Saturday, May 14, 2011


Paisit Panpruksachart's retrospective will be held on Saturday, May 14, at 1500-1800 hrs, on the 9th floor of BACC. The event is held by Bodin Theparat. The poster is designed by Wiwat Lertwiwatwongsa. The details are as follows:

"งานฉายหนังสั้นของคุณไพสิฐ พันธุ์พฤกษชาติ 5 เรื่อง
14 พฤษภาคม 2554 เวลา 15.00-18.00 น.

-take off
ดำเนินรายการโดย ศาสวัต บุญศรี"

--Wiwat Lertwiwatwongsa wrote about Paisit's films in Thai here:

--Apichatpong Weerasethakul wrote about Paisit in the brochure of THE BANGKOK EXPERIMENTAL FILM FESTIVAL 3 (2001). Here is what he wrote:

“Paisit Phanprucksachat (Kiang)

One can look at Kiang’s life as a representation of a state of Thai independent video. In his desperation to tell stories, he equipped himself with sound recorders, home made microphones, and a still camera. In my opinion, he was, consciously or not, made to become the first modern experimental filmmaker in Thailand. His progression from stills, sounds, and finally to video mirrors the struggling path of other independent filmmakers.

Familiarized with him through working together on MYSTERIOUS OBJECT AT NOON (2000) in early 1998, I had a chance to see his photographs. They are mostly somber, black and white depiction of ruins and details of buildings, evoking the mood not unlike Derek Jarman’s or science fiction’s narrative. And by hearing his idea for several films, I incorporate these images with the stories in my mind. I found that Kiang’s filmic world is filled with dark and apocalyptic humor. He combines Thai popular cultures (i.e. pop songs, celebrities) with his own chosen environs (his cramp flat, junk yard, Chao Praya river). These fantasies are creepily modern yet filled with nostalgia. They are like homemade dishes cooked by a remote control.

When Kiang made videos, however, he chose to present them in a documentary style. One of his early works was a six-hour video recording his chat with his roommate Klass (who was also my crew, working as a sound recorder). The camera was fixed on a tripod and was never moved. It documented the two in their room arguing about the existence of gods and their religious teachings, in the most unpretentious way one can think of. It feels like they were always discussing the matter and the camera happened to capture the event that night. They talked until they were drawn out and until their speeches were slurred. The morning radio was heard, and we saw them slept, engulfed by the slowly shifting light of dawn. I thought this work was a documentary. But when I knew him better, I was not quite sure that he would not lead the unsuspicious Klass to his direction, to fulfill his planned structures and contents.”

--May Adadol Ingawanij wrote about ESCAPE FROM POPRAYA 2526 (2007, Paisit Panpruksachart) in the catalog of the Fifth Bangkok Experimental Film Festival in 2007. Here is an excerpt from what she wrote:

"Without making any overt statement of its own at all, POPRAYA asks a lot of me. What do I think it means? What does it say about violence? How does the filmmaker put together a short that captures the mood of anarchic defiance that I sorely craved at the point when we were meant to go out in the streets and give roses to the tanks? All good moving images work on the emotion as well as the intellect, and they give us images to dream by – and this is what Khun Paisit's video gives me too. It's the little girl who stares back at the camera that's putting her under duress repeating the same insolent 'no'."


What I like the most about Paisit's films is that his films invite me to create stories out of everyday images or create fantasy out of images of real things, including these films:

Paisit creates a sci-fi world out of mundane images in this film. This film is my most favorite Thai feature film I saw in 2008.

This film inspires me to imagine some stories out of images of children running on the street.

3.BROTHERS (ห่านน้อยคอยรัก) (2007, 10 min)
This film creates a fantastic story out of images of ordinary animals.

Paisit uses images of our present time to tell a historical story which happened a few hundred years ago. He doesn't need a lot of money, historically-accurate costumes, or any elaborate set decorations for this period tale. He only needs a voiceover, his brain, and the imagination of the viewers. This technique reminds me of LUDWIG'S COOK (1973, Hans Jürgen Syberberg, A+++++++++++++++) and A MISCHIEVOUS SMILE LIGHTS UP HER FACE (2009, Christelle Lheureux, A+).

5.SHORTCUT TO HEAVEN (2008, 10 min)
This film inspires me to imagine some stories out of images of tsunami-ravaged landscape.

--If I have to screen Paisit's films with other films, I will choose the films in the list below, because these films also inspire me to create stories out of reality images, or imagine a fantasy world out of images of real things.

1.DUELLE (1976, Jacques Rivette)

2.FATA MORGANA (1971, Werner Herzog)

3.FIREMAN E. A. WINTERSTEIN (1968, Alexander Kluge)

4.I KNOW THE WAY TO THE HOFBRAUHAUS (1991, Herbert Achternbusch)

5.THE FESTIVAL OF DEMON SPIRIT (2011, Sittiporn Racha)

6.FUMIYO IS A DESIGNER (2001, Apichatpong Weerasethakul)

7.LAST OF THAILAND (ความทรงจำของเศษดาว) (2009, Teeranit Siangsanoh, 24 min)

8.THE LIVING WORLD (2003, Eugène Green)

9.MASUMI IS A PC OPERATOR (2001, Apichatpong Weerasethakul)

10.PLOT POINT (2008, Nicolas Provost)

11.POLITICALLY LAWYER AND NARRATIVE CINEMA (2009, Chaloemkiat Saeyong, 27 min)

12.THE STRANGERS IN THE SEA (2008, Wiwat Lertwiwatwongsa)

13.VACANCY (1999, Matthias Müller)

--Paisit will work for the sound of the DOMINO FILM PROJECT

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