Friday, August 31, 2012

TWO GIRLS (2010, Warit Deepisuti, A+30)

TWO GIRLS (2010, Warit Deepisuti, A+30)

Guilty pleasure of the year. Warit also directed THE NERVOUS (คฤหาสน์ซ่อนเพลิง) (2011, 128 min, A+30), which I regard as one of the supreme cult films of the year. I worship the melodramatic intensity of TWO GIRLS.

You can watch TWO GIRLS here (no English subtitles):

Thursday, August 30, 2012

Film Wish List: THE FRUIT TREES OF ATHENS (2010, Nikos Panayotopoulos, Greece)

Film Wish List: THE FRUIT TREES OF ATHENS (2010, Nikos Panayotopoulos, Greece)

Panayotopoulos directed THE BACHELOR (2000, A+20), which I think is very weird.

Bill Mousoulis wrote about many interesting Greek films here:

ROTI MAN (2012, Napasorn Limchaiyawat + Kittipat Knoknark, documentary, A+15)

ROTI MAN (2012, Napasorn Limchaiyawat + Kittipat Knoknark, documentary, A+15)

You can watch this film here (no English subtitles):

Monday, August 27, 2012

Film Wish List: HERO DREAM (1992, Lau Keung-fu).

Film Wish List: HERO DREAM (1992, Lau Keung-fu).

I just knew that this Hong Kong action film is about "Thai transsexual gang"!!!!!

" Director Lau Keung-fu’s Hero Dream seems the first and only film of its kind: a low budget, generically macho Hong Kong action film unaccountably interpolated with — in addition to a few prosaic scenes of heterosexual rape and one sequence featuring a nude male bodybuilder — explicit, lengthy, X-rated sexual encounters between male-to-female transsexuals equipped with both penises and breasts. There is some semblance of a plot. To avenge his wife’s murder at the hands of Thai crooks, tough cop Chin Siu-ho — once the stalwart hetero hero of numerous Shaw Brothers adventures and mid-1980s classics (Mr. Vampire) — journeys to Thailand, joins forces with the local, machine gun-toting “Transsexual Gang,” and, with little explanation, occasionally lounges on a hotel chaise while before him two transsexuals have open, tender, full-frontal (if flaccid) intercourse. One of the transsexual gangsters falls in love with Chin secretly, and comes rushing to his rescue with jeep and automatic rifle when he is overpowered by the villains; taking a fatal bullet for his beloved, the transsexual dies in Chin’s arms, a gesture that unintentionally parodies both heterosexual tragedy and the honor-infested buddy-buddy embrace common to the Shaw Brothers martial arts films in which Chin once starred. Flabbergasted and dumbstruck upon hearing the transsexual’s romantic confession, Chin can muster little more than a “Thanks, but no thanks” as his bloodied savior-transgressor slumps limp in his arms.



The list below is inspired by Wiwat Lertwiwatwongsa (Filmsick).

Sometimes I wish characters in different films should meet one another, for example:

1.The heroine of NOTHING CAN TOUCH ME (2011, Milad Alami, Denmark, A+30) should meet the heroine (Sophie Traub) of TENDERNESS (2009, John Polson, A+30).

2.The heroine of THE SONG OF THE RAIN (2011, Aygul Bakanova, Kyrgyzstan, A+30) should meet the heroine of LOST (หาย) (2012, Suphisara Kittikunarak, A+15), the heroine (Louise Szpindel) of STRONG SHOULDERS (2003, Ursula Meier, Switzerland, A+30), and the heroine of WORLD MASTER (1994, Zoran Solomun, Germany, A+30).

The heroine of THE SONG OF THE RAIN reminds me of the heroine of LOST, because both heroines seem to enjoy the status quo and their own roles at first, but then both heroines discover that there's something not right about it, and both of them express their own dissatisfaction at the end. The heroine of THE SONG OF THE RAIN does that by singing. The heroine of LOST does that by refusing to play a song.

The heroine of LOST also reminds me of the heroines of STRONG SHOULDERS and WORLD MASTER. The heroine of LOST refuses to play the song like the heroine of WORLD MASTER, while the heroine of STRONG SHOULDERS refuses to run in a competition at the end.

3.The two heroines of CHALK (2010, Martina Amati, UK, A+15) should meet the two heroines of GHOSTS (2005, Christian Petzold, Germany, A+30), starring Julia Hummer and Sabine Timoteo.

The two heroines in both films have the same model of coupling: One heroine is extroverted, while the other is introverted. But both films allow the introverted ones to shine. There's a great audition scene in GHOSTS, in which Julia Hummer, who seems very shy, stuns the audience when she speaks. That scene reminds me of CHALK.

4.The two subversive heroines of TANGERINE (2012, Kawitsara Phannapanukul + Wassachol Sirichanthanun, A+30) should meet the two subversive heroines of DAISIES (1966, Vera Chytilová, Czechoslovakia) and the two heroines of CAGEY TIGERS (Aramisova, Czech, A+30).

5.The free-spirited heroine of OVER THE SEVEN HILLS AND FAR AWAY (2011, Gunter Franke, Germany, A+10) should meet the heroine of BUDDHA MOUNTAIN (2010, Li Yu, China, A+15), starring Fan Bingbing.

6. The heroine of FROZEN STORIES (2011, Grzegorz Jaroszuk +Jana Rosola, Poland, A+10) should meet Kati Outinen.

7.The two heroines who perform a strange ritual in a forest in PROVERBS (2011, Chompunutt Mayta, A+30) should meet the two heroines who perform a strange ritual in a forest in MV: RED SWAN BY THE MOB (Milad Alami, Denmark, A+)

The photo is from TENDERNESS.

LA FRANCE QUI SE LÈVE TÔT (2011, Hugo Chesnard, France, A+)

I think LA FRANCE QUI SE LÈVE TÔT (2011, Hugo Chesnard, France, A+) is very creative, but somehow its creativity (the musical element) does not allow me to feel the pain of the victim as much as another film dealing with the same situation. I think LA FRANCE QUI SE LÈVE TÔT is made from a true story, because I have seen a feature film dealing with the same situation--passengers in an airplane protest the brutality of the police handling the deportation of an immigrant. I'm not sure if this feature film is ILLÉGAL (2010, Olivier Masset-Depasse, Belgium, A+15) or not, because I have seen so many European films dealing with illegal immigrants. But I think when this real situation is portrayed in a realistic-dramatic way, like in ILLÉGAL, it can make me feel the pain much more than in LA FRANCE QUI SE LÈVE TÔT.

GUEST (2011, Ga eun Yoon, South Korea, A+10)

GUEST (2011, Ga eun Yoon, South Korea, A+10)

GUEST is very touching, and the filmmaker can handle child actors very well, as well as TREELESS MOUNTAIN (2008, So Yong Kim). But I can't help imagining that if such directors as Claude Chabrol directs this film, the heroine might decide to kill the two children instead. I mean in the first five minutes of this film, I could not predict if this film would turn out to be a feel-bad film or a humanistic film.

Sunday, August 26, 2012

Desirable Actor: Joe Taslim from THE RAID: REDEMPTION (2011, Gareth Evans, Indonesia, A)

Desirable Actor: Joe Taslim from THE RAID: REDEMPTION (2011, Gareth Evans, Indonesia, A)

Favorite quote from Hartmut Bitomsky about Harun Farocki

Favorite quote from Hartmut Bitomsky about Harun Farocki:

"I think Farocki is coming from Eisenstein, and I'm coming from Rossellini. Farocki is very fond of montage,I'm more interested in life, as it is object as they are."

The photo is from DUST (2007, Hartmut Bitomsky).

Film Wish List: THE DANCE OF TWO LEFT FEET (2010, Alvin Yapan, Philippines)

Film Wish List: THE DANCE OF TWO LEFT FEET (2010, Alvin Yapan, Philippines)

Saturday, August 25, 2012

THE GREAT CINEMA PARTY (2012, Raya Martin, A+30)

After seeing WHEN NIGHT FALLS (2012, Ying Liang, A+30) and THE GREAT CINEMA PARTY (2012, Raya Martin, A+30), we had a dinner and talked about Jacques Rancière, Serge Daney, and SATURDAY NIGHT TO MONDAY MORNING (2012, Worrawech Danuwong).

Personally, the power of WHEN NIGHT FALLS unintentionally reminds me of the power of such works as Victor Hugo's LES MISÉRABLES, CLAUDE GUEUX (2009, Olivier Schatzky, A+30), and CRAINQUEBILLE (2010, Philippe Monnier, A+30). THE GREAT CINEMA PARTY shockingly overwhelms me as much as the films of Jean-Marie Straub + Danièle Huillet, James Benning, Wachara Kanha, and Teeranit Siangsanoh. THE GREAT CINEMA PARTY makes me realize how blissful and limitless cinema can be.

Some interesting quotes:

Jacques Rancière: "This reorganization takes place between two poles. On one side, the ancient differentiation of the noble and the vile is displaced within the represented people, so that the people at the same time furnishes the central dramatic figures, battling against destiny, injustice, etc., and the picturesque or villainous background. This is the Hugo schema*. On the other side, the equality of the noble and the vile is translated in the equality of narration and style, embroiling the moral and social distinctions in their indifference. This is the Flaubert schema*. The attempt of a “critical” representation of the people has always been a negotiation between these two schema’s of redistribution of equality: heroic differentiation on one hand, subtractive indifference on the other."

"What makes the difference are thus not the “images” in the conventional sense, not the states of present bodies, but the composition of the pathways they cross. That’s where the effects of aesthetic mobilization play out. Take for example a film “about” the people, most certainly not very popular in the ordinary sense of the word, Béla Tarr’s Satantango: what is prodigious here is the mobilization and the cast in the unknown of bodies which seem to be plunged for ever in the torpor of an immobile rural world. There’s a bit of the same thing in the first two parts of Bill Douglas’ trilogy, in which a miserable childhood is like described twice: statically and dynamically. We can also think of the reversals of the figures of the “dominated” put in place by the Straubs: for example the crescendo of the sequence in which the mother in Sicilia ! visually and vocally overturns the character of woman-victim."

Serge Daney: "To Nietzsche’s claim that “the only being known to us is being that represents itself”, the straubs would respond: only those who resist exist for sure. Resist nature, language, time, texts, gods, God, chiefs, Nazis. Mother and father. This is how the shot, basic atom of the straubian cinema, is the product, the “reste” (remainder), or rather the “restance” (remaining)* of a triple resistance: texts resisting bodies, places resisting texts, bodies resisting places. One has to add a fourth: the public resisting shots “designed” like that, stubborn resistance of cinema’s public to something intractable, something which renounces it as a public."

Monday, August 20, 2012


I wish some critics write a book or an article exploring cosmology in these films, or the relationships between the universe and human characters/human consciousness in these films. How do these films portray the universe? How do these films link the universe to the stories of their human characters? Does the universe in these films symbolize anything? How scientific is each of these films? How spiritual is each of these films? Does each of these films provoke us to question our own existence? Etc.

1.AUGUST IN THE WATER (1995, Sogo Ishii)

2.CELESTIAL SPACE พิมานอากาศ (2012, Ukrit Sa-nguanhai, 28 min)

3.CRYSTALLIZATION TIME วาเลตกผลึก (2011, Krisda Phongphaew, 21 min)

4.A FEATHER STARE AT THE DARK (2003, Naoyuki Tuji, animation, 17 min)

5.THE FOUNTAIN (2006, Darren Aronofsky)

6.HITLER: A FILM FROM GERMANY (1977, Hans-Jürgen Syberberg, 442 min)
You can watch this film here:

7.JUST A SECOND: THE KHONG LEGEND (2003, Santiphap Inkong-ngam)

8.KOSMOS (2010, Reha Erdem, Turkey)

9.MY LOVE FOR YOU IS AS BIG AS THE SKY ฉันรักคุณเท่าฟ้า (2012, Wachara Kanha, 30min)

10.MUNDANE HISTORY (2009, Anocha Suwichakornpong)

11.NOSTALGIA FOR THE LIGHT (2010, Patricio Guzmán, Chile)

12.PORTRAIT OF THE UNIVERSE (2012, Napat Treepalawisetkun, 45 min)

13.THE TREE OF LIFE (2011, Terrence Malick)

14.Teeranit Siangsanoh's Pentalogy of Apocalyptic Films:

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

14.2 IN THE CITY ในเมืองร้อนกับค่ำคืนที่ว่างเปล่า (2010, Teeranit Siangsanoh, 51min)

14.3 DARK WORLD โลกมืด (2010, Teeranit Siangsanoh, 53min)

14.4 THE LIGHT HOUSE แสงสุริยะ (2011, Teeranit Siangsanoh, 44min)

14.5 THE BURNT-OUT STAR ดาวที่ไหม้ไฟ (2012, Teeranit Siangsanoh, 66min)

The photo is from THE LIGHT HOUSE.

SEARCHING FOR LOVE (1984, Apichart Popairoj, A+)

SEARCHING FOR LOVE (1984, Apichart Popairoj, A+)

I'm very glad to find that this film is available on the internet. I like this film very much when I was a child. If I remember it correctly, this film is partly about lesbian love. Watching this film today together with YES OR NO 2 (2012, Sarassawadee Wongsompetch, A+30) may show how far Thailand has become in dealing with lesbian relationship in films.

You can watch SEARCHING FOR LOVE here (no English subtitles):

Sunday, August 19, 2012


Favorite quote from Wiwat Lertwiwatwongsa (Filmsick)

"Brimming with emotions, each image in Teeranit Siangsanoh's films is used as a word in a poem. Teeranit constructs his poems/films by connecting these words/images into elliptical sentences which he may be the only one who can understand. Confronting with unintelligible sentences written in an opaque language, I am given a chance to imagine about various things. It's like the discovery of unknown things, aliens from other planets, or sound and voices which we cannot translate, but we can appreciate the harmony of this sound, the beauty of its texture, and its power--the kind of power which has not yet been named."

"เต็มไปด้วยอารมณ์อันหลากล้น ธีรนิต์ใช้ภาพแทนคำทีละคำเขียนบทกวีขึ้นด้วยการร้อยเรียงเชื่อมกันด้วยรูปประโยคลึกลับที่เขาอาจจะเข้าใจเพียงผู้เดียว การผเชิญหน้ากับประโยคที่อ่านไม่ออก ด้วยภาษาที่ลึกลับ เปิดโอกาสให้ผู้เขียนได้จินตนาการไปต่างๆนาๆ เหมือนการพบเจอสิ่งที่ไม่รู้จัก มนุษย์จากดาวอื่น เสียงที่เราแปลความหมายไม่ได้ แต่รู้สึกได้ถึงความไพเราะของมัน ความงดงามของพื้นผิวของมัน และพลังไม่รู้ชื่อของมัน

As for me (the writer of this blog), Teeranit Siangsanoh's films unintentionally reminds me of some sentences in an article about Jean Epstein written by Nicole Brenez. Because Teeranit's films are full of things which seem to be unrelated to one another, I think his films also "reveal the deep harmony between what is seemingly unrelated", "detect the agreement where there are no links", "asphyxiate standard relationships and destroy expected correlations", "restructure standard cutting of cinematic matter", "restructure the links established between the cinematic image and the gaze", and "against the agreed upon link between things."

"There are no stories. There have never been any stories. There are only nonsensical situations; without a beginning, a middle, or an end; with no inside or out; we can look at them from any direction; right becomes left; without limits of past or future, they are the present.

"With euphonic montage, we are no longer dealing, as was the case with the family monster, with a synthesis of similarities. But similarly, we now have to detect remote agreements and draw another type of figurative link, another connection between different entities. Real presence reveals the deep harmony between what is seemingly unrelated. For instance, Epstein relates one of Walter Moore Coleman’s experiences on musical synchrony: let there be a crowd making random movements; suddenly, in one instant, the apparent disorder in the trajectories between soldiers, children, and animals are part of a musical consonance: “This is where cinema will one day find its own prosody.”

"Thus, the Epsteinian description does not submit to the order of appearances: in order to express things, it builds the entity of resemblance through accumulation, the “surreal resemblance” – it is the synthetic discovery; it respects the formal genius of cinematography – it is the difference, the reverse side of transparency; it detects the agreement where there are no links – it is the prosodic constellation. But, conversely, description asphyxiates standard relationships and destroys expected correlations: this is the invention of continuity as negativity, the devouring that is going to restructure not only standard cutting of cinematic matter, but also the links established between the cinematic image and the gaze.

"Epstein refers to the ordinary link between shots by using the sewing model of the basting stitch. In needlework, the basting stitch is a rough, indicative stitch that precariously and imprecisely brings pieces of cloth together while leaving them as fragments. In cinema, the basting stitch refers to a type of agreed upon link between things; all in all, it precedes the image’s own work. Against the basting stitch, Epstein defends the invention of teratological forms of linking or explosion that “unmask the supposed convention of order within creation,” that acknowledge the disappearance of the defining principle of identity, and that divide up the world once again"

The photo is from the film THE BURNT-OUT STAR ดาวที่ไหม้ไฟ (2012, Teeranit Siangsanoh, 65 min, A+30).

Saturday, August 18, 2012

CIRCUIT (2012, Tanatchai Bandasak, video installation, A+15)

CIRCUIT (2012, Tanatchai Bandasak, video installation, A+15)

I wish some critics write a book about the use of darkness in films/moving images, focusing on the films of Bela Tarr, Fred Kelemen, Philippe Grandrieux, Teeranit Siangsanoh, Chaloemkiat Saeyong, and Tanatchai Bandasak, exploring their obsession with darkness, how alluring the darkness in their films is, how differently they interpret the darkness, etc.

Monday, August 13, 2012

GRANDMUM...I'M SORRY (Thanawat Noijuntueg, B)

GRANDMUM...I'M SORRY (Thanawat Noijuntueg, B)

ยายจ๋า หนูขอโทษ (ธนวัต น้อยจันทึก)

OPPORTUNITY (2012, Nitiwut Chajiamjane, A+)

OPPORTUNITY (2012, Nitiwut Chajiamjane, A+)

วิกฤต (นิติวุฒิ ชาเจียมเจน)

SAPAAN (2012, Erica Lee, animation, A+15)

SAPAAN (2012, Erica Lee, animation, A+15)

Favorite Actress: Anna Faris in THE DICTATOR (2012, Larry Charles, A)

Favorite Actress: Anna Faris in THE DICTATOR (2012, Larry Charles)

I saw THE DICTATOR (2012, Larry Charles, A) on Friday, July 20, but I just knew today that Anna Faris stars in this film. I couldn't remember her at all in this film.


Artit Tangwiboonpanitch in HEAVEN AND HELL (วงจรปิด): HEAVEN 11 (2012, Yuthlert Sippapak, A+)



หนักที่สุดในชีวิตการแสดง ละครทีวีเรื่อง "บาปบริสุทธิ์" (1980-1982) กลับมาออกอากาศอีกครั้งทางช่องมิราเคิล แชนเนล วันอาทิตย์ เวลา 0600-0730น. และ 1630-1800น. เราจำได้ว่าตอนเด็กๆชอบละครเรื่องนี้มากๆ แต่จำเนื้อเรื่องไม่ได้แล้ว  ถ้าเราจำไม่ผิด มันเป็นละครจบในตอน แต่ละตอนไม่เกี่ยวข้องกัน และบางตอนมัน feel bad มาก

ละครทีวียุคนั้นดีมากๆ ตอนแรกเรานึกว่าละครพวกนี้มันหายสาบสูญไปหมดแล้ว ไม่มีใครเก็บไว้แล้ว แต่ตอนนี้พอรู้ว่ามันยังมีเหลืออยู่ก็เลยดีใจมากๆ


1.เทวรูปแมว ช่อง 7
2.จิตไม่ว่าง 24 (1981, สมชาย นิลวรรณ)
4.พรสีเลือด (1978, อดุลย์ กรีน)
5.ขบวนการคนใช้ (1977, ภัทราวดี ศรีไตรรัตน์, อัจฉราพรรณ ไพบูลย์สุวรรณ)

TV SERIES WISH LIST: SILVER DREAMS (1981, M.L. Bhandevanop Devakul)

TV SERIES WISH LIST: SILVER DREAMS มายาสีเงิน (1981, M.L. Bhandevanop Devakul)

This TV series is written by Permpol Choei-aroon and Jamnongsee Ratanin, and adapted from the novel DISTANT DREAM by Khwaja Ahmad Abbas.


Desirable Actor: Liu Yunlong from GODDESS OF MERCY (2003, Ann Hui, A+20)

GODDESS OF MERCY reminds me of BETRAYED (1988, Costa-Gavras, A+30), because both of them deal with the heroines who fall in love with the wrong guys. I also learned from GODDESS OF MERCY that people in Yunnan celebrate Songkran Festival like in Thailand.

Ann Hui has directed 28 films, but I have only seen four films of hers: NIGHT AND FOG (2009, A+30), GODDESS OF MERCY, A SIMPLE LIFE (2011, A+10), and JULY RHAPSODY (2002, A-).


The Mustachioed Housewife: "I think my message is that you don't need to be a woman to be a housewife. There are no rules for living your life."

The quote is from BK magazine, Friday, August 10, 2012.

I just knew from this magazine that the Mustachioed Housewife is Anuruk Cholmunee, who directed the film SCARY LOVE (หลอนรัก) (10 min, A-/B+), which was shown in the Marathon Film Festival on Thursday, July 25, 2012.

The Mustachioed Housewife's page:

DAY (2012, Piyathida Supakut, A+10)

DAY (2012, Piyathida Supakut, A+10)
วันดีคืนดี (ปิยธิดา สุภคุต)


The comment below is copied from my conversation with some friends:

"วันดีคืนดี" คือเรื่องที่น้องเม่น วัชรพล สายสงเคราะห์ ตื่นขึ้นมาในบ้านหลังนึงแล้วก็พบว่าตนเองอยู่ในบ้านกับหญิงสาวคนนึงที่ก็ไม่รู้เหมือนกันว่าตัวเองเข้ามาอยู่ในบ้านนั้นได้ยังไง ทั้งสองพบว่ามีกำแพงล่องหนที่ทำให้ทั้งสองก้าวพ้นประตูรั้วบ้านนั้นออกไปไม่ได้ โทรศัพท์ติดต่อใครก็ไม่ได้ ทั้งสองก็เลยต้องใช้ชีวิตอยู่ร่วมกันในบ้านหลังนั้นและก็เริ่มตกหลุมรักกัน แต่อยู่มาวันนึง น้องเม่นก็พบว่าตัวเองออกมาอยู่ที่ถนนนอกบ้าน ในขณะที่ตัวหญิงสาวยังอยู่ในบ้าน และทั้งสองก็ถูกกำแพงล่องหนกั้นขวางไว้ทำให้ไม่สามารถอยู่ร่วมกันได้อีก (ถ้าเราจำไม่ผิดนะ เราไม่แน่ใจว่าตอนจบพระเอกหรือนางเอกกันแน่ที่กระเด็นออกมาอยู่นอกบ้าน)

หนังเรื่องนี้ทำให้นึกถึงหนังที่เราชอบมากหลายเรื่อง ทั้ง THE ROOM (2011, ปีแสง แสงสุวรรณ, A+30), GROUNDHOG DAY (1993, Harold Ramis, A+30), WOMAN OF THE DUNES (1964, Hiroshi Teshigahara, A+30) โดยที่ "วันดีคืนดี" ไม่ได้ให้คำอธิบายใดๆทั้งสิ้นว่าเรื่องพิสดารในหนังมันเกิดขึ้นได้ยังไง โดยตัวเราตีความว่าหนังมันคงเป็นอุปมาอุปไมยถึงความสัมพันธ์รักน่ะ ตั้งแต่การเริ่มตกหลุมรักกันโดยไม่มีสาเหตุและการที่ความรักจบสิ้นลงโดยไม่มีสาเหตุและไม่รู้เนื้อรู้ตัว ซึ่งการอุปมาอุปไมยแบบนี้ทำให้เรานึกถึงหนังเรื่อง RECONSTRUCTION (2003, Christoffer Boe, A+30) ที่เราชอบมากๆเหมือนกัน

Sunday, August 12, 2012

ALWAYS ON MY MIND (2012, Sakchai Deenan, B+)

ALWAYS ON MY MIND (2012, Sakchai Deenan, B+)

Serious spoilers alert:

I like GOOD MORNING, LUANG PRABANG (2008, Sakchai Deenan + Anusone Sirisackda, A+25) and FROM PAKSE WITH LOVE (2010, Sakchai Deenan, A+15) very much, but LAO WEDDING (2011, Sakchai Deenan, B+) is a real disappointment. Unfortunately, ALWAYS ON MY MIND (2012, Sakchai Deenan, B+) is a disappointment for me, too.

I like the first half of the film, but I don't like the soundtrack and the last part of the film, when some truths are revealed.

Actually, I'm having problem with the happy endings of this film. If all the four stories of this film have sad endings, the ones in which the protagonists must accept the disappointments in their romantic lives, I might have given this film A+30.

This may be the case of my personal taste. And that's why I worship such romantic films as CEREMONY (2010, Max Winkler, A+15), LOVE STORY (มันเกิดจากความรัก) (2012, Anuphap Autta, A+30), and PRESENT PERFECT (2012, Anusorn Soisa-ngim, A+15). I love the disappointments of the protagonists in these films.



The photo comes from ALWAYS ON MY MIND's Facebook page: