Tuesday, November 08, 2011


You can find MARATHON FILM FESTIVAL GAME PART 1 here (in Thai):



This game is inspired by Graiwoot Chulphongsathorn.

The questions below mostly concern Thai films which were shown in the Marathon Film Festival from 1997 to 2011, but also concern foreign films and Thai films shown outside the festival.

The word "film" here includes all kinds of moving images.

Answer these questions and your life will be better:

19. Discuss how the performances of stage actors/actresses contribute to the success of these films.

19.1 BLIND (2008, Kanjana Akasin), starring Sasapin Siriwanij and Kusuma Thepparak

19.2 BODILY FLUID IS SO REVOLUTIONARY (2009, Ratchapoom Boonbunchachoke), starring Athapol Anunthavorasakul, Watcharapong Kanjanakrit, and Sawanee Utoomma

19.3 A CHRONICLE OF LOVE AND PAIN (2009, Kanchat Rangseekansong), starring Wanatsanan Sasom

19.4 FAIRY FEMININE (2009, Arpapun Plungsirisoontorn), starring Sumontha Suanpolrat

19.5 HASAN (2008, Attapon Pamakho), starring Suphasawatt Purnaveja and Pavinee Samakkabutr

19.6 HUNGRY OR FULL (2009, Anuchit Muanprom), starring Watcharapong Kanjanakrit

19.7 JIM (2005, Tosaporn Mongkol), starring Farida Jiraphan

19.8 KONTHAN (2010, Witchupong Sukhavichai), starring Montree Wongbutra

19.9 LOVE IS (NOT) MAD (2008, Tosaporn Mongkol), starring Pinthip Satprertprai

19.10 MAE NAK (1997, Pimpaka Towira), starring Mullika Tangsa-ngob

19.11 MIDNIGHT RAINBOW (2008, Patha Thongpan), starring Duangjai Hirunsri

19.12 MOTHER (UNFINISHED VERSION) (2011, Vorakorn Ruetaivanichkul), starring Natthaya Nakawech

19.13 MY LOVE TV (2011, Duangporn Pakavirojkul), starring Sumontha Suanpolrat

19.14 PANATIPATA (2010, Nawapol Thamrongrattanarit), starring Sawanee Utoomma

19.15 QING (2011, Boonyanuch Kraithong), starring Sasapin Siriwanij

19.16 69 (201, Somkid Phukpong), starring Sawanee Utoomma

19.17 STAINED (2009, Manasrawee Wongpradu), starring Pattarasuda Anuman Rajadhon

19.18 TAKE A MESSAGE (2005, Maythus Chaichayanon), starring Jaturachai Srichanwanpen

19.19 THAI FAMILY (2009, Yingsiwat Yamolyong), starring Donruedee Jamraschai and Montree Wongbutra

19.20 THIS CONSTRUCT CAN SERVE NO PURPOSE ANYMORE (2008, Sathit Sattarasart), starring Duangjai Hirunsri

19.21 WASABI (2007, Asit Wangsuekul), starring Shogo Tanikawa

19.22 WOMAN I (2010, Nuntanat Duangtisarn), starring Nophand Boonyai, Sasithorn Panichnok, Sumontha Suanpolrat, and Ornanong Thaisriwong

20. If there's a book called "TRAUMATIC EXPERIENCES AND THEIR RELEASES THROUGH THAI CINEMA", which films among these do you think fit to be discussed in this book? And why?

20.1 AT LEAST/MODERATELY/TREMENDOUSLY (อย่างน้อย/อย่างกลาง/อย่างมาก) (2011, Tritos Termarbsri, 90 min)

2.0.2 BANG-KERD-KLOAW (บังเกิดเกล้า) (2011, Kamontorn Eakwattanakij, 35 min)

20.3 A BRIEF HISTORY OF MEMORY (2010, Chulayarnnon Siriphol)

20.4 CITIZEN JULING (2008, Ing K + Manich Sriwanichpoom + Kraisak Choonhavan)

20.5 THE GIRL WHO LIKE TO CALL HER HOUSE (2010, Suparom Ronyut, Theemaporn Thanapala, La-ongsri Kongkachasing, 20 min)

20.6 LETTER FROM THE SILENCE (2006, Prap Boonpan, 5:11 min)

20.7 ONE DAY YOU WILL LOVE ME LIKE I LOVE YOU (สักวันเธอจะรักฉันอย่างที่ฉันรักเธอ) (2011, Wachara Kanha, 50 min)

20.8 TEARS (2003, Patana Chirawong, 13 min)

20.9 TSU (2005, Pramote Sangsorn)

20.10 WE WILL FORGET IT AGAIN (2010, Napat Treepalawisetkun, 9 min)

21. Which films below do you think display the ecstatic confluence of music and motion?

21.1 AGERU (2010, Tossapol Boonsinsukh)

21.2 BUNGALOWZEN: THE AMERICAN TRILOGY (2004, Taiki Sakpisit, 19 min)

21.3 DON'T YOU EVER TOUCH MY BAG! (1997, Surachai & Manorom, 5 min)

21.4 FIREFLIES (2005, Chawit Waewsawangwong, 4:12 min)

21.5 FOURTH WORLD (พื้นที่ในสำนึก) (2007, Chayanis Wongthongdee + Techanan Jirachotrawee, 13 min)

21.6 HAPPY EXISTENTIALISM (อัตถิภาวะนิยมสุขสันต์) (Phaisit Phanphruksachat, 6 min)

21.7 MV: DANCIN' MOOD -- Super Glass Ska Ensemble (2009, Chardchakaj Waikawee)

21.8 MV: KHOR BORG -- Photo Sticker Machine (2001, Wit Pimkanchanapong, 4 min)

21.9 MV: ONE RAI STI -- Soundlanding (2007, Winai Kitcharoen)

21.10 MV: SAWANG PAI SAWANG MA (2010, Sonthaya Subyen)

21.11 MV: SUPER BASS -- Nicki Minaj (Parody version) (2011, Pitchayakorn Sangsuk)

21.12 ONE DAY YOU WILL LOVE ME LIKE I LOVE YOU (สักวันเธอจะรักฉันอย่างที่ฉันรักเธอ) (2011, Wachara Kanha, 50 min)

21.13 PAMELA, POUR TOUJOURS (2005, Alain Bourges, France)

21.14 PIECES AND PIZZA (2010, Pesang Sangsuwan, 9 min)

21.15 T-BONE COME TO TOWN (2001, Wit Pimkanchanapong, 4 min)


21.17 TWILIGHT VIDEO IN AFTERNOON (2007, Rachawadee Komolsut, 17:22 min)

21.18 WOOHOO (อัศจรรย์สวยข้ามคืน) (2010, Pitchanon Jenbanjong, 6:47 min)

22. Jean-Luc Godard wrote in 1964, "There are several ways of making films. Like Jean Renoir and Robert Bresson, who make music. Like Sergei Eisenstein, who paints. Like Stroheim, who wrote sound novels in silent days. Like Alain Resnais, who sculpts. And like Socrates, Rossellini I mean, who creates philosophy. The cinema, in other words, can be everything at once, both judge and litigant.

Misunderstandings often arise from the failure to remember this truth. Renoir, for instance, may be accused of being a bad painter, whereas no one would say this of Mozart. Resnais may be accused of being a bad storyteller, whereas no one would think of saying this of Giacometti. The whole, in other words, is confused with the part, denying either one the right of exclusion as well as inclusion.

This is where the trouble begins. Is the cinema catalogued as a whole or a part? If you make a Western, no psychology; if you make a love-story no chases or fights; if you make a light comedy, no adventures; and if you have adventures, no character analysis

Woe unto me, then, since I have just made LA FEMME MARIÉE, a film where subjects are seen as objects, where pursuits by taxi alternate with ethnological interviews, where the spectacle of life finally mingles with its analysis: a film, in short, where the cinema plays happily, delighted to be only what it is."

Do you think if each of the film below "plays happily, delighted to be only what it is"? And why? You should also notice that crossing the genre boundaries can be considered "an act of freedom" in the case of some films, while mixing some genres together can be considered "the norm" in the case of other films.

22.1 AT LEAST/MODERATELY/TREMENDOUSLY (อย่างน้อย/อย่างกลาง/อย่างมาก) (2011, Tritos Termarbsri, 90 min)

22.2 BANGKOK KUNGFU (2011, Yuthlert Sippapak)

22.3 A BRIEF HISTORY OF MEMORY (2010, Chulayarnnon Siriphol, 14 min)

22.4 DISAPPEAR (อำพราง) (2010, Tani Thitiprawat, 26 min)

22.5 DONT' WARM EGGS IN MICROWAVE OR ELSE THEY WILL EXPLODE! (2005, Tossapol Boonsinsukh, 14 min)

22.6 THE FANCIFULNESS OF THE UNIVERSE (ความฟุ้งของจักรวาล) (2010, Krit Twinwawit, 40 min)

22.7 FRIENDS (2010, Pichanund Laohapornsvan, 63 min)

22.8 FUENG (2010, Teeranit Siangsanoh, Wachara Kanha, Tani Thitiprawat)

22.9 LIKE REAL LOVE (2008, Anocha Suwichakornpong, 38 min)

22.10 MARIJUANA GIRL (แม่ดอกกัญชา) (1977, Dokdin Gunyamarn)

22.11 MOTHER (UNFINISHED VERSION) (2011, Vorakorn Ruetaivanichkul)

22.12 MYSTERIOUS OBJECT AT NOON (2000, Apichatpong Weerasethakul)

22.13 PANYA RAENU (ปัญญา เรณู) (2011, Bin Banluerit)

22.14 THE POB'S HOUSE (บ้านผีปอบ) (2010, Ukrit Sa-nguanhai, 15 min)

22.15 REMEMBRANCE (กาลานุสติ) (2010, Sittiporn Racha)

22.16 A TOUGH CREATURE WHO BURDENS THE EARTH (สัตว์วิบากหนักโลก) (2004, Phaisit Phanphruksachat)

22.17 UPTOGU (2011, Pachara Yang, 19:50 min)

22.18 WHY DO YOU JUMP? (โดด) (2011, Korn Kanogkekarin, 19 min)

23. Ray Carney wrote, "Forget about saying something big. Forget Kane, 2001, and Blade Runner, and bloated, puffed-up metaphors about solitude, technology, or angst. Big ideas are trite and obvious. Say something small and particular. That’s hard. Tell the truth about a boy and a girl breaking up. That’s plenty of truth for one movie. All the truth we really need."

Discuss how Carney's quote may or may not be applied to each of the films below:

23.1 BLUE LOVE (2011, It Khaena)

23.2 DARKEN SKY (ฟ้าสีเทา) (2010, Anuwat Upanun, 27 min)

23.3 DAW (2009, Wasunan Hutawach, 7 min)

23.4 DISTANCE (สิ่ง-ไหน) (2010, Chonlasit Upanigkit, 55 min)

23.5 HUNGRY OR FULL (2009, Anuchit Muanprom)

23.6 THE ORDINARY ROMANCE (2005, Teekhadet Watcharathanin, 85 min)

23.7 SHE WITH ME (ชีวิตมี) (2009, Anusak Fongsanuwong, 30 min)

23.8 STILL (2008, Wisarut Deelorm, 52 min)

23.9 SWEETHEART (สุดที่รัก) (2010, Woratep Tummaoros, 20 min)

23.10 TERRIBLY HAPPY (สุดสะแนน) (2010, Pimpaka Towira)

23.11 THERE (2008, Rajjakorn Potito, 65 min)

23.12 UNLIKENESS (นอกหน้าต่าง) (2011, Pitchnut Suktorn, 26:22 min)

23.13 ZERO (2010, Kriangkrai Watananiyom, 30 min)

24. Ray Carney said that Mike Leigh and John Cassavetes " show us how extraordinary the most ordinary life can be. They show us that it’s not the complexity of events that makes for interest but the complexity of a character’s feelings.

The turning points in life usually occur in the simplest settings and situations. Not racing somewhere in a car, but sitting in a room and suddenly realizing something. Not yelling and screaming, but reading a magazine and feeling bored or discouraged. If you feel your character has to have something extraordinary happen to her to make her interesting, ask yourself why ordinary life does not matter enough to hold your interest."

Discuss how Ray Carney's quote above may or may not be applied to the following films, and why?:

24.1 DINNER (2005, Sivaroj Kongsakul)

24.2 FLUSH TANK (น้าโอมอยากมีผัว) (2011, Tossaphon Riantong)

24.3 HAPPINESS (สุขขี) (2011, Chadchon Nonthichan)

24.4 LET'S EAT (2011, Wasunan Hutawach)

24.5 ON THE ROAD (2010, Thepmanee Kittitawornkul)

24.6 THE OTHER WORLD (2007, Chutchon Ajanakitti)

24.7 OUR LAST NIGHT TOGETHER (ค่ำคืนสุดท้าย) (2010, Wachara Kanha, 48 min)

24.8 SHE IS READING NEWSPAPER (2005, Tossapol Boonsinsukh)

24.9 STUDENT (2005, James Prutwarasin)

24.10 TO (2010, Uruphong Raksasad, 16 min)

24.11 A WEEK'S VACATION (1980, Bertrand Tavernier, France)

24.12 A YEAR HENCE (2011, Rachakorn Potito)

24.13 YESTERDAY (2008, Sompot Chidgasornpongse)

25. Jonas Mekas wrote 39 years ago, "The most beautiful movie poetry will be revealed someday in home-movie footage. The day is close when home movies will be appreciated as beautiful folk art. Time is laying a veil of poetry over them."

Discuss how Mekas' quote may or may not be applied to the following films:

25.1 AND NOW THE PRESIDENT WILL TALK ABOUT THE OBJECTIVES OF THE PROJECT (เรียนเชิญท่านประธานกล่าวรายงานวัตถุประสงค์ของโครงการ) (2011, Sitthichai Pleantongdee, 18 min)

25.2 AOMM (2008, Somchai Vachirachongkol, 30 min)

25.3 FRAGRANCE OF THE WIND (2007, Chaiwat Wiansantia)

25.4 FROM NACHUAK TO BANGKOK (2005, Siwadol Ratee, 83 min)

25.5 GHOSTS (2005, Anocha Suwichakornpong)

25.6 HERE COMES THE SUN (2008, Supakit Seksuwan, 7 min)

25.7 HOME VIDEO (2008, Yanin Pongsuwan, 14 min)

25.8 HOUSE OF VIEW MOM DAD AND SOMETIME OREO (2009, Thakoon Khempunya, 10 min)

25.9 IN TRAIN (เวียนหัว และ เมื่อยก้น) (2011, Boripat Plaikaw, 83:30 min)

25.10 I REMEMBER (2011, Authawut Boonyuang, 90 min)


25.12 ME AND MY VIDEO DIARY (2010, Tani Thitiprawat, 30 min)

25.13 THE MORNING ATMOSTPHERE AT MY HOME AT SIX O'CLOCK (บรรยากาศยามเช้าที่บ้านตอน 6 โมง) (2011, Wachara Kanha)

25.14 MRS. NUAN WHO CAN RECALL HER PAST LIVES (2010, Chulayarnnon Siriphol)

25.15 MUSIC VIDEO: UP TO YOU (YUCHAROEN VERSION) (2011, Eakarach Monwat, 4 min)

25.16 MY GRANDFATHER (2008, Pichet Smerchua, 45 min)

25.17 MY MOTHER AND HER DARKNESS (แม่กับแมงเม่า) (2008, Wiwat Lertwiwatwongsa)

25.18 MY ROOM AND I (2010, Ka-nes Boonyapanachoti, 20 min)

25.19 MY SONG CLASSROOM (หนังสือรุ่น) (2005, Benjaphan Rungsubhatanond, 14 min)

25.20 A NEANGLY FAIRYTALE (BREAKDOWN: SIDE STORY) (2009, Nattaphan Boonlert, 21 min)

25.21 AN ORDINARY STORY (เรื่องธรรมดา) (2007, Meathus Sirinawin, 46 min)

25.22 OUR FILM (หนังของเรา) (2005, Atthasit Somchob, 22 min)

25.23 A PLACE OF DIFFERENT AIR (สถานต่างอากาศ) (2008, Chaloemkiat Saeyong)

25.24 SIAM SQUARE (1998, Chanarai Sutthibutr, 22 min)

25.25 SMALL WORLD (2008, Wasunan Hutawach)

25.26 SUNDAY (2010, Siwapond Cheejedreiw, 24 min)

25.27 TAN (2007, Wanweaw Hongwiwat + Weawwan Hongwiwat, 5 min)

25.28 THERE, THERE (2006, Nawapol Thamrongrattanarit)

25.29 WANG YUEN HAB (วังยื่นหาบ) (2008, Sompong Soda, 35 min)

25.30 WHEN I DANCE (ผม ตัวผม และไดอารี่ของผม) (2006, Unnop Saguanchat, 90 min)

End of the Game

Thanks to every filmmaker mentioned in this game who have made films which give me so much pleasure during the past 15 years.

1 comment:

celinejulie said...

Actually, this game is just a pretext for me to arrange the films I like into various groups. The films in no. 19 are the films I like because of their use of stage actors. The films in no. 20 are the films I like because of its presentation of trauma. The films in no. 21 are the ones I like because of the relationship between visual and sound in the films, etc.