น่าดูที่สุด เห็นเขาบอกว่าหนังของ Claudia
von Alemann สามารถปะทะกับ Chantal Akerman และ
Marguerite Duras ได้เลย
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เห็นแสงเงาในรูปนี้แล้วนึกถึง paintings ยุคเก่า เราเลยถาม Gemini แล้ว Gemini ก็ตอบว่า
The photographic style in this image—characterized by a high
contrast between a brightly lit subject and a dark, obscured background—closely
mirrors a technique known as chiaroscuro (Italian for "light-dark")
and its more dramatic evolution, tenebrism.
The master painter most famous for using light and shadow
exactly like this is Caravaggio (Michelangelo Merisi da Caravaggio).
Here are a few iconic painters renowned for this specific
technique:
- Caravaggio:
He revolutionized Baroque art by plunging his backgrounds into near-total
darkness and using a single, intense, directed light source (often called
"cellar light") to sharply illuminate his subjects. This created
an intense, theatrical, and highly realistic effect, much like the
dramatic spotlight on the muscles and face in this photo.
- Rembrandt
van Rijn: While Rembrandt used a softer, warmer variation of chiaroscuro,
he is legendary for using focused light to draw attention to faces and
hands out of deep, atmospheric shadows.
- Georges
de La Tour: A French Baroque painter heavily inspired by Caravaggio, he
used extreme contrasts, often using a single candle as the light source to
illuminate figures against pitch-black backgrounds.
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RIP TONY RAYNS (1948-2026)
เราไม่เคยรู้จักเขาเป็นการส่วนตัวนะ แต่เราเคยอ่านงานวิจารณ์หนังของเขาใน
หนังสือ TIME OUT FILM GUIDE เมื่อราว 20 กว่าปีก่อน
และก็ได้รับประโยชน์จากสิ่งต่าง ๆ ที่เขาเขียน ซึ่งแน่นอนว่าเราก็เห็นด้วยกับเขาในบางครั้ง
และเราก็ไม่เห็นด้วยกับเขาในหลาย ๆ ครั้ง เพราะหนังที่เขาด่าหลาย ๆ
เรื่องเป็นหนังที่เราชื่นชอบอย่างสุดขีด แต่นั่นก็เป็นเรื่องปกติ
เพราะความเห็นของแต่ละคนย่อมไม่เหมือนกันอยู่แล้ว
ตัวอย่างงานเขียนของ Tony Rayns ใน TIME OUT FILM GUIDE
(เราไม่ได้เห็นด้วยกับความเห็นของเขาที่มีต่อหนังบางเรื่องนะ
เราแค่ copy มาให้เห็นเฉย ๆ
ว่าเขาเคยเขียนถึงหนังเรื่องอะไรว่าอย่างไรบ้าง)
1. ...AND THE MOON DANCES (1995, Garin
Nugroho, Indonesia)
A young man and woman, both from troubled backgrounds, come
to Surakarta to study under Waluyo, a master of traditional Javanese arts. The
boy, Ilalang, wants to write music but seems trapped in memories of childhood
traumas; the girl, Bulan (= Moon), is simply trying to find herself. The
suppressed violence which haunts their lives - which, the film implies, may be
endemic in Indonesian society - surfaces when their master dies in an
accidental fire. Nugroho's exquisite film doesn't tell a story so much as it
explores ambiguities of mood, texture, light and meaning. There's nothing
folksy or 'Third World' about this daringly modernist film which uses a rich
sound design to point up submerged emotional truths.
2. BLISSFULLY YOURS (2002, Apichatpong
Weerasethakul, Thailand)
Apichatpong's 'emotional disaster movie' opens wittily with
the longest pre-credits scene ever: a leisurely introduction to the three main
characters and the binds that tie them. Min (Oo) is a Burmese illegal
immigrant, a strapping lad with a nagging skin problem, in need of a fake ID.
His Thai girlfriend Roong (Kanokporn), a factory worker, has hired Orn and her
husband to help get it. Orn wants to have another child before she's too old,
but her husband isn't keen. The credits show up some 45 minutes in, as Min
guides Roong to a secluded spot near the Thai-Burmese border where they'll eat,
laze, bathe and eventually make love. By chance Orn has chosen a spot nearby
for illicit sex with her lover... There's more here than meets the eye: the
shattered Thai economy and the Burmese military junta are only just offscreen,
and unvoiced fears simmer in the sweltering heat. But the film takes its tone
from the uncomplicated Min, whose diary notes and sketches are sometimes
superimposed over the images. A languid celebration of the pleasures of the
moment, which climaxes with an image of startling sexual candour.
3. BUTTERFLY AND FLOWERS (1985, Euthana
Mukdasanit, Thailand)
An exceptionally beautiful movie set among Thailand's Muslim
minority in villages near the Malaysian border, and centering on a bright
teenage kid forced to drop out of school and support his family by turning
small-time smuggler. Impossible to convey its qualities without falling back on
turn-off words like 'charm' and 'sensitivity', but the fact is that it succeeds
in evoking the trials, terrors and excitements of childhood with an immediacy
that's both sweet and tough. There's an eye-opening blend of
universal and local elements: trouble with punks at a rock concert, daredevil
feats on the roof of a moving train. And it offers the joy of seeing a director
in full control of his medium.
4. COME, COME, COME UPWARD (1989, Im
Kwon-taek, South Korea)
A female companion-piece to Im's classic MANDALA,
this too rests on a contrast between sacred and profane approaches to Buddhist
enlightenment. Sun-Nyo (Kang, superb) runs away from her broken home and her
crush on a teacher to become a nun, expecting to pray and meditate. But the
convent sends her out into the world, where she mixes with the poor and
desperate and forms one sexual attachment after another with rough
working-class men. Im compares her self-abasement with the more orthodox
asceticism of another young nun, whose retreat from worldly things results in a
brutal rape. The drama is rooted in a clear sense of social and psychological
realities but lifted above mere social realism by Gu Joong-Mu's sensationally
beautiful cinematography, mostly in shades of blue and grey.
5. THE DUMB DIE FAST, THE SMART DIE
SLOW (1991, Manop Udomdej, Thailand)
The hard-boiled thriller, Thai-style - obviously indebted
to The Postman Always Rings Twice and other models, but
irreducibly Thai in its plotting and characterisations. The kindly owner of a
gas station with a no-good wife takes on a hitchhiker as a handyman, unaware
that he's on the run. The wife learns the newcomer's secret, and tries to
blackmail him into robbing her husband. Manop started out as an 'underground'
political film-maker, which doubtless explains the hints of social comment
here. Mostly, though, he has fun in the plot's moral quicksand. Very
entertaining, and very novel to see these conventions through Thai eyes.
6. INVISIBLE WAVES (2005, Pen-ek
Ratanaruang, Thailand)
Reuniting the LAST LIFE IN THE UNIVERSE team, this is
essentially a tale of bad karma coming home to roost. A Japanese chef in Macau
(Asano) murders his lover on the orders of his boss, the woman’s unfaithful
husband, and is sent off to Phuket to lie low. Many misadventures later, he
realises that the boss actually wants him killed -- and moves through guilt
towards a serene acceptance of his fate. Shot in murky grunge-vision and
resolutely minimising the impact of its sparky supporting cast, this non-thriller
announces at the outset that narrative will count for less than mood, but then
goes on to tie itself up in irrelevant storytelling knots with a series of
elisions, ambiguities and delayed revelations. Part redeemed by its moments of
black comedy, but a real disappointment.
7. KARL MAY (1974, Hans-Jürgen
Syberberg, West Germany, 180min)
The second film in Syberberg’s trilogy forming, with LUDWIG
– REQUIEM FOR A VIRGIN KING and HITLER, A FILM FROM GERMANY, a unique analysis
of the dominant forces in German history and culture. Like a German Riger
Haggard, May was an ‘imperialist’ novelist with a strong romantic idealism
(best remembered for his American ‘noble savage’ character, Winnetou), and part
of Syberberg’s aim is to celebrate the fragile beauty of his fantasies. But the
film is structured as a kind of biography, and the long central scene of a
courtroom battle marks the collapse of May’s dreams as he gets more and more
deeply embroiled in the realities of Prussian jurisprudence. The matter-of-fact
historical framework acquires an added resonance from the fact that all the
main parts are played by prominent figures from the Nazi cinema for the ‘30s.
The mesh of fact, fiction, realism and expressionism is complex and
fascinating. And the film’s ‘plastic’ qualities are at least as sumptuous as
those in LUDWIG.
8. LOVE WILL TEAR US APART (1999, Yu
Lik-wai, Hong Kong)
Ace cinematographer Yu (XIAO WU, ORDINARY HEROES) has come
up with the kind of debut feature that vindicates shoestring indie film-making.
He focuses on the new underclass of recent immigrants to Hong Kong from
Mainland China – the ‘hicks’ stuck in the sex industry or crappy menial jobs –
but looks beyond sociology. Ah Ying (Wong Ning, a recent graduate from drama
college in Beijing) gives up karaoke bar work in China to try her luck in Hong
Kong. Trapped in prostitution and shoplifting, she heads for a crack-up. Her
path crosses those of porn tape vendor Ah Jian (Leung Ka-fai, from L’AMANT,
also the co-producer), ex-dancer and fantasist Ah Yan (Lu Liping from THE BLUE KITE) and elevator repairman Ah Chun
(first-timer Rolf Chow). Yu’s real subject is the masochistic resignation that
keeps these people locked in their personal hells; he approches it with
inexpected wit and good humour.
9. PUEN-PAENG (1983, Cherd Songsri,
Thailand)
Quite unlike the mainstream of Thai movies (but a little too
similar to the same director’s masterly THE SCAR), this is an elegiac rural
melodrama about two contrasted sisters in love with the same cowherd. It’s set
in the ‘30s, and lovingly detailed period touches strike an optimum balance
between nostalgic escapism and serious reconstruction of traditions that are
already almost extinct. At its heart are magical images of life in a Thai
village: a brazen girl propositioning a naked boy as he bathes in the river, a
romance pursued on the backs of water buffalo.
10. SUZAKU (1997, Naomi Kawase, Japan)
Impressionistic portrait of a dying family in a dying
mountain village in Nara Prefecture: a 'nothing happens' film which ratherly
cleverly camouflages its own lack of grip and focus by hinting at hidden themes
(incest, ghosts) and using people from the real-life village as actors. It
opens in 1971: recession is already thinning the population but Kozo Tahara
(Kunimura, the only professional actor) believes that a rail link will bring
new prosperity and eagerly helps dig the tunnel through the mountain. Fifteen
years later the railroad is a forgotten dream, the tunnel seems haunted and the
Taharas are fading fast. According to Kawase, the obscure title refers to a
local bird deity; she wants to see the Tahara family as if through this
creature's eyes. Somebody must buy this stuff, because the film won the
1997 Caméra d'Or at Cannes.
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เสียดายเว็บไซท์ Palestine Film
Institute เพราะหนังในเว็บไซท์นี้น่าดูสุดขีด แต่พอเราดูหนังเรื่องนี้แล้วพบว่าหนังมันกระตุกและสะดุดมาก
ๆ เหมือนหนังมันสะดุดทุก ๆ 10 วินาทีจนเราทนดูไม่ไหว
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หนังสือ CONTEMPORARY THAI CINEMA จะออกวางแผงในเดือนม.ค. 2027 ในราคา 90 ปอนด์ (หรือ 4016
บาทตามอัตราแลกเปลี่ยนปัจจุบัน) น่าสนใจมาก ๆ มีบทความ THE CINEMA OF POJ
ARNON ด้วยนะ กรี๊ดดดดดด
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ARTWORKS
JIN IN PARADISE HORIZON DREAM 01 (2025, Mairung
Jarurattanaporn)
AMEN TO THE WEEKEND! (2025, Mairung Jarurattanaporn)
VASE CASE: POLYURETHANE LEATHER (2026, Mairung
Jarurattanaporn)
JIN IN PARADISE HORIZON DREAM 02 (2026, Mairung
Jarurattanaporn)
A UNIVERSE OF CHAOS: JIN TAKES A BUBBLE TEA BREAK (2026, Mairung
Jarurattanaporn)
Poster of the exhibition MILLENNIALS
FLEX by Jin HaloQ (Mairung Jarurattanaporn)
