Tuesday, November 27, 2012
IT ALL BEGINS WITH THE BOOK "FILMVIRUS 1" (1998)
If I hadn't bought the Thai book FILMVIRUS 1, edited by Sonthaya Subyen, in 1998, I neither would have bought nor would have been given the other books in this photo. It can be said that I was seriously infected by the book FILMVIRUS 1. FILMVIRUS 1 made me fall completely in love with the world of alternative cinema. After reading this book, which contains articles about Jean-Luc Godard, Michelangelo Antonioni, Andrei Tarkovsky, Luis Buñuel, Raoul Coutard, an interview with Dima El Horr by Apichatpong Weerasethakul, etc., I wanted to see more and more alternative films, and wanted to read more and more about alternative cinema. That's why I bought/photocopied/was given the books about Apichatpong Weerasethakul, Bill Viola, Cesare Zavattini, Derek Jarman, James Benning, Jean-Luc Godard, Jean-Marie Straub + Danièle Huillet, John Huston, Marguerite Duras, Michael Powell, Roman Polanski, Simone Signoret, cult films, experimental films, video art, African cinema, Bollywood films, feminist films, French cinema, German cinema, Glasnost cinema, Iberian cinema, Southeast Asian cinema, and books written by Fredric Jameson, Jonathan Rosenbaum, Manny Farber, Peter Wollen, Pier Paolo Pasolini, Raymond Durgnat, Scott MacDonald, Thomas Elsaesser, etc., after reading FILMVIRUS 1. It can be said that the book FILMVIRUS 1 is my starting point for all of this.
ทำไมฉันถึงซื้อหนังสือต่างๆในรูปนี้ คำตอบก็คือว่ามันเป็นเพราะฉันซื้อหนังสือ FILMVIRUS 1 ในปี 1998 และมันก็ทำให้ฉันมีความสุขกับการดูหนังอย่างมากๆ และกระตุ้นให้ฉันอยากอ่านหนังสือเกี่ยวกับภาพยนตร์เล่มอื่นๆต่อไปยังไงล่ะ
Thanks to Sonthaya Subyen, Graiwoot Chulphongsathorn and Sompot Chidgasornpongse for giving me some books in this photo.
My most favorite article in FILMVIRUS 1 is obviously an article about Alain Robbe-Grillet. I fell completely in love with Robbe-Grillet after I saw his films TRANS-EUROP-EXPRESS (1967) in 1996, and EDEN AND AFTER (1970) in 1997. But I couldn't find any Thai articles about Robbe-Grillet to read at that time. I have been reading Thai magazines about films since 1987, but from 1987 to 1997 I didn't come across any articles about films directed by Robbe-Grillet in the Thai magazines that I bought. So I felt extremely glad to find a Thai article about Robbe-Grillet's films in the book FILMVIRUS 1. It's like the heaven has answered my prayer.
My favorite quote from the book FILMVIRUS 1:
"ผลงานหนังของรอบบ์-กริเยท์ทุกเรื่องนั้นมีที่มาจากกรอบรับรู้ส่วนตัวของเขาต่อ "คตินิยม" ที่มีอยู่ในสังคมของเราโดยทั่วไป จึงมีความจำเป็นที่เราต้องเสพงานหนังของเขาด้วยท่าทีที่แตกต่างจากงานหนังเน้นตลาดหรือที่มีโครงสร้างแบบ "ของตาย" เรื่องอื่นๆ และปรับจิตใจเปิดกว้างต่อการตีความอันหลากหลาย หนังของเขาแต่ละเรื่องมุ่งเน้นที่เพทนรส (sense) มากกว่าปัญญารส (intellect) ยิ่งกว่านี้หนังของเขาทุกเรื่องก่อตัวขึ้นเป็นเช่นการเดินทางด้วยจักษุภาพ (Visual) ภายในมิติของเสียง ไม่ใช่เป็นการแสดงถึงภาวะทางจิตใจของ "เนื้อเรื่อง" การกำหนดมโนภาพ (Preconception) ของเราจึงต้องถูกทำลายเสียก่อนที่จะก้าวเข้าไปอุปโภคงานของเขา ดังที่รอบบ์-กริเยท์ให้สัมภาษณ์เน้นหนักถึงประเด็นนี้ว่า หลังจากได้ดู PLAYING WITH FIRE (1975) หนแรก คนดู "จะไม่เข้าใจสิ่งใดเลย แต่ได้เห็นและได้ยินเพียงเท่านั้น ไม่มีความจำเป็นใดๆต้องเข้าใจ" ฉะนั้นการที่คนดูเชื่อในสัญชาติเวท (Instinct) จึงสำคัญกว่าการเชื่อในพุทธิปัญญา (Intellect) ของตนสำหรับการดูหนังของรอบบ์-กริเยท์"
You can watch EDEN AND AFTER (1970, Alain Robbe-Grillet), which is one of my most favorite films of all time here:
Sunday, November 25, 2012
Films I saw in the 10TH WORLD FILM FESTIVAL OF BANGKOK
in roughly preferential order:
1.AARAKSHAN (2011, Prakash Jha, India, A+30)
2.UNDER SNOW (2011, Ulrike Ottinger, Germany/Japan, documentary, A+30)
3.MEKONG HOTEL (2012, Apichatpong Weerasethakul, A+30)
4.MY PROFIT (2011, Hakan Un, Turkey, 36min, A+30)
5.PARTS OF THE HEART (2012, Paul Agusta, Indonesia, A+25)
6.THROUGH YOUR EYES (2006, Rodrigo Fürth, Argentina, A+25)
7.MEET THE FOKKENS (2011, Gabrielle Provaas + Rob Schroder, Netherlands, documentary, A+25)
8.INTERSEXION (2012, Grant Lahood, New Zealand, documentary, A+25)
9.BLOODY BOYS (2011, Shaker K. Tahrer, Sweden, A+25)
10.LAURENCE ANYWAYS (2012, Xavier Dolan, Canada, A+20)
11.VOICE OF MY FATHER (2012, Orhan Eskikoy + Zeynel Dogan, Turkey, A+20)
12.THE LOVERS ON THE BRIDGE (1991, Leos Carax, France, A+20)
13.LE HAVRE (2011, Aki Kaurismäki, Finland, A+15)
14.POST TENEBRAS LUX (2012, Carlos Reygadas, Mexico, A+15)
15.COLOURS IN THE DARK (2010, Sophie Heldman, Switzerland, A+15)
16.C.K. (2012, Barbara Visser, Netherlands, documentary, A+15)
17.YOU ARE THE APPLE OF MY EYE (2011, Giddens Ko, Taiwan, A+15)
18.BARBIE (2011, Lee Sang Woo, South Korea, A+10)
19.THE DEPARTURE TIME (2012, Salem Salavati, Iran, A+10)
20.HANGER PANGS (2010, Richard Soriano Legaspi, Philippines, A+10)
21.THE BUS (2011, Olgu Baran Kubilay, Turkey, A+10)
22.HOME (2012, Ruslan Magomadov, Chechen, A+10)
23.REW DAY (2011, Svilen Dimitrov, Bulgaria, animation, A+5)
24.HOLY MOTORS (2012, Leos Carax, France, A+)
25.FADOS (2007, Carlos Saura, Portugal/Spain, documentary, A+)
26.GAAMER (2011, Oleg Sentsov, Ukraine, A+)
27.THE HAPPY HOUSEWIFE (2010, Antoinette Beumer, Netherlands, A+)
28.ARTIFICIAL PARADISES (2012, Marcos Prado, Brazil, A+)
29.AVE (2011, Konstantin Bojanov, Bulgaria, A)
30.GIANNI SCHICCHI (2011, Francesco Visco, Italy, A)
31.THANK GOD (2012, Jamshid Ghodrati, Iran, A)
32.THE GREAT MONTELEONE (2011, João Leitão, Portugal, A)
33.WHITE & BLACK (2012, Dana Karim, Iraq, A)
34.WAILING (2012, Ferenc Cako, Hungary, animation, A-/B+)
35.DEAR FUKUSHIMA (2012, Kengo Otake, Russia, documentary, B+)
36.CINE HOLLIUDY (2012, Halder Gomes, Brazil, B+)
37.ECLIPSE (2011, Natthapon Amorntut, B+)
9TH WORLD FILM
8TH WORLD FILM
7TH WORLD FILM
6TH WORLD FILM
5TH WORLD FILM
4TH WORLD FILM
3RD WORLD FILM
2ND WORLD FILM
The reason why I worship Prakash Jha is roughly the same reason why I worship Ken Loach.
One thing I like about Prakash Jha's films is that he can make his actors "much more desirable" in my eyes compared to other films in which the same actors appear. Saif Ali Khan does not appeal to me at all in COCKTAIL (2012, Homi Adajania, A+), but he is very desirable in AARAKSHAN. Arjun Rampal looks the handsomest in CHAKRAVYUH (2012, Prakash Jha, A+25) compared to other films he stars in. Ranbir Kapoor looks handsomer than usual in RAAJNEETI (2010, Prakash Jha, A+30).
The main reason why I worship AARAKSHAN is because I like the presentation of the anger of the lower-class people in this film. I can understand this anger very well.
The showing of AVE (2011, Konstantin Bojanov, Bulgaria, A) is a total disaster for me. The film was shown at Esplanade Ratchada, Theatre 10, at 1540hrs. The picture was a little bit blurred since the beginning of the film. The subtitles were obviously blurred, which made me guess that the projector might be out of focus or something like that. This problem had occurred before in the showing of THE HAPPY HOUSEWIFE (A+) at the same Theatre 10.
In the showing of THE HAPPY HOUSEWIFE on Monday, November 19, at 13.00 hrs, the picture and the subtitles were blurred like this, but the problem was fixed after 15 minutes. The subtitles became clear after that.
So I assumed that would happen too with the showing of AVE, but after 15 minutes had passed, everything was still blurred. So I decided to walk out to inform some movie theatre staff about the problem. A female staff told me that the problem couldn't be fixed, because AVE was shown in "film". She said that the problem could be fixed if it was shown digitally. I told her that THE HAPPY HOUSEWIFE had been shown in film and the problem could be fixed. She still insisted that the problem of AVE couldn't be solved. I asked her if there were any festival staff near here because I would like to tell the festival staff about this. She said that the festival staff stayed on the second floor of Esplanade, while Theatre 10 is on the fifth floor of Esplanade.
So I came back to my seat and watched AVE for about 30 minutes more, and felt that I could not stand the blurred subtitles any more. So I decided to run all the way from the theatre to the second floor to tell the festival staff about this. With the help of a festival staff, the picture and the subtitles became a little bit clearer than before, but they were still a little bit blurred. I didn't see about 10 minutes in the middle of this film, because I had to run up and down Esplanade to inform this problem. The ending credits showed us obviously that the picture was blurred, because the names appearing in the ending credit were blurred.
To sum it up, the first half of AVE was moderately blurred, and the second half of AVE was a little bit blurred. The festival staff said that it was because of the film print. I don't know whose fault it is: the film print, the projectionist, the movie theatre staff, the festival staff, etc. I just hope this problem would not occur again. Things like this make me want to watch DVDs at home instead of going to see blurred films and blurred subtitles at Esplanade Ratchada.
Saturday, November 24, 2012
Films seen on Friday, November 23, 2012
1.MY PROFIT (2011, Hakan Un, Turkey, 36min, A+30)
2.LE HAVRE (2011, Aki Kaurismäki, Finland, A+15)
3.POST TENEBRAS LUX (2012, Carlos Reygadas, Mexico, A+15)
4.THE BUS (2011, Olgu Baran Kubilay, Turkey, A+10)
5.REW DAY (2011, Svilen Dimitrov, Bulgaria, animation, A+5)
6.ARTIFICIAL PARADISES (2012, Marcos Prado, Brazil, A+)
7.GIANNI SCHICCHI (2011, Francesco Visco, Italy, A)
8.THANK GOD (2012, Jamshid Ghodrati, Iran, A)
9.THE GREAT MONTELEONE (2011, João Leitão, Portugal, A)
Friday, November 23, 2012
Thursday, November 22, 2012
Films seen on Wednesday, November 21, 2012
1.MEKONG HOTEL (2012, Apichatpong Weerasethakul, A+30)
2.LAURENCE ANYWAYS (2012, Xavier Dolan, Canada, A+20)
3.C.K. (2012, Barbara Visser, Netherlands, documentary, A+20)
4.HOME (2012, Ruslan Magomadov, Chechen, A+10)
5.DEAR FUKUSHIMA (2012, Kengo Otake, Russia, documentary, B+)
Films seen on Tuesday, November 20, 2012
1.MEET THE FOKKENS (2011, Gabrielle Provaas + Rob Schroder, Netherlands, documentary, A+25)
2.INTERSEXION (2012, Grant Lahood, New Zealand, documentary, A+25)
Favorite Music Videos 48: FADE TO GREY (1982) -- Visage
LAURENCE ANYWAYS (2012, Xavier Dolan, Canada, A+20) makes me like FADE TO GREY (1982, Visage) again.
Tuesday, November 20, 2012
Films seen on Monday, November 19, 2012
1.THROUGH YOUR EYES (2006, Rodrigo Fürth, Argentina, A+25)
Extremely touching. Extremely humanistic. The first part of the film made me assume beforehand that the film would look down on its middle class characters. Fortunately, I was wrong. The film may satirize its middle class characters a little bit, but the film also makes them complete human beings.
What I find interesting in this film includes:
1.1 Its lively supporting characters from various nationalities, including Sara, the woman who has permanent makeup on her face, Sara's daughter and her boyfriend who refuse to speak Spanish, the black nurse, the morgue guard, the Russian female thief, Peru, the meat seller, and the oil thief in Argentina.
1.2 The film is very touching at the end, when we see what is recorded in the camera. The scene seems to be a bit cliched, but it still works very well. Normally I hate a scene like this, but I don't know why it works for me this time.
1.3 The performance of José Soriano is great.
1.4 I prefer this film to ENGLISH VINGLISH (2012, Gauri Shinde, India, A+), which also deals with characters who can't speak English and have to find a way to survive in New York City. ENGLISH VINGLISH works very well as a fantasy film for housewives, but the financial problems of the characters in THROUGH YOUR EYES make the film much more compelling than ENGLISH VINGLISH, of which the characters don't have financial problems.
2.THE LOVERS ON THE BRIDGE (1991, Leos Carax, France, A+20)
I like the visuals of this film very much, though I don't feel involved with the story of this film. As for films dealing with amour fou, I much prefer HIMIZU (2011, Sion Sono, A+30).
3.THE DEPARTURE TIME (2012, Salem Salavati, Iran, A+10)
I like the melodramatic quality of this film very much, but at the end it seems like everybody is shouting all the time. I also like the dilemma of the characters in this film.
4.THE HAPPY HOUSEWIFE (2010, Antoinette Beumer, Netherlands, A+)
I like the first half of this film very much. The first half of the film made me assume that I would give it A+30 at the end. Unfortunately, I don't feel involved with the second half of the film. My problem with this film is the same problem that I have with SHARA (2003, Naomi Kawase, A+) and THE PERKS OF BEING A WALLFLOWER (2012, Stephen Chbosky, A+). In these three films, the protagonists who have mental problems resulted from childhood trauma can overcome their problems at the end. I usually don't feel involved with characters who can overcome this kind of things.
Monday, November 19, 2012
Films seen on Sunday, November 18, 2012
1.UNDER SNOW (2011, Ulrike Ottinger, Germany/Japan, documentary, A+30)
An unclassifiable film. At first I thought it would be just an observational ethnographic documentary like THE KOREAN WEDDING CHEST (2009, Ulrike Ottinger, A+) and HARVEST SEASON (2009, Pisut Srimork, 20min, A+), but it turns out to be a film which defies explanation.
Things I like in this film include:
1.1 A scene of a woman eating food for a long time near the beginning of the film. What is she eating? Why is her food important? What is the relationship between this scene and other scenes in the film? What is the relationship between this scene and the theme of the film? I don't know.
This scene seems to be a simple scene, but it becomes a very memorable scene for me because I don't exactly know what this simple scene means. I like this scene very much because I can't answer any questions above. This simple scene of a woman eating Japanese food for a long time seems to drive some audience out of the theatre. I don't know why this scene becomes unbearable for some audience. But I guess what drives these viewers out is exactly what attracts me to this film.
1.2 I don't know if the myths/folklores/legends told in this film are real folklores or what Ottinger invented by herself. It may be a real legend like the legend of the Chee River told in the film IN APRIL THE FOLLOWING YEAR, THERE WAS A FIRE (2012, Wichanon Somumjarn, A+10), or it may be a newly invented folklore like the ones told in the film UNCLE BOONMEE WHO CAN RECALL HIS PAST LIVES (2010, Apichatpong Weerasethakul) and CROSSING THE MOUNTAIN (2010, Yang Rui, A+30).
1.3 The opening shot of this film is extremely breathtaking.
1.4 I like the three blind women in this film very much. They remind me of the three opera singers in THE IMAGE OF DORIAN GRAY IN THE YELLOW PRESS (1984, Ulrike Ottinger, A+30) and the three women who follow the heroine in TICKET OF NO RETURN (1979, Ulrike Ottinger, A+30).
1.5 The film alternately tells two stories--the folklore and the ethnographic observational documentary about some Japanese culture, and I keep wondering if these two stories will intersect with each other or merge with each other or not. These two stories may not exactly merge with each other, but these two stories somehow lend their power to each other in an unexplainable way.
1.6 The climactic scene in the film seems to be the scene in which the cross-species couple meet with the three blind women. Exactly there seems to be nothing important in this scene. The cross-species couple (a man from the present and his wife which is exactly his male friend possessed by the spirit of a fox from the Edo period) don't talk to the three blind women. The couple's path just cross with the blind women's path. But somehow there is an unexplainable burst of emotion in this scene.
I like this kind of things very much. Normally a climactic scene in the film is the scene in which the protagonist's main problem is going to be solved. But for some strange films like this, some scenes seem to be the climax of the films, but it is very hard for us to explain why these scenes have the climactic power.
This kind of things reminds me of the climactic scene in the film BIRTH OF THE SEANEMA (2004, Sasithorn Ariyavicha, A+30). There is a scene in that film which has the climactic power, though its power doesn't come from linear storytelling, but comes partly from the rhythm of the film.
1.7 I decided to give UNDER SNOW A+30 without a doubt at the last scene of the film, which presents the powerful sea. This scene seems to be very simple. The camera just recorded powerful waves of sea rushing to the shore. The scene doesn't tell any stories at all. It can be cut from the film very easily. But somehow it overwhelms me as much as the calm sea in AGATHA AND THE UNLIMITED READINGS (1981, Marguerite Duras, A+30).
2.PARTS OF THE HEART (2012, Paul Agusta, Indonesia, A+25)
3.YOU ARE THE APPLE OF MY EYE (2011, Giddens Ko, Taiwan, A+15)
4.FADOS (2007, Carlos Saura, Portugal/Spain, documentary, A+)
Sunday, November 18, 2012
Films seen on Saturday, November 17, 2012
1.VOICE OF MY FATHER (2012, Orhan Eskikoy + Zeynel Dogan, Turkey, A+20)
This film unintentionally reminds me of BLIND PIG WHO WANTS TO FLY (2008, Edwin, Indonesia), because both are political films dealing with massacre and come in the form of "contemplative, arthouse films."
I'm not sure which massacre VOICE OF MY FATHER is dealing about. I just knew that it is about the massacre of Alevis. I think it might be about this one:
It is interesting to see the name Özcan Alper in the ending credit of VOICE OF MY FATHER. Özcan Alper directed AUTUMN (2008, A+), which uses the rural landscape as powerfully as VOICE OF MY FATHER.
The use of voiceovers, the tracking shots, and the memory of brutality in VOICE OF MY FATHER remind me of HIROSHIMA MON AMOUR (1959, Alain Resnais).
The ending of VOICE OF MY FATHER is extremely powerful. It is a miraculous panning shot.
The use of subtitles in VOICE OF MY FATHER is also very interesting. The subtitles in this film come in two colours--white and yellow. I guess the white ones are translated from Kurdish. The yellow ones are translated from Turkish. But I'm not sure. This technique reminds me of the film DISSOLUTION (Nina Menkes).
2.COLOURS IN THE DARK (2010, Sophie Heldman, Switzerland, A+15)
One of my most favorite scenes in this film is the scene of Senta Berger walking alone in town after she had her ring cut. This scene seems to be a simple scene, but it makes me feel very lonely. I think it has to do with the frame of the scene and the fact that it is in long shot.
I also like how the film deals with various things about human nature, such as the fact that sometimes one needs a private space.
In fact, sometimes I like films which make me feel that my miserable life is not too miserable. The films which make me feel that my life is not too bad usually come in two groups: films about very poor people who struggle hard to survive, and films about people who are richer than me but they are still unhappy.
COLOURS IN THE DARK and ALL WE EVER WANTED (2010, Sarah Mathilde Domogala, A+) belong to the second group. I have lived my life in a very small apartment during the past 17 years. My dream is to live in a house like the one in COLOURS IN THE DARK. So when I see that the characters who live in a house like that are unhappy partly because the house becomes too big a burden for them, it makes me feel better. Hahaha.
I think this film should be screened together with the advertisment for the Thai Life Insurance company, because this advertisement also deals with an old couple. The advertisement is too sweet for me, so I think it should be blended with the bitterness of COLOURS IN THE DARK.
3.HOLY MOTORS (2012, Leos Carax, France, A+)
4.GAAMER (2011, Oleg Sentsov, Ukraine, A+)
To be successful, and to accept the fact that your success can be considered "nothing" in other people's eyes--this is what I think about after seeing GAAMER.
I like the feeling of emptiness near the end of the film very much. Sometimes I feel bad when I see the ending of such films like STUDENT OF THE YEAR (2012, Karan Johar, A+25), in which the characters become materialistically successful. The ending of GAAMER is like an antidote for such endings.
Favorite Music Videos 47: THE NIGHT HAS NO SUNLIGHT, THE DAY HAS NO STARS -- Sai R Siam
Thanks to Chonlasit for telling us about this.
นึกว่ากำกับโดย Miklós Jancsó
Thursday, November 15, 2012
DOCUMENTA 13 AND MULTIDISCIPLINARY ARTS BY ARAYA RASDJARMREARNSOOK
Thanks to Graiwoot for telling us about this.
ABSENCE OF SATAN (1985, George Barber, A+)
Does anyone know which movies the found footage in this video come from? I think a part of the video comes from ABSENCE OF MALICE (1981, Sydney Pollack). Does the video also include any other films?
You can read Ed Halter's review on Geoge Barber's "scratched" videos here:
Wednesday, November 14, 2012
RESURRECTION (2008, Sorrawis Rawitiwagul + Harin Paesongthai, A+)
จำได้ว่าวันที่มูลนิธิหนังไทยฉายหนังเรื่องนี้เป็นวันที่พีคมากๆ เพราะมีการฉายหนังเรื่องนี้ควบกับ "โมโฟ สิ้นชีวี อีดอกทอง" (อัลวา ริตศิลา + คมวิช ซาลลี), ไอ สครีม (เจนณรงค์ ศิริมหา) และภัยใกล้ตัว ฉบับผู้กำกับ สำหรับเราแล้ว วันนั้นถือเป็นหนึ่งในวันสำคัญของวงการหนังสั้นไทยเลยทีเดียว
THE TERRACOTTA VASE (Theeraphat Ngathong)
I like the minute 2:50-4:20, in which the protagonist is thinking about something, but the film doesn't tell us directly what the protagonist is thinking about.
Tuesday, November 13, 2012
Wed 14 Nov TV5MONDE
2000-2129 PETITS ARRANGEMENTS AVEC MA MÈRE (2012, Denis Malleval)
THURS 15 Nov TV5MONDE
2000-2133 ENFIN VEUVE (2007, Isabelle Mergault)
2133-2200 LE DRAP ÉCARLATE (2011, Kudret Günes)
Fri 16 Nov TV5 Monde
2000-2058 YVETTE (2010, Olivier Schatzky)
2058-2128 THE CASE OF MADAME LUNEAU (2010, Philippe Bérenger)
WORLD FILM FESTIVAL OF BANGKOK
I have already seen MAUVAIS SANG (Leos Carax, A+25), CHAKRAVYUH (2012, Prakash Jha, A+25) and ALL WE EVER WANTED (A+20)
Sat 17 Nov
1300 COLOUR IN THE DARK
1500 HOLY MOTORS
2000 VOICE OF MY FATHER
Sun 18 Nov
1520 PARTS OF THE HEART
1800 UNDER SNOW
2030 YOU ARE THE APPLE OF MY EYES
Mon 19 Nov
1300 THE HAPPY HOUSEWIFE
1520THE DEPARTURE TIME
2030 THE LOVERS ON THE BRIDGE
Tues 20 Nov
1300 MEET THE FOKKENS
1530 THURSDAY TILL SUNDAY (2012, Dominga Sotomayor Castillo, Chile)
2030 SHORT WAVE: BEAUTIFUL 2012 – MY WAY (2012, Ann Hui) + LONG TOU (2012, Gu Changwei)
Wed 21 Nov
1300 HOME + C.K.
1540 DEAR FUKUSHIMA
1800 MEKONG HOTEL
Thurs 22 Nov
1100 NO MAN’S ZONE
1320 THE TORTOISE, AN INCARNATION
1600 LOVE IS SIN
1830 HAPPINESS…PROMISED LAND
2130 BLOODY BOYS
Fri 23 Nov
1300 SHORT WAVE PROGRAME 1
1520 LE HAVRE
1740 POST TENEBRAS LUX
2020 ARTIFICIAL PARADISES
Sat 24 Nov
1300 THROUGH YOUR EYES
1740 RETURN TO BURMA
200 CINE HOLLIUDY
Sun 25 Nov
1100 LAURENCE ANYWAYS
TUES 27 NOV
1800 จินตะหรา (1973, พันคำ) @BACC
WED 28 NOV
1930 ENTRE NOS MAINS (2010, Mariana Otero)@Alliance Française
This is a photo of Prateik Babbar, an actor in AARAKSHAN.