what kind of film it is. Would it turn out to be a horror, a murder mystery, a romantic, or a comedy film? Like in the case of CELINE AND JULIE GO BOATING, LE PENDU unintentionally shows that "the genre" is not important.

Apart from LE PENDU, I also like other films which refer to CELINE AND JULIE GO BOATING, including BERLIN CHAMISSOPLATZ (1980, Rudolf Thome) and MV: SAWANG PAI SAWANG MA (2010, Sonthaya Subyen).

KISSING IN PUBLIC (2009, Anocha Suwichakornpong, A++++++++++)

http://www.youtube.com/watch?v=NvcaCQAkM6Y

FAVORITE FEMALE PERFORMANCES 2: BRIGITTE KAUSCH IN "100 YEARS OF ADOLPH HITLER" (1989, Christoph Schlingensief, A+)

HEREAFTER (2010, Clint Eastwood, A+)

This is the photo of Marthe Keller who plays Dr. Rousseau in HEREAFTER. I like Marthe very much when she stars in THE AVIGNON PROPHECY (2007, David Delrieux, A+) as the high priestess of the "Servants of Sara" cult.

My most favorite scene in HEREAFTER may be the scene in which Matt Damon is eating alone in his room, because it reminds me of my own life. Why do eating scenes in films usually present more than one person in the scene? I have dinner alone in my room nearly every day in my life. Are there any other impressive scenes of a character eating alone in a room in any films, apart from the ones in HEREAFTER, AFTERNOON TIMES (2005, Tossapol Boonsinsukh), DINING TIME (2006, Shigeaki Iwai), NIGHTFALL (2008, Rouzbeh Rashidi), and, well, THE PHANTOM OF LIBERTY (1974, Luis Buñuel)?

DESIRABLE ACTOR 2: TSUYOSHI ABE

DESIRABLE ACTOR 1: FUJITA SUSUMU

FAVORITE FEMALE PERFORMANCES 1: MARIE DUBOIS IN "LA MENACE" (1977, Alain Corneau, A+)

DAMP AND MISTY (2008, Rouzbeh Rashidi)

I like the inclusion of the still image of a woman in this film and NIGHTFALL (2008, Rouzbeh Rashidi).
http://www.youtube.com/watch?v=fKBe2aYO0zQ

HANAMIZUKI (2010, Nobuhiro Doi, A+)

ส่วนที่เราชอบมากในหนังเรื่องนี้คือตัวละครเมียพระเอก ซึ่งในหนังส่วนใหญ่มักจะถูกนำเสนอในลักษณะของนางอิจฉาที่ต้องได้รับบทลงโทษ แต่ในหนังเรื่องนี้เธอคือตัวละครที่น่าอิจฉาที่สุดในเรื่อง เพราะเธอได้ฟันทั้งพระเอกและตัวละครที่แสดงโดย Yu Koyanagi ซึ่งเป็นผู้ชายที่หล่อที่สุดในเรื่อง

AN IMAGE FOR CHILDREN'S DAY

This is the painting "THE ECTOPLASM OF MISS SVENGALI AS PRODUCED BY MADAM PHANTASM ILLUSIONISTA" (2007) by Carrie Ann Baade.



คำขวัญวันเด็ก "เด็กในวันนี้คือกะหรี่ในวันหน้า"

ADAM FUSS

DOCUMENTARY FILM FESTIVAL AT SALAYA

13 January
13.00 Playing Documentary/Japan 2000 / 64 min/Talk with Producer and Cinematography: NAITO Masayuki
17.00 Opening Ceremony
18.00 Summer in Narita / Ogawa Shinsuke /Japan / 1968 / 108 min

14 January
14.00 Hanako / dir Sato Makoto /Japan /2001/58min
Talk : Power of Documentary with Panu Aree
17.00 Baby Arabia Panu AREE, Kong RITHDEE, Kaweenipon KETPRASIT Thailand 2010 / 74min
18.30 Concert :Baby Arabia Live in Salaya

15 January
10.30 A Japanese Village – Furuyashikimura / Ogawa Shinsuke /Japan / 1982 / 210 min
17.00 Agarian Utopia/ Uruphong Raksasad / Thailand / 2009 /122min

16 January
10.30 Mental SODA Kazuhiro Japan, USA 2008/135 min
13.00 The Missing Piece/ Patana Chirawong /Thailand /2011/ 84min
15.00 Path of Anna NAOI Riyo Japan & Thailand / 2009 / 70 min
17.00 Narita: Peasants of the Second Fortress / Ogawa Sinsuke /Japan / 1971 / 143 min

17 January
13.00 Amin /Shahin PARHAMI / Iran / Korea / Canada /2010 / 120min
15.00 Yesterday Today Tomorrow /Naoi Riyo /Japan, Thailand / 2005 / 90 min
17.00 Hope Dies Last In War Supriyo SEN INDIA / 2007 / 80 min

18 January
13.00 The Missing Piece/ Patana Chirawong /Thailand /2011/ 84min
15.00 Stories from the North / Uruphong Raksasad /Thailand / 2006 / 88 min
17.00 Sona, the other myself YANG Yonghi Japan/Korea 2009 82 min

19 January
13.00 New Castle GUO Hengqi China 2010 112min
15.00 Playing Documentary/Japan 2000 / 64 min
Hanako / dir Sato Makoto /Japan /2001/58min
17.00 Mental SODA Kazuhiro Japan, USA 2008/135 min

20 January
13.00 Father & Son YUAN He China/2009 169min
16.00 Disorder HUANG Weikai CHINA / 2009 / 58 min
17.00 Amin /Shahin PARHAMI / Iran / Korea / Canada /2010 / 120min

21 January
13.00 A Japanese Village – Furuyashikimura / Ogawa Shinsuke /Japan / 1982 / 210 min
17.00 Passion Byamba SAKHYA Mongolia 2010 80min

22 January
10.30 Uruphong Raksasad’s Short Film
13.00 Summer in Narita / Ogawa Shinsuke /Japan / 1968 / 108 min
15.00 Sona, the other myself YANG Yonghi Japan/Korea 2009 82 min
17.00 Narita: Peasants of the Second Fortress / Ogawa Sinsuke/ 1971 / 143 min

23 January
10.30 New Castle GUO Hengqi China 2010 112min
13.00 Hope Dies Last In War Supriyo SEN INDIA / 2007 / 80 min
15.00 Disorder HUANG Weikai CHINA / 2009 / 58 min
16.00 Passion Byamba SAKHYA Mongolia 2010 80min
18.00 Closing Film : Lumpinee / Chira Wichaisuthikul/ Thailand /2010/ 97min

AN IMAGE FROM "A SELF-MADE DAME" (1991)

This is an image from A SELF-MADE DAME (คุณหญิงบ่าวตั้ง), which is one of my most favorite TV series of all time.

Thanks to Graiwoot for this image.

Most favorite TV Series
Most favorite Director
Most favorite Actress
Most favorite Ensemble Acting
Most favorite Screenplay
Most favorite Costume
Most favorite Make Up
Most favorite Hair Stylist

All these awards must unarguably go to A SELF-MADE DAME (คุณหญิงบ่าวตั้ง).

ASHRAM OF MONSTER

The title of the TV series ASHRAM OF MONSTER (1988, Wiroj Srisitthisereeamorn, A++++++++++)

http://www.youtube.com/watch?v=bahTo5kDWRU

I like the fighting scenes of Apiradee Pawaputanont and Runya Siyanont in this TV series very much.

FAVORITE MUSIC VIDEOS 11: I TURN MY FACE TO THE FOREST FLOOR – Gravenhurst

http://vimeo.com/1418404

Thanks to Kanokporn for telling me about this animation music video.

FAVORITE OLD SONGS 107: THE GRAIL (1969) – Chimera

http://www.youtube.com/watch?v=gmOz8leJRwQ

http://time-has-told-me.blogspot.com/2006/09/chimera-uk-acid-folkbaroque.html

Thanks to Nitrate Soup for telling me about this.