Tuesday, November 29, 2011
Monday, November 28, 2011
Thai films seen on Wednesday, August 3, 2011
1.HI-DEFINITION GIRL (2011, Tanakit Kitsanayunyong, 3:33 min, A++++++++++)
หญิงสาวแห่งความคมชัด (ธนกฤต กฤษณยรรยง)
http://vimeo.com/24433148
This film makes me think about something I have never thought about before--the size of the image frame. What I like very much in this film is the fact that I know nothing at all. I don't know what happens in the film, who the girl is, when the action takes place, why it happens, etc. But what makes it very different from other enigmatic films I have seen is the fact that I didn't even know "the real size of the image frame" until the end of the film.
In this film, we see a girl doing something inside a small image frame. The image frame is placed in a vast darkness. We don't know if the darkness surrounding this image frame is "inside" or "outside" the story until the end of the film.
I find this thing very brilliant. Tanakit also directed QUOTATION MARK (2010, A++++++++++), which is one of my most favorite Thai films I saw in 2010.
http://vimeo.com/18300781
2.MY ROOM AND I (2010, Ka-nes Boonyapanachoti, 20 min, A++++++++++)
ห้องของฉันและเรื่องของผม (คเณศ บุญยะปานะโชติ)
My favorite scene in this film is the one about the director's trip to the beach with a group of university friends. This part of the film reminds me of one of the best times in my life--the time when we spent with friends and did many crazy things that we can't do it again when we grow old.
The joy among friends depicted in that scene is enormous. I also like it very much that the scene recorded a spontaneous dialogue (or some playful verbal attacks) among friends. I think this spontaneous dialogue is very important, because if you don't record it, it might be lost forever.
I learn from my own experience that when we are among our close friends, we are inclined to invent some new words, some funny phrases, or some funny sentences to talk to our close friends, and if we don't record these funny phrases, we will forget them forever, and we will never hear them again in our lifetime whether from our close friends or other people. I regret that I can note down only 1% of what my friends said when we were young. When I grow old and read this 1% of what my friends said twenty years ago, I find it very precious and is one of the best things in my life.
MY ROOM AND I also tries to depict other aspects in the life of the director and gives a hint at the end of the film that some parts of the film might be fictionalized and not a pure documentary.
3.DOG LOVE CAT (2011, Weerasak Suyala, 27 min, A++++++++++)
หมากับแมวไม่แคล้วกัน (วีระศักดิ์ สุยะลา)
4.MAD DOG (2011, Pongtawee Srilasuk, 7:19 min, A+)
หมาบ้า (พงษ์ทวี ศรีลาศักดิ์)
5.SHOWING IMAGES OF MY LOVE FOR YOU (2011, Wachara Kanha, 2 min, A+)
แสดงภาพในความรักที่ฉันรักเธอ (วชร กัณหา)
6.BOOKBIKE (2010, Wiroon Kingpaiboon, 29 min, documentary, A+/A)
หนังสือติดล้อ (วิรุฬห์ กิ่งไพบูลย์)
7.LOOP (2010, Adit Matayapirom, 5:32 min, animation, A+/A)
ห่วง (อดิษฐ์ เมธยาภิรมย์)
8.STOP HERE (2011, Twatpong Tangsajjapoj, 2:30 min, animation, A+/A)
หยุด (ธวัชพงศ์ ตั้งสัจจะพจน์)
9.OVER THE RAINBOW (2010, Phattaramon Urahvanicha, 2:40 min, animation, A+/A)
หลังฟ้าหม่น (ภัทรมน เอื้อวาณิชชา)
http://vimeo.com/23436752
10.THE ESCAPE (2011, Pavin Kittikovit, 12 min, A+/A)
หนี (ปวีณ กิตติโกวิท)
11.DRY COLOURS TUBE (2011, Weerapat Tembundit + Chotika Parinayok 11 min, A+/A)
หลอดสี (วีรภัทร เต็มบัณฑิต, โชติกา ปริณายก)
12.NONGPO, FOR BETTER LIFE (2011, Kangwan Jaimun, 9 min, A)
หนองโพยั่งยืน (กังวาน ใจมั่น)
13.MAKPRAO (2010, Sarida Pao-aroon, animation, 4:07 min, A)
หมากพร้าว (สริดา เผ่าอรุณ)
14.THE TELEPHONE NUMBER (2010, Kritmongkon Peantong, 19:51 min, A-)
หมายเลขที่เธอเรียกจะติดต่อให้ได้ในขณะนี้ (กฤษณ์มงคล เพียรทอง)
15.MY A DAY (2010, Kawit Kittikun, 5:16 min, A-)
หนึ่งวันของฉัน (กวิศ กิตติกูล)
16.THE BOOK IS PIGGY BANK (2010, Prachuab Plittapolkarnpim, 12 min, A-)
หนังสือคือออมสิน (ประจวบ ผลิตผลการพิมพ์)
http://www.youtube.com/watch?v=GKS7_ZmgszE
17.BLACK HOLE OF THE UNIVERSE (2011, shadow play aka Teeranit Siangsanoh, 2:56 min, B+)
หลุมดำแห่งจักรวาล (คล้ายเงา)
I think this film is the weakest film among many apocalyptic films made by Teeranit.
หญิงสาวแห่งความคมชัด (ธนกฤต กฤษณยรรยง)
http://vimeo.com/24433148
This film makes me think about something I have never thought about before--the size of the image frame. What I like very much in this film is the fact that I know nothing at all. I don't know what happens in the film, who the girl is, when the action takes place, why it happens, etc. But what makes it very different from other enigmatic films I have seen is the fact that I didn't even know "the real size of the image frame" until the end of the film.
In this film, we see a girl doing something inside a small image frame. The image frame is placed in a vast darkness. We don't know if the darkness surrounding this image frame is "inside" or "outside" the story until the end of the film.
I find this thing very brilliant. Tanakit also directed QUOTATION MARK (2010, A++++++++++), which is one of my most favorite Thai films I saw in 2010.
http://vimeo.com/18300781
2.MY ROOM AND I (2010, Ka-nes Boonyapanachoti, 20 min, A++++++++++)
ห้องของฉันและเรื่องของผม (คเณศ บุญยะปานะโชติ)
My favorite scene in this film is the one about the director's trip to the beach with a group of university friends. This part of the film reminds me of one of the best times in my life--the time when we spent with friends and did many crazy things that we can't do it again when we grow old.
The joy among friends depicted in that scene is enormous. I also like it very much that the scene recorded a spontaneous dialogue (or some playful verbal attacks) among friends. I think this spontaneous dialogue is very important, because if you don't record it, it might be lost forever.
I learn from my own experience that when we are among our close friends, we are inclined to invent some new words, some funny phrases, or some funny sentences to talk to our close friends, and if we don't record these funny phrases, we will forget them forever, and we will never hear them again in our lifetime whether from our close friends or other people. I regret that I can note down only 1% of what my friends said when we were young. When I grow old and read this 1% of what my friends said twenty years ago, I find it very precious and is one of the best things in my life.
MY ROOM AND I also tries to depict other aspects in the life of the director and gives a hint at the end of the film that some parts of the film might be fictionalized and not a pure documentary.
3.DOG LOVE CAT (2011, Weerasak Suyala, 27 min, A++++++++++)
หมากับแมวไม่แคล้วกัน (วีระศักดิ์ สุยะลา)
4.MAD DOG (2011, Pongtawee Srilasuk, 7:19 min, A+)
หมาบ้า (พงษ์ทวี ศรีลาศักดิ์)
5.SHOWING IMAGES OF MY LOVE FOR YOU (2011, Wachara Kanha, 2 min, A+)
แสดงภาพในความรักที่ฉันรักเธอ (วชร กัณหา)
6.BOOKBIKE (2010, Wiroon Kingpaiboon, 29 min, documentary, A+/A)
หนังสือติดล้อ (วิรุฬห์ กิ่งไพบูลย์)
7.LOOP (2010, Adit Matayapirom, 5:32 min, animation, A+/A)
ห่วง (อดิษฐ์ เมธยาภิรมย์)
8.STOP HERE (2011, Twatpong Tangsajjapoj, 2:30 min, animation, A+/A)
หยุด (ธวัชพงศ์ ตั้งสัจจะพจน์)
9.OVER THE RAINBOW (2010, Phattaramon Urahvanicha, 2:40 min, animation, A+/A)
หลังฟ้าหม่น (ภัทรมน เอื้อวาณิชชา)
http://vimeo.com/23436752
10.THE ESCAPE (2011, Pavin Kittikovit, 12 min, A+/A)
หนี (ปวีณ กิตติโกวิท)
11.DRY COLOURS TUBE (2011, Weerapat Tembundit + Chotika Parinayok 11 min, A+/A)
หลอดสี (วีรภัทร เต็มบัณฑิต, โชติกา ปริณายก)
12.NONGPO, FOR BETTER LIFE (2011, Kangwan Jaimun, 9 min, A)
หนองโพยั่งยืน (กังวาน ใจมั่น)
13.MAKPRAO (2010, Sarida Pao-aroon, animation, 4:07 min, A)
หมากพร้าว (สริดา เผ่าอรุณ)
14.THE TELEPHONE NUMBER (2010, Kritmongkon Peantong, 19:51 min, A-)
หมายเลขที่เธอเรียกจะติดต่อให้ได้ในขณะนี้ (กฤษณ์มงคล เพียรทอง)
15.MY A DAY (2010, Kawit Kittikun, 5:16 min, A-)
หนึ่งวันของฉัน (กวิศ กิตติกูล)
16.THE BOOK IS PIGGY BANK (2010, Prachuab Plittapolkarnpim, 12 min, A-)
หนังสือคือออมสิน (ประจวบ ผลิตผลการพิมพ์)
http://www.youtube.com/watch?v=GKS7_ZmgszE
17.BLACK HOLE OF THE UNIVERSE (2011, shadow play aka Teeranit Siangsanoh, 2:56 min, B+)
หลุมดำแห่งจักรวาล (คล้ายเงา)
I think this film is the weakest film among many apocalyptic films made by Teeranit.
Sunday, November 27, 2011
MY FAVORITE STAGE PLAYS DIRECTED BY NINART BOONPOTHONG
1.WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION เมื่อผมหลับในคืนปฏิวัติ (2007, A+++++++++++++++)
2.PORNOGRAM เปลือยแล้วฆ่า (2010, A+++++++++++++++)
3.CASTRATED DOGS หมาตอน (2004, A+++++++++++++++)
4.NEVER LET ME GO (2011, A+++++++++++++++) seen on August 28
5.LOVE OF THE ECONOMIST เกมรัก/นักเศรษฐศาสตร์ (2011, A++++++++++) seen on June 24
6.ALT-CTRL-DEL (2008, A++++++++++)
7.APT PUPIL วิปริต (2011, A+++++) seen on July 29
8.ADD AS A FRIEND (2009, with Thanyanan Kooanupong, A+++++) seen on August 29
2.PORNOGRAM เปลือยแล้วฆ่า (2010, A+++++++++++++++)
3.CASTRATED DOGS หมาตอน (2004, A+++++++++++++++)
4.NEVER LET ME GO (2011, A+++++++++++++++) seen on August 28
5.LOVE OF THE ECONOMIST เกมรัก/นักเศรษฐศาสตร์ (2011, A++++++++++) seen on June 24
6.ALT-CTRL-DEL (2008, A++++++++++)
7.APT PUPIL วิปริต (2011, A+++++) seen on July 29
8.ADD AS A FRIEND (2009, with Thanyanan Kooanupong, A+++++) seen on August 29
NINART BOONPOTHONG'S STAGE PLAYS
The more I watch Ninart's plays, the more I hope someone adapts his plays into films. His plays are great, and the films made from his plays will surely be ranked as ones of the best Thai films made in that year.
Ninart Boonpothong's stage plays that I have watched:
(in roughly chronological order)
1.CASTRATED DOGS หมาตอน (2004, A+++++++++++++++)
2.RED BUILDING ตึกแดง (2005, A+)
3.MISSING YOU (2006, A+)
4.MISERY คลั่ง (2006, with Pornpen Faumnuay, A-)
5.WILLIAM SHAKESPEARE'S THE TRAGEDY OF KING LEAR เย้ยฟ้า ท้าดิน (2007, A+/A)
6.WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION เมื่อผมหลับในคืนปฏิวัติ (2007, A+++++++++++++++)
7.ALT-CTRL-DEL (2008, A++++++++++)
8.LOST GIRLZ (2008, A+) seen on September 14
9.FRIENDS (2009, A+) seen on January 25
10.THE PRINCESS OF WOLF AND THE PRINCE OF NIGHT เจ้าหญิงหมาป่ากับเจ้าชายรัตติกาล (2009, with Wanatsanan Sasom and Jirawat Chantaseelkul, A-) seen on May 9
11.WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM (2009, with Rattapong Pinyosophon, A+/A) seen on June 5
12.ADD AS A FRIEND (2009, with Thanyanan Kooanupong, A+++++) seen on August 29
13.ASURAKAI อสูรกาย (2009, A+) seen on September 4
14.HANS CHRISTIAN ANDERSEN'S THE SNOW QUEEN ราชินีหิมะ (2009, with Jirawat Chantaseelkul, Chinnat Nopkhum, Chatchai Sattayadit, A+) seen on December 27
15.THE P-R-I-N-S-E-CC เจ้าหงิญ (2010, with Pornpen Faumnuay, A+) seen on January 22
16.GHOST OF THE ECONOMISTS (2010, A+) seen on February 6
17.THE TRAGEDY OF MACBETH มรรคบาท/ฆาตกรรม (2010, A+/A) seen on March 20
18.PORNOGRAM เปลือยแล้วฆ่า (2010, A+++++++++++++++) seen on June 13
19.THE RULE OF THE GAMES ความรักของตุลยา: ตีไข่ใส่ฟองรัก (2010, A+) seen on September 11
20.LADY MINA: VAMPIRE HUNTER (2011, A) seen on March 25
21.HOLD ON ME (2011, A+/A) seen on May 22
http://celinejulie.blogspot.com/2011/05/hold-on-me-2011-ninart-boonpothong-aa.html
22.PHAYATHAI JUNCTION สี่แยกรัก...พักติวหน่อย (2011, A+) seen on June 5
23.LOVE OF THE ECONOMIST เกมรัก/นักเศรษฐศาสตร์ (2011, A++++++++++) seen on June 24
24.APT PUPIL วิปริต (2011, A+++++) seen on July 29
25.PETER PAN (2011, A-) seen on August 7
26.NEVER LET ME GO (2011, A+++++++++++++++) seen on August 28
27.I LOVE SYNDROME (2011, A+) seen on November 19
Ninart Boonpothong's stage plays that I have watched:
(in roughly chronological order)
1.CASTRATED DOGS หมาตอน (2004, A+++++++++++++++)
2.RED BUILDING ตึกแดง (2005, A+)
3.MISSING YOU (2006, A+)
4.MISERY คลั่ง (2006, with Pornpen Faumnuay, A-)
5.WILLIAM SHAKESPEARE'S THE TRAGEDY OF KING LEAR เย้ยฟ้า ท้าดิน (2007, A+/A)
6.WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION เมื่อผมหลับในคืนปฏิวัติ (2007, A+++++++++++++++)
7.ALT-CTRL-DEL (2008, A++++++++++)
8.LOST GIRLZ (2008, A+) seen on September 14
9.FRIENDS (2009, A+) seen on January 25
10.THE PRINCESS OF WOLF AND THE PRINCE OF NIGHT เจ้าหญิงหมาป่ากับเจ้าชายรัตติกาล (2009, with Wanatsanan Sasom and Jirawat Chantaseelkul, A-) seen on May 9
11.WILLIAM SHAKESPEARE'S A MIDSUMMER NIGHT'S DREAM (2009, with Rattapong Pinyosophon, A+/A) seen on June 5
12.ADD AS A FRIEND (2009, with Thanyanan Kooanupong, A+++++) seen on August 29
13.ASURAKAI อสูรกาย (2009, A+) seen on September 4
14.HANS CHRISTIAN ANDERSEN'S THE SNOW QUEEN ราชินีหิมะ (2009, with Jirawat Chantaseelkul, Chinnat Nopkhum, Chatchai Sattayadit, A+) seen on December 27
15.THE P-R-I-N-S-E-CC เจ้าหงิญ (2010, with Pornpen Faumnuay, A+) seen on January 22
16.GHOST OF THE ECONOMISTS (2010, A+) seen on February 6
17.THE TRAGEDY OF MACBETH มรรคบาท/ฆาตกรรม (2010, A+/A) seen on March 20
18.PORNOGRAM เปลือยแล้วฆ่า (2010, A+++++++++++++++) seen on June 13
19.THE RULE OF THE GAMES ความรักของตุลยา: ตีไข่ใส่ฟองรัก (2010, A+) seen on September 11
20.LADY MINA: VAMPIRE HUNTER (2011, A) seen on March 25
21.HOLD ON ME (2011, A+/A) seen on May 22
http://celinejulie.blogspot.com/2011/05/hold-on-me-2011-ninart-boonpothong-aa.html
22.PHAYATHAI JUNCTION สี่แยกรัก...พักติวหน่อย (2011, A+) seen on June 5
23.LOVE OF THE ECONOMIST เกมรัก/นักเศรษฐศาสตร์ (2011, A++++++++++) seen on June 24
24.APT PUPIL วิปริต (2011, A+++++) seen on July 29
25.PETER PAN (2011, A-) seen on August 7
26.NEVER LET ME GO (2011, A+++++++++++++++) seen on August 28
27.I LOVE SYNDROME (2011, A+) seen on November 19
I LOVE SYNDROME (2011, Ninart Boonpothong, A+)
Things I like very much in this stage play include:
1.The Stockholm Syndrome story, which is about a man who kidnaps a famous male singer in order to get revenge on the elder brother of the singer, but the captor and the captive fall in love with each other. It's like a gay version of Pisarn Akaraseranee's films, because there's some sadomasochistic pleasure involved in the love between them.
This story is very romantic for me and fulfills my sexual fantasy. In this way, it satisfies me like FORGET ME NOT (2010, Naphat Chaithiangthum, 30 min, A+++++++++++++++), which is one of my most favorite films I have seen this year. FORGET ME NOT is about the love between two boys in a rural Thai setting, and the story happens 70-80 years ago. It's like a gay version of Cherd Songsri's films.
http://www.youtube.com/watch?v=xf9YXI3fJcI
Both FORGET ME NOT and I LOVE SYNDROME use some old formulas of heterosexual stories/forms/styles and adapt them for gay stories. And I find both of them very fulfilling and satisfying.
Will this become a trend for Thai gay films and Thai gay stage plays? I don't know, but I think it will be interesting if it becomes a new trend. In the past, there have been many gay experimental films, gay films about AIDS, and gay films about unequal rights or prejudices. Recently, there have been some Thai gay TV series about real gay lifestyles, such as LOVE AUDITION, which is a very good trend, though I haven't had time to watch them yet. And now gay films/gay stage plays which use old formulas of heterosexual stories are made. It is very satisfying to see that some genres of films which have been dominated by heterosexual stories in the past are now being adapted for gay stories. And there are still many genres for Thai gay films to explore, including the folklore genre, the martial-arts genre, the rural action genre, the melodrama about love-between-different-classes genre, the conscript (ทหารเกณฑ์) genre, etc. I hope to see more Thai gay films made along these genres in the near future.
LOVE AUDITION
http://www.youtube.com/watch?v=dWufhDEg37Y
Example from the folklore genre
http://www.youtube.com/watch?v=Vx3a1rqNdlg
the martial-arts genre
http://www.youtube.com/watch?v=xS-QJj2SW5E
the rural action genre
http://www.youtube.com/watch?v=rwMhcEs-aNI
the love-between-different-classes genre
http://www.youtube.com/watch?v=70O5elVu79Q
I also hope that the Stockholm Syndrome story will be adapted into a feature film. The role of the captive singer may be played by someone like Poppy. The role of the kidnapper may be played by someone like Peerawat Herabut.
Poppy
http://www.youtube.com/watch?v=88u9QBaGHSo
Peerawat Herabut
http://farm3.static.flickr.com/2344/2124823340_ee387e75a2_o.jpg
2. The fact that the Asperger Syndrome story does not have a happy ending. However, I think its ending is still a little bit too forced. In the ending of this story, which is also the ending of the play, the heroine accepts the fact that she cannot cope with her Asperger boyfriend any more, and decides to dump him no matter how pitiful or innocent he is. Later, when she reads a book about a neglected cat, it reminds her of him, and she feels very sad and wants to cry.
I like it very much that the heroine decides to dump her boyfriend, because I might do the same as her. Both the heroine and I are not virtuous or strong persons. We are just flawed human beings who are selfish, unable to solve every problem in life in a graceful manner, and we just want to survive. However, the ending scene is not successful in making the audience cry, and I think it is partly because the play doesn't spend enough time on this couple. We don't truly understand how much love the heroine might have for her boyfriend or how wonderful her boyfriend can be when they are together. It is understandable that the play contains four stories, so we cannot spend enough time on the Asperger couples. But this fact makes me able to sympathize only with the heroine's frustration with her boyfriend, but I cannot sympathize with the heroine's love for her boyfriend or her regret for having lost her boyfriend. I think this problem can solved if the story is adapted into a 60-90 minute play/film.
3.The play indirectly teaches the audience "not to trust the rumor or appearance", especially in the Stockholm Syndrome story and the Bipolar story. I like it very much that in the Stockholm Syndrome story, the rich elder brother seems like a wicked, crooked businessman at first, and the kidnapper seems like a Robin Hood or a victim who tries to get revenge. But later it turns out that the rich businessman is not as crooked as what we has assumed, and the kidnapper is the crooked one.
The Bipolar story is very interesting if you analyze it politically. But I won't analyze its politics because I know very little about politics. But I like it very much that this story about a superheroine who tries to fight a gang of bad men under an evil mafia (or politician?) is very complicated. Everything is not what it looks like. The superheroine may be a "false personality" of a girl. This false personality may be created by a person who secretly controls the girl and who may gain some profits for himself if the girl destroys the mafia. In this story, the son may betray the father, the follower may betray the leader, and the girl may betray herself.
In a way, I think this Bipolar story is at least as complicated as SHATTERED IMAGE (1998, Raul Ruiz). If this story is adapted into a feature film, its story and its political implications may be more interesting than RED EAGLE (2010, Wisit Sasanatieng, A+/A) and HEADSHOT (2011, Pen-ek Ratanaruang, A+).
4. The structure of the play. The play tells 4 four stories, each one of which has roughly three acts. What is amazing is that the play doesn't tell one story from start to finish before it starts to tell another one. But the play tells act one from each four stories, then tells act two from each four stories, then tells acts three from each four stories or something like that. But I LOVE SYNDROME is very easy to follow, and in fact, it can be considered one of the easiest plays to follow among Ninart's plays. Ninart is great in writing highly complicated stories with obscure messages. I LOVE SYNDROME has a complicated structure, but at least its message is clear (the play wants us to understand people who suffer from each of the four mental syndromes), so that's why I think I LOVE SYNDROME is one of the easiest plays to understand among Ninart's works.
5.Though I like the story of the Stockholm Syndrome the most, I think the performers in I LOVE SYNDROME are most successful in the Asperger story, partly because they play "normal university students" in this story. There is much fun in watching them talking in a fake birthday party scene in the Asperger story. In this story, the young actors play some characters who are not so far from their real lives. That may be one of the reasons why their performances can enliven the scene very much in this story.
1.The Stockholm Syndrome story, which is about a man who kidnaps a famous male singer in order to get revenge on the elder brother of the singer, but the captor and the captive fall in love with each other. It's like a gay version of Pisarn Akaraseranee's films, because there's some sadomasochistic pleasure involved in the love between them.
This story is very romantic for me and fulfills my sexual fantasy. In this way, it satisfies me like FORGET ME NOT (2010, Naphat Chaithiangthum, 30 min, A+++++++++++++++), which is one of my most favorite films I have seen this year. FORGET ME NOT is about the love between two boys in a rural Thai setting, and the story happens 70-80 years ago. It's like a gay version of Cherd Songsri's films.
http://www.youtube.com/watch?v=xf9YXI3fJcI
Both FORGET ME NOT and I LOVE SYNDROME use some old formulas of heterosexual stories/forms/styles and adapt them for gay stories. And I find both of them very fulfilling and satisfying.
Will this become a trend for Thai gay films and Thai gay stage plays? I don't know, but I think it will be interesting if it becomes a new trend. In the past, there have been many gay experimental films, gay films about AIDS, and gay films about unequal rights or prejudices. Recently, there have been some Thai gay TV series about real gay lifestyles, such as LOVE AUDITION, which is a very good trend, though I haven't had time to watch them yet. And now gay films/gay stage plays which use old formulas of heterosexual stories are made. It is very satisfying to see that some genres of films which have been dominated by heterosexual stories in the past are now being adapted for gay stories. And there are still many genres for Thai gay films to explore, including the folklore genre, the martial-arts genre, the rural action genre, the melodrama about love-between-different-classes genre, the conscript (ทหารเกณฑ์) genre, etc. I hope to see more Thai gay films made along these genres in the near future.
LOVE AUDITION
http://www.youtube.com/watch?v=dWufhDEg37Y
Example from the folklore genre
http://www.youtube.com/watch?v=Vx3a1rqNdlg
the martial-arts genre
http://www.youtube.com/watch?v=xS-QJj2SW5E
the rural action genre
http://www.youtube.com/watch?v=rwMhcEs-aNI
the love-between-different-classes genre
http://www.youtube.com/watch?v=70O5elVu79Q
I also hope that the Stockholm Syndrome story will be adapted into a feature film. The role of the captive singer may be played by someone like Poppy. The role of the kidnapper may be played by someone like Peerawat Herabut.
Poppy
http://www.youtube.com/watch?v=88u9QBaGHSo
Peerawat Herabut
http://farm3.static.flickr.com/2344/2124823340_ee387e75a2_o.jpg
2. The fact that the Asperger Syndrome story does not have a happy ending. However, I think its ending is still a little bit too forced. In the ending of this story, which is also the ending of the play, the heroine accepts the fact that she cannot cope with her Asperger boyfriend any more, and decides to dump him no matter how pitiful or innocent he is. Later, when she reads a book about a neglected cat, it reminds her of him, and she feels very sad and wants to cry.
I like it very much that the heroine decides to dump her boyfriend, because I might do the same as her. Both the heroine and I are not virtuous or strong persons. We are just flawed human beings who are selfish, unable to solve every problem in life in a graceful manner, and we just want to survive. However, the ending scene is not successful in making the audience cry, and I think it is partly because the play doesn't spend enough time on this couple. We don't truly understand how much love the heroine might have for her boyfriend or how wonderful her boyfriend can be when they are together. It is understandable that the play contains four stories, so we cannot spend enough time on the Asperger couples. But this fact makes me able to sympathize only with the heroine's frustration with her boyfriend, but I cannot sympathize with the heroine's love for her boyfriend or her regret for having lost her boyfriend. I think this problem can solved if the story is adapted into a 60-90 minute play/film.
3.The play indirectly teaches the audience "not to trust the rumor or appearance", especially in the Stockholm Syndrome story and the Bipolar story. I like it very much that in the Stockholm Syndrome story, the rich elder brother seems like a wicked, crooked businessman at first, and the kidnapper seems like a Robin Hood or a victim who tries to get revenge. But later it turns out that the rich businessman is not as crooked as what we has assumed, and the kidnapper is the crooked one.
The Bipolar story is very interesting if you analyze it politically. But I won't analyze its politics because I know very little about politics. But I like it very much that this story about a superheroine who tries to fight a gang of bad men under an evil mafia (or politician?) is very complicated. Everything is not what it looks like. The superheroine may be a "false personality" of a girl. This false personality may be created by a person who secretly controls the girl and who may gain some profits for himself if the girl destroys the mafia. In this story, the son may betray the father, the follower may betray the leader, and the girl may betray herself.
In a way, I think this Bipolar story is at least as complicated as SHATTERED IMAGE (1998, Raul Ruiz). If this story is adapted into a feature film, its story and its political implications may be more interesting than RED EAGLE (2010, Wisit Sasanatieng, A+/A) and HEADSHOT (2011, Pen-ek Ratanaruang, A+).
4. The structure of the play. The play tells 4 four stories, each one of which has roughly three acts. What is amazing is that the play doesn't tell one story from start to finish before it starts to tell another one. But the play tells act one from each four stories, then tells act two from each four stories, then tells acts three from each four stories or something like that. But I LOVE SYNDROME is very easy to follow, and in fact, it can be considered one of the easiest plays to follow among Ninart's plays. Ninart is great in writing highly complicated stories with obscure messages. I LOVE SYNDROME has a complicated structure, but at least its message is clear (the play wants us to understand people who suffer from each of the four mental syndromes), so that's why I think I LOVE SYNDROME is one of the easiest plays to understand among Ninart's works.
5.Though I like the story of the Stockholm Syndrome the most, I think the performers in I LOVE SYNDROME are most successful in the Asperger story, partly because they play "normal university students" in this story. There is much fun in watching them talking in a fake birthday party scene in the Asperger story. In this story, the young actors play some characters who are not so far from their real lives. That may be one of the reasons why their performances can enliven the scene very much in this story.
FORGET ME NOT (2010, Naphat Chaithiangthum, 30 min, A+++++++++++++++)
http://www.youtube.com/watch?v=xf9YXI3fJcI
This gay film makes me cry a bucketful of tears. One of my most favorite films I saw this year.
This gay film makes me cry a bucketful of tears. One of my most favorite films I saw this year.
NÉNETTE (2010, Nicolas Philibert, A++++++++++)
Talking about the gaze of monkeys reminds me of a film I just saw: NÉNETTE (2010, Nicolas Philibert, A++++++++++). There are a few scenes in this film which let us watch the face and the eyes of the female orangutan for a few minutes, while the orangutan is doing nothing except staring at the camera. After watching the eyes of the orangutan for a few minutes, I felt like crying, and I don't know why. The gaze of the orangutan in this film is extremely powerful, and its tremendous power is unexplainable for me.
I also like it very much that this documentary talks about the three husbands of Nénette and the fact that the zookeepers try to prevent Nénette from having sex with her own son.
I also wonder why there have been many films about monkeys made lately, including:
1.NÉNETTE
2.PROJECT NIM (2011, James Marsh), but I haven't seen it yet.
3.RISE OF THE PLANET OF THE APES (2011, Rupert Wyatt, A++++++++++)
4.ZOOKEEPER (2011, Frank Coraci, B)
I also like it very much that this documentary talks about the three husbands of Nénette and the fact that the zookeepers try to prevent Nénette from having sex with her own son.
I also wonder why there have been many films about monkeys made lately, including:
1.NÉNETTE
2.PROJECT NIM (2011, James Marsh), but I haven't seen it yet.
3.RISE OF THE PLANET OF THE APES (2011, Rupert Wyatt, A++++++++++)
4.ZOOKEEPER (2011, Frank Coraci, B)
Friday, November 25, 2011
Thursday, November 24, 2011
HOME STORIES (1990, Matthias Müller)
http://www.youtube.com/watch?v=tU2B0SWAlGY&feature=related
Thanks to Graiwoot for telling us about this.
Thanks to Graiwoot for telling us about this.
Tuesday, November 22, 2011
I WOULD LIKE TO HAVE A DAUGHTER LIKE THIS
This comes from the Argentine comic strip MAFALDA (1964-1973) by Quino.
Monday, November 21, 2011
MY FAVORITE FILMS ABOUT RACISM
This list is made for Wiwat Lertwiwatwongsa. :-)
My favorite films about racism
1.LES AMANTS DE L'OMBRE (2009, Philippe Niang, France)
2.AUSTRALIAN RULES (2001, Paul Goldman, Australia)
3.BETRAYED (1988, Costa-Gavras, UK)
4.ELISE, OR REAL LIFE (1970, Michel Drach, France)
5.THE HEART OF WHITENESS (2006, Rehad Desai, South Africa, documentary)
6.PATIALA HOUSE (2011, Nikhil Advani, India)
7.ROSEWOOD (1997, John Singleton)
8.THIS IS ENGLAND (2006, Shane Meadows, UK)
9.WE SHALL OVERCOME SOMEDAY (2004, Kazuyuki Izutsu, Japan)
10.WHITE MAN'S DOG (2006, Sipho Singiswa, South Africa, documentary)
Film wish list in this topic: SHOOT THE MESSENGER (2006, Ngozi Onwurah, UK), which is described as a cross between TO SIR WITH LOVE and A CLOCKWORK ORANGE.
My favorite films about racism
1.LES AMANTS DE L'OMBRE (2009, Philippe Niang, France)
2.AUSTRALIAN RULES (2001, Paul Goldman, Australia)
3.BETRAYED (1988, Costa-Gavras, UK)
4.ELISE, OR REAL LIFE (1970, Michel Drach, France)
5.THE HEART OF WHITENESS (2006, Rehad Desai, South Africa, documentary)
6.PATIALA HOUSE (2011, Nikhil Advani, India)
7.ROSEWOOD (1997, John Singleton)
8.THIS IS ENGLAND (2006, Shane Meadows, UK)
9.WE SHALL OVERCOME SOMEDAY (2004, Kazuyuki Izutsu, Japan)
10.WHITE MAN'S DOG (2006, Sipho Singiswa, South Africa, documentary)
Film wish list in this topic: SHOOT THE MESSENGER (2006, Ngozi Onwurah, UK), which is described as a cross between TO SIR WITH LOVE and A CLOCKWORK ORANGE.
SOME INFORMATION ON REZA PARSA
Sonthaya just told me about this blog entry, which is about the shooting of an episode in a Swedish TV series directed by Reza Parsa. Parsa directed BEFORE THE STORM (2000), which is one of my most favorite films of all time. Ingmar Bergman also praised him. Unfortunately, Parsa hasn't become famous during the past 10 years. :-(
http://deborahfronko.blogspot.com/2009/04/hagamannen-shoot.html
My old review on BEFORE THE STORM
http://www.imdb.com/title/tt0251091/reviews?start=1
http://deborahfronko.blogspot.com/2009/04/hagamannen-shoot.html
My old review on BEFORE THE STORM
http://www.imdb.com/title/tt0251091/reviews?start=1
Sunday, November 20, 2011
VAMPIRE STRAWBERRY (2011, Widit Thunyapun (aka Nati Punmanee) + Itthinop Opas (aka Boonchu Chearnyim), A+ as guilty pleasure)
It is easily one of the worst films I have ever seen in my whole life. Everything in it is indescribably bad: bad acting, bad script, bad dialogue, bad editing, bad lighting, bad colorist, etc. The film is full of meaningless dialogue, meaningless shots, meaningless scenes, etc.
Why do I give it A+? Because VAMPIRE STRAWBERRY is the film that makes me laugh the most this year, especially in the first 30 minutes, though I think 90% of what I laugh in this film is "unintentional".
Examples of what I like because it makes me laugh in this film:
1.The mentioning of the Syrian civil war in the opening scene. I think it is the first Thai film I have seen which mentions the Syrian civil war.
2.The bad editing in the following scene. I can't stop laughing at the editing in many action scenes in this film. The shots in these scenes seem not to match with one another.
3.The extremely wooden acting of some actors.
4. The shower scene, which is totally unnecessary.
5. The abrupt cut to the face of one female victim, and the look on that face
6.The repeated shot of the Vampire Sue when his fangs come out. The shot is not funny, but the repeating use of the shot is very funny
7.The shot in which two female victims stand guarding the coffins
8.The heroine's exclaiming in extreme amazement, "I have never seen anything like this before," when she sees the police troop.
9.The portrayal of police officers
10.How the vampire's story is being interrupted many times by the meaningless stories of various police officers.
In conclusion, VAMPIRE STRAWBERRY is as bad as, if not worse than, RACING LOVE (2011, Jetnipat Sasing, F). But while RACING LOVE doesn't give me a laugh, VAMPIRE STRAWBERRY is the film that makes me laugh the hardest this year. A classic shit.
Why do I give it A+? Because VAMPIRE STRAWBERRY is the film that makes me laugh the most this year, especially in the first 30 minutes, though I think 90% of what I laugh in this film is "unintentional".
Examples of what I like because it makes me laugh in this film:
1.The mentioning of the Syrian civil war in the opening scene. I think it is the first Thai film I have seen which mentions the Syrian civil war.
2.The bad editing in the following scene. I can't stop laughing at the editing in many action scenes in this film. The shots in these scenes seem not to match with one another.
3.The extremely wooden acting of some actors.
4. The shower scene, which is totally unnecessary.
5. The abrupt cut to the face of one female victim, and the look on that face
6.The repeated shot of the Vampire Sue when his fangs come out. The shot is not funny, but the repeating use of the shot is very funny
7.The shot in which two female victims stand guarding the coffins
8.The heroine's exclaiming in extreme amazement, "I have never seen anything like this before," when she sees the police troop.
9.The portrayal of police officers
10.How the vampire's story is being interrupted many times by the meaningless stories of various police officers.
In conclusion, VAMPIRE STRAWBERRY is as bad as, if not worse than, RACING LOVE (2011, Jetnipat Sasing, F). But while RACING LOVE doesn't give me a laugh, VAMPIRE STRAWBERRY is the film that makes me laugh the hardest this year. A classic shit.
A VOICE LIKE THE SKY, A FACE LIKE A DRUM (2011, Pam Rangsi, D)
I think everything in this film is very boring, except its mise-en-scène, which reminds me a little bit of KATZELMACHER (1969, Rainer Werner Fassbinder, A++++++++++).
"เสียงเท่าฟ้า หน้าเท่ากลอง" เราดูแล้วรู้สึกเบื่อมากพอๆกับมิดไมล์นะ แต่เราให้ D ไม่ได้ให้ F เพราะเราว่าการจัดภาพในหนังเรื่องนี้มันน่าสนใจดี มันไม่เหมือนหนังไทยยุคปัจจุบัน แต่มันไปเหมือนหนังอย่าง KATZELMACHER (1969, Rainer Werner Fassbinder, A++++++++++) แทน เราว่าการจัดภาพ ในเสียงเท่าฟ้า หน้าเท่ากลอง มันประหลาดๆและมันแหวกแนวดีมาก อย่างเช่นในหลายๆครั้งตัวละครที่คุยกันจะไม่หันหน้าคุยกัน แต่ทุกตัวละครที่คุยกันจะหันหน้าเข้าหากล้องกันหมดทุกตัว อะไรอย่างนี้เป็นต้น
อีกอย่างที่ประหลาดใจก็คือว่า ตอนแรกเรานึกว่าหนังเรื่องนี้จะเป็นหนังแนว "ซาบซึ้ง สมานฉันท์" หรืออะไรทำนองนี้ แต่เนื้อหาของหนังกลับเน้นไปที่การทรยศหักหลังโกงเงินกัน และดูเหมือนตัวละครที่พยายามจะรวบรวมนักดนตรีก็ทำอะไรแทบไม่สำเร็จสักอย่าง เราก็เลยไม่แน่ใจว่า "สาร" ที่หนังเรื่องนี้ต้องการจะสื่อคืออะไรกันแน่
"เสียงเท่าฟ้า หน้าเท่ากลอง" เราดูแล้วรู้สึกเบื่อมากพอๆกับมิดไมล์นะ แต่เราให้ D ไม่ได้ให้ F เพราะเราว่าการจัดภาพในหนังเรื่องนี้มันน่าสนใจดี มันไม่เหมือนหนังไทยยุคปัจจุบัน แต่มันไปเหมือนหนังอย่าง KATZELMACHER (1969, Rainer Werner Fassbinder, A++++++++++) แทน เราว่าการจัดภาพ ในเสียงเท่าฟ้า หน้าเท่ากลอง มันประหลาดๆและมันแหวกแนวดีมาก อย่างเช่นในหลายๆครั้งตัวละครที่คุยกันจะไม่หันหน้าคุยกัน แต่ทุกตัวละครที่คุยกันจะหันหน้าเข้าหากล้องกันหมดทุกตัว อะไรอย่างนี้เป็นต้น
อีกอย่างที่ประหลาดใจก็คือว่า ตอนแรกเรานึกว่าหนังเรื่องนี้จะเป็นหนังแนว "ซาบซึ้ง สมานฉันท์" หรืออะไรทำนองนี้ แต่เนื้อหาของหนังกลับเน้นไปที่การทรยศหักหลังโกงเงินกัน และดูเหมือนตัวละครที่พยายามจะรวบรวมนักดนตรีก็ทำอะไรแทบไม่สำเร็จสักอย่าง เราก็เลยไม่แน่ใจว่า "สาร" ที่หนังเรื่องนี้ต้องการจะสื่อคืออะไรกันแน่
Favorite Thai Songs 4: TRANSVESTITE ALERT -- Jojo Dominant
http://www.youtube.com/watch?v=YowKhJh05C4&NR=1
I wish to see the three transvestites in this mv battle against the other three in the mv Nicki Minaj's SUPERBASS (Parody version) and Azis.
SUPERBASS (PARODY VERSION)
http://www.youtube.com/watch?v=taXrahJIc-8
Azis
http://www.youtube.com/watch?v=P9sQZLtsfp8
I wish to see the three transvestites in this mv battle against the other three in the mv Nicki Minaj's SUPERBASS (Parody version) and Azis.
SUPERBASS (PARODY VERSION)
http://www.youtube.com/watch?v=taXrahJIc-8
Azis
http://www.youtube.com/watch?v=P9sQZLtsfp8
Thursday, November 17, 2011
FAVORITE QUOTE FROM MICHEL FOUCAULT
I like what Michel Foucault and Christoph Schlingensief talked about Werner Schroeter's films very much.
Michel Foucault talks about THE DEATH OF MARIA MALIBRAN (1973, Werner Schroeter, A+++++++++++++++++++++++++++++) and WILLOW SPRINGS that "They express something that is not attempting to explain what is happening, something that allows you to not even have to begin asking the question.”"
When Werner died Christoph Schlingensief wrote in his blog that he hoped his films would become accessible to a younger audience and find their way into the film school curriculum, not merely because his films were uniquely radical, but also because they were generally unique.
Thanks to Ratchapoom for telling us about this interview:
http://www.filmgalerie451.de/en/filme/mondo-lux/
There is a funny mistake in the interview: the name "Werner Herzog" is used instead of "Werner Schroeter" in one place.
Michel Foucault talks about THE DEATH OF MARIA MALIBRAN (1973, Werner Schroeter, A+++++++++++++++++++++++++++++) and WILLOW SPRINGS that "They express something that is not attempting to explain what is happening, something that allows you to not even have to begin asking the question.”"
When Werner died Christoph Schlingensief wrote in his blog that he hoped his films would become accessible to a younger audience and find their way into the film school curriculum, not merely because his films were uniquely radical, but also because they were generally unique.
Thanks to Ratchapoom for telling us about this interview:
http://www.filmgalerie451.de/en/filme/mondo-lux/
There is a funny mistake in the interview: the name "Werner Herzog" is used instead of "Werner Schroeter" in one place.
Tuesday, November 15, 2011
Favorite Old Songs 123: CAN YOU FEEL IT (1992) -- Chez Damier
I worship the intro of this song.
http://www.youtube.com/watch?v=hY5DjrWBJwg
http://www.youtube.com/watch?v=hY5DjrWBJwg
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