Sunday, February 28, 2010


Khun PC from Bioscope Webboard just told me about birubirFilms's Channel, which has many Soviet films with English subtitles.

It's a real treasure. There are many films I haven't heard before. There are also many films I wish I have time to watch, such as:

1.THE AMPHIBIAN MAN (1961, G. Kazansky & V. Chebotarev)

2.THE DAWNS ARE QUIET (1972, Stanislav Rostotsky) nominated for Oscar's Best Foreign Language Film

3.THE DEAD MOUNTAINEER HOTEL (1979, Grigori Kromanov) from a novel of the Strugatsky Brothers

4.HEART OF A DOG (1988, Vladimir Bortko) from a story by Mikhail Bulgakov

5.IVAN VASILIEVICH CHANGES OCCUPATION (1973, Leonid Gaidai) from a play by Mikhail Bulgakov

6.LETTERS FROM A DEAD MAN (1986, Konstantin Lopushansky)

7.MOSCOW DOES NOT BELIEVE IN TEARS (1980, Vladimir Menshov) the winner of Oscar's Best Foreign Language Film

8.OBLOMOV (1980, Nikita Mikhalkov)

9.RUSLAN AND LUDMILA (1972, Aleksandr Ptushko)

10.A SLAVE OF LOVE (1976, Nikita Mikhalkov)

11.TO THE STARS BY HARD WAYS (1981, Richard Viktorov)

12.AN UNFINISHED PIECE FOR A PIANO PLAYER (1977, Nikita Mikhalkov) from a play by Anton Chekhov

I also found out that AELITA, QUEEN OF MARS (1924, Jakov Protazanov) is available in Youtube:

Friday, February 26, 2010


Wassachol Sirichanthanun interviewed Napat Treepalawisetkun as a class assignment, and then she posted the full interview in her Facebook. I think the interview is very interesting, so I asked for her permission to post it here, too. I hope you enjoy reading it:

This piece of interview is a part of my journalism class at the university. I've made a long-length interview which is longer than the teacher expected. Fall out that I've to cut many questions off. I feel that I've got to do something about it so I decided to post the complete edition in here.

Hope you all enjoy it though! : )

(Also sorry for my broken English na ka)


By Wassachol Sirichanthanun

February 8, 2010 at 4:45 PM

Surat Osathanugrah Library, Bangkok University, Rangsit Campus

Napat Treepalawisetkun, 19-year-old Bangkok University film student, has just been mentioned in the magazine Indian Auteur as one of the most interesting young independent Thai directors these days. His works reached maturity much quicker than it supposes to be. They are very controversial because of sexual and political contents. Blood, skin, inner organs, knife, scissors, gun, masturbation and seduction are his main elements. Hired gun, gossip models, spoiled girl, guilty mother and disable son are his main characters. He has got a reputation from the way he presents the films and approaches the audiences; unique, stunning, provoking and completely different from other young directors in the circle. He won many prizes from the short film festivals held by Thai Film Foundation these years. Last year he didn’t get the prize but his film “Seduction Lullaby” was considered one of the most interesting films in the festival. More than two hundreds audiences seemed shocked and screamed out loud at the same time as the climax scene pop up. This is the situation that has never happened before in the record of Thai short film screening. His sparkling eyes answered me why his films, and also he himself, shouldn’t be overlooked.

Q--How did you start involving in the film career?

A--Basically, I love watching various kinds of film. Then when I was in Mattayom 5, I started to feel that I've to make my own film. So I wrote a script called "A Series of Salinee Event" and went over it for many times. I wrote many drafts of them with Nene my actress to get the best script. Then I attended the filmmaking workshop held by Durakit Pundit University. I started to film it right away after the workshop and later I received the honorable mention for Special White Elephant Award, the award for under-18 filmmakers, from the 12th Thai Short Film Festival.

Q--Who is your most influenced inspiration?

A--I think it's because I like thriller film a lot. I really love Tuck Bongkoch's acting in “The Passion” at the time so we got an idea about making a film dedicated to her. After Tuck Bongkoch, we discovered John Waters and he proved that she is completely a loser. Divine his actress came up in our mind. At last, this film came out and it was full with blood and inner organs. I've to say that he has become my biggest inspiration since then until now. Because of his insanity, it made me feel that this film is completely out of control. Everything he has done made me realize that making a film has no need to be pretended. I prefer the more realistic way but with an extreme expression too. This is the reason why I like him.

Q--Lately, you works seem to be more realistic, sensitive and deep down inside people's heart. How did this idea become you today?

A--At that time I saw the film “The Ring.” There is one part in the film that shows a horror video clip which has nothing to be afraid of. It was just a manipulation of ordinary pictures but it had haunted me for many days. So after seeing this film, I felt like making something like this too. This idea forced me to make the 3-minute film “The Dress.” The feedback from the audience was so good that it encouraged me to go on making film in the less showy style. Later, I was influenced by Michael Haneke's “The Piano Teacher” and “Hidden.” I've found out that this is my way. I wanted to try the more dramatic, realistic and depressive way to the put a pressure on the audience.

Q--John Waters and Michael Haneke are so different. Could you please tell us about the time when you started to change your attitude?

A--I possibly get bored of being aggressive after making about 7-8 films in Waters' style. I started to feel that it's time to try another style then Haneke came into my life in the perfect time. So I thought I'd better try this way. At the same time, Nene was not interested in acting anymore. That's why my style has changed.

Q--Most of your films contain a lot of violence. Why do you believe in this style of portraying the story? Why do you think that violence could present your idea better than any other way?

A--Actually I didn't mean to film such a violent film at all. But when I started to write the script, something always pushes me in this track. It's possibly because of my family that makes me absorb this violence.

Q--Have you ever thought about making a non-violent film after this?

A--I really want to but I’m not sure how it’s going to be. Actually I’m thinking about making a new film at the time. It’s a film about aliens. At first, no violence would appear in the film as it is a sci-fi movie. After thinking over about it, the scene that an alien seduces a woman pops up. He does that in order to produce more human descent. I’m making another violent film again, you see? (Laugh) The event will happen in the future era when human is not allowed to have sex anymore. The special ones who are allowed to do so have to be selected. They have to stay in a place like Nazi’s concentration camp. Only the perfect mans are staying there. (Laugh) I’m going to film it for real. You all would get a chance to see it soon. It’s a film about womankind after all.

Q--Talking about womankind, I’ve found out that most of your films are involved with the maternity. They are more likely to deal with a relationship between mother and daughter than any other kinds of relationship. Why are you so interested in this topic?

A--Actually I’ve never thought about this before but I admit that all of them are about mother and daughter, not even a son. Maybe it’s because I worship womankind. I really attached to my mother when I was young. It makes me curious about the maternity.

Q--What about the relationship between you and your mother?

A--When I was young, my mother worked out a lot so I didn’t see her so often. I was with my father more but I’ve a conflict with him so I don’t even feel like I love him at all. I just accept him as a birth-giver, that’s all. A little bit sad but true. I love my mother but I haven’t spent time with her much, that’s why I want to explore the maternity that I hardly know about.

Q--Some film critics criticized your works so frankly that you have your own signature but can’t break out of making films dedicated to those big directors at all. They said they want to see the real you. How do you feel about this comment?

A--I admit that every single film of mine was inspired by those directors and I had a real intention to dedicate my films to them. Every idea in my films came after I was attracted by each film and each director. I don’t know what to do so I decided to make a film dedicated to him. But asking about making a film without an “Inspired by” or “Dedicated to”, I think it’s impossible for me. It seems that they are the reason why I’m still making film today. They have shaped me a lot, that’s why my films are always like this. I don’t feel anything about this comment because it’s real. I really used their style to make my own films. My own original style might appear someday but I’ve to wait. My style has been changing continuously during these days. “I Will Rape You with This Scissors” and “Seduction Lullaby” are not the same. The alien film I’m making this year is another style. This sci-fi one might be my own original one because I haven’t got the inspiration from anyone but me.

Q--Some critics said that your directing has been developing continuously since the film “Seduction Lullaby.” How do you feel about this comment? Do you have an idea of setting yourself straight in directing? Are you interested in working in other positions as well?

A--I’ve to thank them so much for the comment and I’m glad to take it as an encouragement. What I am today also derived from the environment. Studying in film school made me realize that I’ve been overrated my films for a long time. I first thought that my films are good enough until I walked into this film school. I feel that they are so bad that I wanted to improve my own skill. It is also because of my friend Bentley, a young director and editor who studies here with me. His works, shooting, directing, and script, are perfect because he always thinks of every possibility. All factors went through his thinking process. I wanted to do something like that too so I tried to think more carefully and effectively in “Seduction Lullaby.” I had got a headache for a couple of days after finishing the script and shooting the whole film. Asking about setting myself straight in directing, I don’t think I want to work as a director that much. If possible, I’d better be a critic or a teacher and let film making be my hobby instead. I think I might enjoy teaching more than going out for a shoot. Being a teacher is not that bad. I think it’s a job that uses a lot of thoughts. It’s nice to produce good human resources for the future. But if talking about other positions in production house, I think I’m interested in costume design and sound design because these jobs require a lot of thoughts and creativity. I like various styles of music. There is also an Indian song in “I Will Rape You with This Scissors.” I like Indian song the most because its vocal and instrumental sounds are so provoking. I also love classical music especially Vivaldi. I also admired the Japanese sound designer Koichi Shimizu. I think this job is very interesting.

Q--You also acted in your own film “Seduction Lullaby” and your friend’s “Passion Sonata.” In your opinion, what are the differences between directing others, directing your own self, and directed by other?

A--In “Seduction Lullaby” I both directed others and directed myself. I think if I’ve to concentrate on my own acting, I’ll lose control of other factors in the film. But when I was directed by someone else, I could be more concentrated on my own acting and let the director deal with the other stuffs. So it’s better to direct others and control all the stuffs by myself. The reason why I had to act in my own film is that I couldn’t find anyone who dared to act as this character. I had created this character from my own thought and I think it’s better to act it by myself right away. It’s hard to find somebody who is really into this character more that I do.

Q--Does your team in this film school have an influence on your works? Are they supporting you a lot during this time?

A--Yes, they influence me a lot. My style has changed completely after stepping into this film school. When I was in high school, I don’t know who I could talk about film with. But now here I’ve more companions which help developing my own thoughts and attitude a lot.

Q--What is your opinion on starting to make a film since one was young? What did you gain and what did you lose?

A--I think it’s good enough to know what we would like to do since we were young as I decided to get in to this film school since I was in the first year of high school. Another advantage is that we started before the others so we tend to have more development. The only small disadvantage is that we have got skills less than other older filmmakers. Apart from that, I don’t see any disadvantage. There are many young directors upcoming these days and many of them are very interesting.

Q--Most of the young filmmakers’ dream these days is to make a feature film but you once refused it. Are you still having the same willing of not making a feature film?

A--I think it’s good for them to try if there is an inspiration driving behind. They could be our valuable human resources of Thai film industry in the future. But for me, I don’t want to make a feature film because I don’t think I would be able to manage such a huge production. I don’t have enough ability to deal with that especially a mainstream feature film in the film industry. I don’t feel like doing it at all. I think I’ve more freedom when making an independent film like this. We can do whatever we want. If we work in the film industry, we have to be more considered of the feedback and the acceptance of the audience. The income is also viewed as an important factor. The censorship and the rating system also counted. These things lessen the value of our own self-esteem.

Q--What is your opinion on censorship and rating system in Thailand? Will anything change in the future?

A--In Thailand, the rating system has just been launched but the censorship still remains. I think it couldn’t go further than this. I believe that there will still be some problems even we have got the absolutely complete rating system. It’s impossible to make it perfect. But it’s getting better nowadays. The uncut version of a controversial film “The Shadow of Naga” is now allowed to screen in the cinema. So I think the situation might be better.

Q--Excluding the possibility, have you ever thought about making your own mega dream project in the future?

A--Yes, I’ve been thinking about it since I was a freshman which has been two years already. It’s a film about everything: maternity, religion and future era. It will be made as a sci-fi. But the scale is so huge that I don’t think I would be able to manage. The title is quite long. It is called “Bua: A Fantasy Journey of Absurd Woman in Surrealist World to the End of the Humanity” (ความฝันและความหวังของบัวต่อการมีชีวิตอยู่ในวันที่ฟ้าล่มแผ่นดินสลาย). This is what I really want to do.

Q--What do you expect the film industry in Thailand to be in the future?

A--I think it’s getting better. Apart from the mainstream, a lot of interesting independent films are also screened in the cinemas. We have got many great directors too. Many young directors nowadays start to make a film since they were in secondary school which is a quicker than me. I just hope that they will be able to keep improving their own skills. I just hope that everything will be better and better everyday.

Q--Lastly, what makes you the way you are today?

A--I believe in family. I think that the word “family” is the answer to every question. It shaped what we are today. I don’t have a warm family and I don’t love my dad at all. That’s why I’m making this kind of film. That’s what my identity is. I really believe in family, to emphasize.

"This article is inspired by Jit Phokaew's article on 20 Young Independent Thai Directors : )"

Special Thanks: Pea Panuvatvanich, Chayanin Tiangpitayagorn, Chakorn Chiprecha and Peeraphat Puspavesa


Photo of Napat by Wassachol


IT'S HARD TO SAY HOW I LOVE YOU, CAPTAIN HOOK will be shown again on Friday, March 5, at 1900 hrs, on the fifth floor of Bangkok Art and Culture Center. The program is organized by Third Class Citizen and its details can be found here:


Monday, February 22, 2010



My poll 71 is inspired by A LAKE (2008, Philippe Grandrieux), a film which captures images in the darkness in the most beautiful way. After I had seen A LAKE, I think I should make a list of films of which the visual darkness I like very much. I like some of these films because their dark or almost-dark images are very beautiful. I also like some of them because they use "darkness" or "dark scenes" in a very interesting way, though their images may not be beautiful.


1.THE BANGKOK BOURGEOIS PARTY (2007, Prap Boonpan, Thailand)
In this film, we see a blackout scene which lasts for about 3-5 minutes. We hear nothing. We see nothing except the darkness on the screen. This scene comes after the Bangkok bourgeois characters kill someone who thinks differently.

2.BLOOD CANNOT BE CHANGED (เพื่อนสาวผีดิบ) (2009, Wannasak Sirilar, Thai stage play)
This is a stage play about vampires. The lighting and the darkness in this play are superb. The images below are shot by Wiwat Lertwiwatwongsa.

3.THE BOY FROM MARS (2005, Philippe Parreno, France)
I feel as if the darkness in this film is a kind of liquid which can flow out of the screen.

4.THE BUTTERFLY EFFECT (2009, Wiwat Lertwiwatwongsa, Thailand)
I love the scene in which a body is dancing in the darkness.

5.ENDLESS RHYME (2008, Tanatchai Bandasak, Thailand)
The film is beautifully wrapped up in darkness.

6.A FAREWELL TO HEMINGWAY (2008, Svetoslav Ovtcharov, Bulgaria)
I like the lighting in this film very much. The candle-lit images in this film are as beautiful as paintings made 500 years ago.

7.THE INSURANCE (ประกันชีวิต) (2009, Nok Paksnavin, Thailand)
This film is shot in an island in the South of Thailand. The film is quite dark near the end.

8.KEMPINSKI (2007, Neil Beloufa, France)

9.THE KITE (ZMEY) (2002, Aleksei Muradov, Russia)
The images in this film are as dark, gloomy, and powerful as Béla Tarr's and Fred Kelemen's films. This film is one of Sonthaya Subyen's most favorite overlooked films of the last decade. He also thinks that ZMEY belongs to the same group of films as the ones made by Andrei Tarkovsky and Sharunas Bartas.

10.A LAKE (2008, Philippe Grandrieux, France)
The scene in which we see a body walking in the darkness is one of the most beautiful scenes I have ever seen. I feel as if these scenes were not recorded by camera. I feel as if these images were made by psychic power.

11.LOST HIGHWAY (1996, David Lynch, USA)
I like the scene in which we see Bill Pullman and Patricia Arquette walking in the darkness.

12.NE CHANGE RIEN (2009, Pedro Costa, Portugal)
Jeanne Balibar is magically alluring in the darkness.

13.THE NIGHT WILL PAY (2004, Néstor Mazzini, Argentina)
Is this film an unlikely marriage between Ken Loach and David Lynch? Because the film deals with the problem of poor people, but it is very haunting.

14.ONE NIGHT (2008, Zart Tancharoen, Thailand)
I don't know what happens in this film. It's too dark, but it's very captivating. Nanoguy thinks what we see in this film is the images of some rubber plantation workers in the South of Thailand who start working before dawn. Some of them may get killed because of the violence in the South. I'm not sure if Nanoguy's theory is true or not, because I only see images of some bodies moving in the darkness and some lights moving in the darkness in this film. But I believe Nanoguy's theory is highly likely to be true.

15.PERU TIME (2008, Chaloemkiat Saeyong, Thailand)
The film is quite dark near the end.

16.THE POLICEWOMAN (2003, Joaquim Sapinho, Portugal)
I wrote a comment on this film in

17.THE RIVER (1997, Tsai Ming-liang, Taiwan)
I like the scene in the gay sauna.

18.THE SUN (2004, Alexander Sokurov, Russia)
This is a film where the sun doesn't really shine.

19.THESIS (1995, Alejandro Amenábar, Spain)
I like the scene in the hidden room in the library very much. It's the scene in which the heroine walks in complete darkness, using the light from her matches or something like that to guide her way. Every time she lights her match, I feel like screaming, because I fear so much what she would see in the darkness.

20.TROPICAL MALADY (2004, Apichatpong Weerasethakul, Thailand)

You can cast multiple votes.

The theme song for this poll is INTO THE NIGHT by Julee Cruise:


My poll 70 ended with three votes. Thanks to everyone who participated in it. Here is the result:


1.THE BACHELOR (1997, Nikos Panayotopoulos, Greece)
+BLIND SPOT (2002, Hanna Antonina Wojcik-Slak, Slovenia)
+BRIGHT YOUNG THINGS (2003, Stephen Fry, UK)
+THE CHERRY PICK (1996, Arno Kranenborg, Netherlands)
+THE COLLECTRESS (2008, Kristina Buozyte, Lithuania)
+ELVIS AND MARILYN (1998, Armando Manni, Italy)
+FALLEN (2005, Fred Kelemen, Latvia)
+FEAR OF HEIGHTS (1994, Houchang Allahyari, Austria)
+GLORIA (1999, Manuela Viegas, Portugal)
+HEAVEN AND HELL (1988, Morten Arnfred, Denmark)
+IL CAPITANO (1991, Jan Troell, Sweden)
+SCHULTZE GETS THE BLUES (2003, Michael Schorr, Germany)
+SILENT WEDDING (2008, Horatiu Malaele, Romania)

Each of these films got 1 vote, or 33 %.

14.AMBUSH (1999, Olli Saarela, Finland)
+BYE BYE BLACKBIRD (2005, Robinson Savary, Luxembourg)
+THE CARRIERS ARE WAITING (1999, Benoit Mariage, Belgium)
+LOVE STORIES (1997, Jerzy Stuhr, Poland)
+MONKEYS IN WINTER (2006, Milena Andonova, Bulgaria)
+PLEASANT DAYS (2002, Kornel Mundruczo, Hungary)
+THE SEA AND THE WEATHER (EL MAR Y EL TIEMPO) (1989, Fernando Fernan Gomez, Spain)

Each of these films got 0 vote.

--I'm very sorry that it took me so long to compile the results of this poll. I should have compiled its results on December 12, 2009. I am more than two months late. It is partly because I have been too much addicted to Facebook, so I don't have much time to blog any more. It is also because I have been watching the TV channel "TV5 MONDE ASIE" lately. It shows about 4 new French films/mini-series with English subtitles each week. That means I am now spending about 7 hours a week in front of TV, instead of blogging. My time for internet is very limited now.

--Other films I love in the European Union Film Festival in Bangkok include:

21.ADEUS, PAI (1996, Luís Filipe Rocha, Portugal)

22.AMNESIA (2001, Martin Koolhoven, Netherlands)

23.EL CHICKO (1995, David Rühm, Austria)

24.THE CRUEL EMBRACE (1987, Marion Hänsel, Belgium)

25.DECEMBER BRIDE (1990, Thaddeus O'Sullivan, UK)

26.ELINE VERE (1991, Harry Kümel, Netherlands)

27.THE ICE RINK (1998, Jean-Philippe Toussaint, Belgium)

28.PEPPERMINT (1999, Costas Kapakas, Greece)

29.WITH GREAT JOY (2001, Lodewijk Crijns, Netherlands)

30.ZAPPA (1983, Bille August, Denmark)


Animation Unlimited

This program will be shown at the Reading Room on Saturday, Feb 27, at 1400 hrs.

Animation Master
The (Almost) Complete Works of Georges Schwizgebel (Switzerland, 70min)

Hors-jeu (1977)
Perspectives (1975)
Le vol d'lcare (1974)
Le sujet du tableau (1989)
Le ravissement de Frank N. Stein (1982)
78 Tours (1985)
Nakounine (1986)
La course à l'abîme (1992)
The Year of the Deer (1995)
Zig Zag (1996)Fugue (1998)
The Young Girl and the Cloud (2001)
The Man with No Shadow (2004)
Jeu (2006)

Classic Animations (138min)
25 Ways To Quit Smoking (USA, 1989, 5min) Bill Plympton

Intolerance & Intolerance II (Phil Mulloy, USA, 2000 & 2001, 25min)

Intolerance III - The Final Solution (Phil Mulloy, USA, 2004, 24min)

The Vanished World Of Gloves (Jiri Barta, Czechoslovakia, 1982, 16min)

Balance (Lauenstein Brother, Germany, 1989, 7min)

Tango (Zbigniew Rybczynski, Poland, 1982, 8min)

Au Bout Du Monde (France, 1998, 8min)

Konstantin BronzitCrac (Frederic Back, Canada, 1980, 15min)

Special Delivery (John Weldon & Eunice Macaulay Strange, Canada, 1978, 7min)

The Old Lady And The Pigeons (Sylvain Chomet, France, 1998, 22min)


I have heard that THE CRUELTY OF SOY SAUCE MAN (Director's cut) (Phaisit Phanphruksachat) and COLOURS ON THE STREETS (Director's cut) (Weerapong Wimuktalop) will be shown at Thammasat University Library on Sunday, March 7, at 1230 hrs, instead of on February 28, because the library will be closed on February 28.

Sunday, February 21, 2010


I'm extremely glad that Semih Kaplanoglu wins the Golden Bear Award for HONEY.

As for Kaplanoglu's films, I love ANGEL'S FALL (2005, A+++++++++++++++) the most, EGG (2007, A++++++++++) the second, and MILK (2008, A+) the third.

I'm also glad that Black Forests and Sonthaya Subyen chose ANGEL'S FALL as one of their most favorite films of the last decade.


This is my comment in Filmsick's blog:ตรรกะ-นางกำจายทำให้โลกร/
The government is the real villain!

THE CRUCIBLE (2010, Malinda Pamornsuwan, A++++++++++)

THE CRUCIBLE (2010, Malinda Pamornsuwan, A+++++),

PERFUMED NIGHTMARE (1977, Kidlat Tahimik, A+++++),

POUR L'AMOUR DE DIEU (2006, Ahmed Bouchaala + Zakia Tahri, A+++++),

SUPERBIA (1986, Ulrike Ottinger, A+++++),

APRIL (1962, Otar Iossseliani, A+++++),

HISTORY ON THE AIR (2009, Chaloemkiat Saeyong, A+++++),

LES BUREAUX DE DIEU (2008, Claire Simon, A+),

TURUMBA (1981, Kidlat Tahimik, A+)
SHERLOCK JR. (1924, Buster Keaton, A+)
AIR DOLL (2009, Hirokazu Koreeda, A+)
LIFE (1993, Artavazd Peleshyan, A+)
END (1994, Artavazd Peleshyan, A+)
BREAD AND ALLEY (1970, Abbas Kiarostami, A+)
FORTITUDE (1988, Yevgeni Yufit, A+)
UNMISTAKEN CHILD (2008, Nati Baratz, A+)
THE WEAVER (2009, Auraeus Solito, A+)
IN THE HOUSE BY THE CANAL (2010, Michael Shaowanasai, A+)

TIBET: CRY OF THE SNOW LION (2002, Tom Peosay, A+/A)
CONFUCIUS (2010, Hu Mei, A+/A)
ROCKY VI (1986, Aki Kaurismaki, A)
E KIM LOOK CORE PUEN GOL (2010, Nut Nualpang, A)
HIMALAYA – L'ENFANCE D'UN CHEF (1999, Eric Valli, A)
LOVE (2010, BBOYCG, A-)
MY NAME IS KHAN (2010, Karan Johar, A-/B+)

Friday, February 19, 2010

C'EST DANS L'AIR – Mylène Farmer

Vanité… c’est laid
Trahison… c’est laid
Lâcheté… c’est laid
Délation… c’est laid

La cruauté… c’est laid
La calomnie… c’est laid
L’âpreté… c’est laid
L’infamie… c’est laid

Les cabossés vous dérangent
Tous les fêlés sont des anges
Les opprimés vous démangent
Les mal-aimés, qui les venge ?

Les calamités dérangent
Les chaotiques sont des anges
Pas comme les autres, démangent
Les bons apôtres je les mange

C’est dans l’air
C’est dans l’air
C’est dans l’air, c’est nécessaire
Prendre l’air
Parfois piquer la poupée

C’est dans l’air
C’est dans l’air
C’est dans l’air, c’est millénaire
Quid de nos amours passés

C’est dans l’air
C’est dans l’air
C’est dans l’air, c’est salutaire
Sauf qui peut
Sauve c’est mieux !
Sauf qu’ici, loin sont les cieux

C’est dans l’air
C’est dans l’air
C’est dans l’air, c’est nucléaire
On s’en fout
On est tout
On finira au fond du trou

Et… moi je chante
Moi je…m’invente une vie.

La fatuité… c’est laid
La tyrannie… c’est laid
La félonie… c’est laid
Mais la vie c’est ça aussi.

Tous les rebuts vous dérangent
Pourtant les fous sont des anges
Les incompris vous démangent
Que faire des ruses… Que fait le vent ?

Wednesday, February 17, 2010


Two posters for the film program by DK Filmhouse, and a photo of Weerapong Wimuktalop, the director of COLOURS ON THE STREETS (2009). The posters are made by Wiwat Lertwiwatwongsa.


Ang Maikling Buhay ng Apoy, Act2 Scene 2, Suring at ang Kuk-ok (The Brief Lifespan of Fire, Act 2 Scene 2, Suring & the Kuk-ok) from Auraeus Solito on Vimeo.


THE JEWEL ORNAMENT (2010, Jennifer MacMillan)

HISTORY ON THE AIR (2009, Chaloemkiat Saeyong, A++++++++++)

HISTORY ON THE AIR (บุคคลที่ตกค้างอยู่ภายในความทรงจำ) (2009, Chaloemkiat Saeyong, 62 min, A+++++++++++)

ชอบหลายสิ่งหลายอย่างในหนังเรื่องนี้มาก อย่างเช่น

1.ชอบที่มันมีบางส่วนเหมือนหนังสารคดีที่ให้ข้อมูลเกี่ยวกับประวัติสนามบิน แต่หนังมันไม่ได้หยุดอยู่ที่การให้ข้อมูล แต่มันไปไกลกว่านั้นมาก

2.ชอบอารมณ์ของการถูกทอดทิ้งในหนังเรื่องนี้ ทั้งบรรยากาศเปลี่ยวร้างในสนามบิน และเหล่าบรรดาสิ่งของที่ถูกทอดทิ้งหรือดูเหมือนหมดค่าในช่วงท้ายเรื่อง



5.ชอบการแปลงคำให้สัมภาษณ์เป็น text ในหนังเรื่องนี้ มันทำให้หนังไม่น่าเบื่อ และทำให้รับรู้ข้อมูลได้สะดวกขึ้น

6.ชอบฉากที่อาจารย์ม.ศิลปากรให้สัมภาษณ์ โดยเฉพาะประโยคที่ว่า สนามบินไม่ได้เป็นผู้ชายหรือผู้หญิง แต่เป็นเกย์





Tuesday, February 16, 2010



1.ALL MY TUMBLER GIRLS OR ALL ABOUT WOMEN WHO DARE TO... (2009, Lothar Lambert, Germany)

2.BOUNDARIES (2010, Andreas Kleinert, Germany)

3.THE COUNTING OF THE DAMAGES (2010, Inés de Oliveira Cézar, Argentina)

4.DOUBLE TIDE (2009, Sharon Lockhart, USA/Austria)

5.EASTERN DRIFT (2010, Sharunas Bartas, Lithuania)

6.GOING SOUTH (2009, Sébastien Lifshitz, France)

7.INITIATION (2009, Peter Kern, Austria)

8.IN THE SHADOWS (2010, Thomas Arslan, Germany)

9.NEW YORK MEMORIES (2010, Rosa von Praunheim, Germany)

10.ORLY (2010, Angela Schanelec, Germany)

Sunday, February 14, 2010


Peter Nellhaus awarded me the "Kreativ Blogger" award on January 13

I feel very glad and honored with this award. And now I think it is time for me to pass this award onto seven other bloggers.

Here are the rules for this award, but I don't think you have to follow these rules. Hahaha.

1. Thank the person who nominated you for this award.
2. Copy the logo and place it on your blog.
3. Link to the person who nominated you for this award.
4. Name 7 things about yourself that people might find interesting.
5. Nominate 7 Kreativ Bloggers.
6. Post links to the 7 blogs you nominate.
7. Leave a comment on each of the blogs letting them know they have been nominated.

Here are my seven Kreativ bloggers:

1.Iain Stott, for his two blogs:

I'm very grateful for Iain who invited me to participate in his Beyond the Canon poll:

His Beyond the Canon blog is amazing, because it is full of many interesting individual lists, such as Miguel Marias' list:

2.Matthew Flanagan
Because I love the images in his blog.

3.Nanoguy (in Thai)
Because he wrote a lot about Thai short films.

4.Sonthaya Subyen (in Thai)
Because he teaches me many things about films.

5.Wise Kwai
Because he writes a lot about Thai films.

6.Wiwat Lertwiwatwongsa
Because he teaches me many things about films.

7.Zach Campbell
Because he teaches me many things about films.


1.I loved reading Japanese cartoons when I was a child.

My favorite cartoons include

1.1 BLUE SONNET (1981-1987) by Shibata Masahiro

1.2 CANDY CANDY (1975-1979) by Yumiko Igarashi

1.3 CRYSTAL DRAGON (1981-ongoing) by Ashibe Yuho

1.4 A DOUBT GAME by Shibata Ayuko

1.5 GLASS MASK (1976-ongoing) by Suzue Miuchi

1.6 HAIKARA-SANGA TOORU by Yamato Waki

1.7 DARKNESS OF THE SEA, SHADOW OF THE MOON (1986-1991) by Shinohara Chie

2.I loved watching many TV series when I was a child. My favorite TV series include:


2.2 CHARLIE'S ANGELS (1976-1981)

2.3 CONSCIENCE (1994), a Hong Kong TV series starring Maggie Siu

2.4 GRIDTAYA (1989, Worayoot Pichaisoratat)

2.5 PORN SEE LEUD (BLOOD-COLORED BLESSING) (1978, Adul Green), a Thai TV series on Channel 3 starring Nart Poowanai, Mayurachat Muenprasittiwate, and Chorpetch Chaiyanate. I think it is inspired by Agatha Christie's AND THEN THERE WERE NONE.

2.6 PUNKY BREWSTER (1984-1988)

2.7 TUCKER'S WITCH (1982-1983)

3.I have always wanted to be a witch after I watched MIDNIGHT OFFERINGS (1981, Rod Holcomb)

4.I was crazy for Tom Cruise after I saw his images from the film TOP GUN (1986, Tony Scott). I thought he was very handsome. I decided to buy an illegal videotape of TOP GUN, which cost 200 baht at that time. But I was very poor. So I decided not to have lunch for 20 days, because my mother gave me 10 baht a day to buy lunch at that time. That's the way I could save 200 baht to buy a videotape of TOP GUN.

5.My life as a blogger started in 2004 when I was frequently commenting on some Thai film webboards, especially Bioscope webboard and Screenout webboard. I thought I should collect all my comments in one place so that it would be easy for me to read my old comments. So I started LIMITLESS CINEMA blog at to collect all my comments in some Thai film webboards. I didn't write anything directly for this blog at that time.

I started writing in English and writing directly for this blog in 2007 after I accidentally found out that Zach Campbell wrote about me in 2005. What he wrote inspires me to start writing in English.

6.When I was a teenager, my friends and I started imagining that we would like to watch a long-running TV series about many supernatural female characters fighting against each other. I still keep on dreaming about this imaginary TV series until now. It would be like X-MEN, but there would be no social concern and the focus would be on female characters. The title of this TV series is GODDESS.

The characters in GODDESS may include characters inspired by:

6.1 Queen Akasha from QUEEN OF THE DAMNED (2002, Michael Rymer, A+)

6.2 The Queen of the Flower Palace (Maggie Chan Mei Kei) in the Hongkong TV series THE TWO MOST HONORABLE KNIGHTS (1988), starring Tony Leung Chiu Wei

6.3 Asia the Invincible (Brigitte Lin) in SWORDSMAN II (1992, Ching Siu-tung)

6.4 Sailor Saturn

6.5 Judith, who beheaded Holofernes

6.6 Gudrun Ensslin (I would love to see this kind of character confronting someone like Sarah Palin or Condoleeza Rice)

6.7 Wink

7.If I were a singer, I would like to release an album called KISS MY FEET AGAIN. These are the songs I would like to include in the album:

7.1 AITAI – Chikako Sawada


7.3 BEAUTIFUL MORNING – Lisa Moorish

7.4 BOYS, BOYS, BOYS – Sabrina

7.5 FALLING ANTHEM – Bad Boy Bill featuring Alyssa Palmer

7.6 JE REGRETTE EVERYTHING – Hell featuring Billie Ray Martin

7.7 KATARI TSUGU AINI – Hiroko Yakushimaru



7.10 THE LOVER THAT YOU ARE – Pulse featuring Antoinette Robinson

7.11 A MATTER OF FACT – Innocence

7.12 MINDWORKS – Sam Brown

7.13 SINGLE AGAIN – Mariya Takeuchi

7.14 TIME GOES BY – Kahoru Kohiruimaki

7.15 WHY DON'T YOU TAKE ME – One Dove


From my Facebook:

I just didn't enjoy FROM PARIS WITH LOVE, and I'm not sure why. I think it may be because:

1.It has no characters I can identify with. The opposite case is RAGING PHOENIX (2009, Rashane Limtrakul, A+).

2.I cannot empathize with the heroes of FROM PARIS WITH LOVE. The opposite case is TAKEN (2008, Pierre Morel, A). It is much easier for me to empathize with the hero of TAKEN. If my husband is kidnapped, I would kill everyone to get my husband back. That's why I understand the hero of TAKEN. But I can't imagine myself being in the same position as the heroes of FROM PARIS WITH LOVE.

Talking about TAKEN, Zach Campbell wrote some interesting things about TAKEN here:

3.The leading actors cannot "fight" (with martial arts). The opposite cases include KISS OF THE DRAGON (2001, Chris Nahon, A), starring Jet Li; or BANLIEUE 13 – ULTIMATUM (2009, Patrick Alessandrin, A+). However, I hate THE TRANSPORTER (2002, Corey Yuen, C+), though Jason Statham can fight. These four films are all produced by Luc Besson.

4.If the heroes of the film cannot fight, at least I hope they can fight with their brains like the ones in SHERLOCK HOLMES (2009, Guy Ritchie, A+++++). But both the heroes and the plot of FROM PARIS WITH LOVE seem so dumb compared to SHERLOCK HOLMES.

5.FROM PARIS WITH LOVE seems to treat ethnic characters in a suspicious way. I prefer the way BANLIEUE 13 – ULTIMATUM treats its ethnic characters.

6.FROM PARIS WITH LOVE lacks colorful supporting characters. The opposite cases include KISS OF THE DRAGON, BANLIEUE 13 – ULTIMATUM, or G.I. JOE: THE RISE OF COBRA (2009, Stephen Sommers, A+/A).

7.I'm just bored with John Travolta.

8.FROM PARIS WITH LOVE might easily get A+ from me, if the film just tells all of its story from the viewpoint of the villainess, and focuses on her conflicting emotions. One second she wants to kill the hero, another second she feels she loves the hero, another second she feels she loves her brainwasher, another second she enjoys making love to the hero, or something like that. This imaginary film would be a perfect companion to BETRAYED (1988, Costa-Gavras, A++++++++++).

Saturday, February 13, 2010

STORM (Hans-Christian Schmid, A++++++++++)

STORM (2009, Hans-Christian Schmid, A++++++++++), C'EST LE BOUQUET! (2002, Jeanne Labrune, A+++++), LA GUERRE DES COTONS (2005, Jean-Michel Rodrigo, A+), GHOST OF THE ECONOMISTS (2010, Ninart Boonpothong, A+), RIEN SUR ROBERT (1998, Pascal Bonitzer, A+), AND GOD CREATED WOMAN (1956, Roger Vadim, A+), HYGIENE DE L'ASSASSIN (2008, Pierre Santini, A+), VALENTINE'S DAY (2010, Garry Marshall, A+), THE WOLFMAN (2010, Joe Johnston, A+), RAK AEY (1968, Neramit, A+), HIGH (Winai Kitcharoen, A+), IMPROVISATION (Winai Kitcharoen, A+), 568 (Winai Kitcharoen, A+), MY OLD SCHOOL SONG (Winai Kitcharoen, A+), NAME CARDS (Winat Kitcharoen, A+), À DROITE TOUTE (2008, Marcel Bluwal, A+/A), UN AMI PARFAIT (2005, Francis Girod, A+/A), MY VALENTINE (2010, Songsak Mongkolthong, Pornchai Hongrattanaporn, Seree Pongnithi, A/A-), LE CHÂTEAU DE VERRE (1949, René Clément, A/A-), HOW TO BE (2008, Oliver Irving, A-), DÉTROMPEZ-VOUS! (2007, Bruno Dega, A-), FROM PARIS WITH LOVE (2010, Pierre Morel, C+)

Tuesday, February 09, 2010


Sat. 13 Feb. 2pm

International Short Films
โปรแกรมหนังสั้นคลาสสิคจากต่างประเทศ จัดร่วมกับกลุ่ม Film Virus Organized with Film Virus

Sherlock Jr. (Buster Keaton/1924/US) 45 mins

Life (Artavazd Peleshyan/1993/Armenia) 7 mins

End (Artavazd Peleshyan/1994/Armenia) 10 mins

Bread and Alley (Abbas Kiarostami/1970/Iran) 10 mins

April (Otar Ioseliani/1962/Georgia) ) 45 mins

Darkness/ Light / Darkness (Jan Svankmajer / 1990/ Chezh) 8 mins

Inextinguishable Fire (Harun Farocki /1969/German) 21 mins

Spring (Yevgeny Yufit /1987 /USSR) 10 mins

Fortitude (Yevgeny Yufit/1988/USSR) 3 mins

Superbia (Ulrike Ottinger/1986/German)16 min

Rocky VI (Aki Kaurismaki /1986/Finland) 9 min

Psy Show (Marina de Van/1999/FR) 22 min

The Skywalk is Gone (Tsai Ming Liang/2002/Taiwan) 25 min

Details of the films in Thai:

The map to Reading Room:

Monday, February 01, 2010



Feb 7

12.30 น. Manila by Night (1980) กำกับโดย Ishmael Bernal

15.15 น. Himala (1982) กำกับโดย Ishmael Bernal

Feb 14
วันอาทิตย์ ที่ 14 กุมภาพันธ์ 2553

12.30 น. Perfumed Nightmare (1977) กำกับโดย Kidlat Tahimik

14.30 น. The Video Diaries of Kidlat Tahimik (19XX) กำกับโดย Kidlat Tahimik

Feb 21
วันอาทิตย์ ที่ 21 กุมภาพันธ์ 2553

12.30 น. The Criminal of Barrio Concepcion (1998) กำกับโดย Lav Diaz

14.30 น. Hesus the Revolutionary (2002) กำกับโดย Lav Diaz