MY FINAL VOTE FOR 31 HORROR FILMS

This is my final vote for Shoot the Projectionist’s blog:
http://shoottheprojectionist.blogspot.com/2007/10/official-nominees-for-31-flicks-that.html

31 HORROR FILMS

In preferential order

1.The Uninvited (2003; Su-yeon Lee)

2.Wolf Creek (2005; Greg Mclean)

3.Jeepers Creepers (2001; Victore Salva)

4.The Reflecting Skin (1990; Philip Ridley)

5.The Locals (2003; Greg Page)

6.Nosferatu (1979; Werner Herzog)

7.In the Mouth of Madness (1995; John Carpenter)

8.Deep Red (1975; Dario Argento)

9.Pet Semetary (1989; Mary Lambert)

10.Scream (1996; Wes Craven)

11.The Evil Dead (1981; Sam Raimi)

12.Nightmare on Elm St. 3: Dream Warriors (1987; Chuck Russell)

13.Les Diaboliques (1955; Henri-Georges Clouzot)

14.Peeping Tom (1960; Michael Powell)

15.Funny Games (1997; Michael Haneke)

16.Eraserhead (1977; David Lynch)

17.The Vanishing (Spoorloos) (1988; George Sluizer)

18.Ju-On: The Grudge (2003; Takashi Shimizu)

19.The Texas Chainsaw Massacre (1974; Tobe Hooper)

20.Daughters of Darkness (1971; Harry Kumel)

21.The Brood (1979; David Cronenberg)

22.Candyman (1992; Bernard Rose)

23.Cube (1997; Vincenzo Natali)

24.Fright Night (1985; Tom Holland)

25.Pulse (Kairo) (2001; Kiyoshi Kurosawa)

26.Don’t Look Now (1973; Nicolas Roeg)

27.Black Christmas (1974: Bob Clark)

28.Picnic at Hanging Rock (1975; Peter Weir)

29.Aliens (1986; James Cameron)

30.Ginger Snaps (2000; John Fawcett)

31.The Others (2001; Alejandro Amenebar)

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These are the nominated films which I have seen:

In alphabetical order

32.28 Days Later (2002; Danny Boyle)

33.Alien (1979; Ridley Scott)

34.American Psycho (2000; Mary Harron)

35.An American Werewolf in London (1981; John Landis)

36.Audition (1999; Takashi Miike)

37.The Beyond (1981; Lucio Fulci)

38.The Birds (1963; Alfred Hitchcock)

39.The Blair Witch Project (1999; Daniel Myrick & Eduardo Sanchez)

40.The Cabinet of Dr. Caligari (1920; Robert Weine)

41.Cat People (1942; Jacques Tourneur)

42.Creepshow (1982; George Romero)

43.Cronos (1993; Guillermo del Toro)

44.Dawn of the Dead (2004; Zack Snyder)

45.The Descent (2005; Neil Marshall)

46.Evil Dead II: Dead By Dawn (1987)

47.The Exorcist (1973; William Friedkin)

48.The Exorcist III (1990; William Peter Blatty)

49.The Eye (aka Gin gwai) (2002; Pang Bros.)

50.Eyes Without a Face (aka Les Yuex sans visage) (1960; Georges Franju)

51.The Fly (1986; David Cronenberg)

52.The Fog (1980; John Carpenter)

53.Frailty (2001; Bill Paxton)

54.Friday the 13th (1980; Sean S. Cunningham)

55.Halloween (1978; John Carpenter)

56.The Haunting (1963; Robert Wise)

57.Haute Tension (2003; Alexandre Aja)

58.Henry: Portrait of a Serial Killer (1986; John McNaughton)

59.Inferno (1980; Dario Argento)

60.Jacob’s Ladder (1990; Adrian Lyne)

61.Kaidan (Kwaidan) (1964; Masaki Kobayashi)

62.Kill, Baby…Kill! (1966; Mario Bava)

63.Last House on the Left (1972; Wes Craven)

64.Lost Highway (1997; David Lynch)

65.The Mothman Prophecies (2002; Mark Pellington)

66.Mulholland Dr. (2001; David Lynch)

67.My Bloody Valentine (1981; George Mihalka)

68.New Nightmare (1994; Wes Craven)

69.A Nightmare on Elm St. (1984; Wes Craven)

70.Nosferatu (1922; F.W. Murnau)

71.The Omen (1976; Richard Donner)

72.Poltergeist (1982; Tobe Hooper)

73.Possession (1981; Andrzej Zulawski)

74.Prince of Darkness (1987; John Carpenter)

75.Psycho (1960; Alfred Hitchcock)

76.Re-Animator (1985; Stuart Gordon)

77.Repulsion (1965; Roman Polanski)

78.The Return of the Living Dead (1985; Dan O’Bannon)

79.The Ring (2002; Gore Verbinski)

80.Ringu (1998; Hideo Nakata)

81.Saw (2004; James Wan)

82.Scanners (1981; David Cronenberg)

83.Seven (1995; David Fincher)

84.The Shining (1980; Stanley Kubrick)

85.Signs (2002; M. Night Shyamalan)

86.The Silence of the Lambs (1991; Jonathon Demme)

87.Sisters (1973; Brian de Palma)

88.Sixth Sense (1999; M. Night Shyamalan)

89.Slither (2006; James Gunn)

90.Suspiria (1977; Dario Argento)

91.A Tale of Two Sisters (2003; Ji-woon Kim)

92.The Tenant (1976; Roman Polanski)

93.The Thing (1982; John Carpenter)

94.Twin Peaks: Fire Walk With Me (1992; David Lynch)

95.Vampyr, the Strange Adventure of David Gray (1932; Carl Theodor Dreyer)

96.Videodrome (1983; David Cronenberg)

97.The Village (2004; M. Night Shyamalan)

98.Wait Until Dark (1967; Terence Young)

-------------------------------------------------------

The followings are the nominated films which I haven’t seen or I’m not sure if I have seen it or not.


1.Alice Sweet Alice (1976; Alfred Sole)

2.All the Colors of the Dark (1972; Sergio Martino)

3.Black Sabbath (1963; Mario Bava & Salvatore Billitteri)

4.Black Sunday (aka Mask of Satan) (1960; Mario Bava)

5.Blood and Black Lace (1964; Mario Bava)

6.Blood on Satan’s Claw (1971; Piers Haggard)

7.Bride of Frankenstein (1935; James Whale)

8.The Brides of Dracula (1960; Terence Fisher)

9.Burnt Offerings (1976; Dan Curtis)

10.Carnival of Souls (1962; Herk Harvey)

11.Carrie (1976; Brian de Palma)

12.The Changeling (1980; Peter Medak)

13.Children Shouldn’t Play With Dead Things (1972; Bob Clark)

14.Creature from the Black Lagoon (1954; Jack Arnold)

15.Dawn of the Dead (1978; George Romero)

16.Day of the Dead (1985; George Romero)

17.Dead Alive (1992; Peter Jackson)

18.Dead of Night (aka Deathdream) (1974; Bob Clark)

19.Dead Ringers (1988; David Cronenberg)

20.Deathline (aka Raw Meat) (1972; Gary Sherman)

21.Dellamorte Dellamore (Cemetery Man) (1994; Michele Soavi)

22.Demons (Demoni) (1985; Lamberto Bava)

23.The Devils (1971; Ken Russell)

24.The Devil’s Backbone (2001; Guillermo del Toro)

25.The Devil’s Bride (aka The Devil Rides Out) (1968; Terence Fisher)

26.The Devil’s Rejects (2005; Rob Zombie)

27.Dracula (1931; Tod Browning)

28.Dr. Jekyll & His Women (1981; Walerian Borowczyk)

29.Event Horizon (1997; Paul W.S. Anderson)

30.Frankenstein (1931; James Whale)

31.Freaks (1932; Tod Browning)

32.Full Circle (aka The Haunting of Julia) (1977; Richard Loncraine)

33.Friday the 13th, part II (1981; Steve Miner)

34.Godzilla (aka Gojira) (1954; Ishiro Honda)

35.Gremlins (1984; Joe Dante)

36.Hellraiser (1987; Clive Barker)

37.The Hitcher (1986; Robert Harmon)

38.Horror Hotel (aka City of the Dead) (1960; John Llewellyn Moxey)

39.Horror of Dracula (1958; Terence Fisher)

40.Hour of the Wolf (1968; Ingmar Bergman)

41.House of Wax (1953; Andre de Toth)

42.House on Haunted Hill (1959; William Castle)

43.The Howling (1981; Joe Dante)

44.I Walked with a Zombie (1943; Jacques Tourneur)

45.The Innocents (1961; Jack Clayton)

46.Island of Lost Souls (1932; Erle C. Kenton)
http://ecx.images-amazon.com/images/I/51AN9QD1FHL._SS500_.jpg

47.Invasion of the Body Snatchers (1956; Don Siegel)

48.Invasion of the Body Snatchers (1978; Philip Kaufman)

49.Jaws (1975; Steven Spielberg)

50.King Kong (1933; Merian C. Cooper & Ernest B. Schoedsack)

51.The Last Man on Earth (1964; Ubaldo Ragona)
http://ecx.images-amazon.com/images/I/51HVF1KKFPL._SS500_.jpg

52.The Legend of Hell House (1973; John Hough)
http://ecx.images-amazon.com/images/I/51KV4EP0KPL._SS500_.jpg

53.Let’s Scare Jessica to Death (1971; John D. Hancock)

54.The Living Dead at Manchester Morgue (aka Let Sleeping Corpses Lie) (74; Jorge Grau)

55.Magic (1978; Richard Attenborough)

56.Martin (1977; George Romero)

57.Near Dark (1987; Kathryn Bigelow)

58.Night of the Demon (aka Curse of the Demon) (1957; Jacques Tourneur)

59.Night of the Hunter (1957; Charles Laughton)

60.Night of the Living Dead (1968; George Romero)

61.Night Tide (1961; Curtis Harrington)
http://ecx.images-amazon.com/images/I/51ZFAZH19ML._SS500_.jpg

62.Onibaba (1964; Kaneto Shindo)

63.People Under the Stairs (1991; Wes Craven)

64.Phantasm (1979; Don Coscarelli)
http://ecx.images-amazon.com/images/I/51g1HM7wWEL._SS500_.jpg

65.Pit and the Pendulum (1961; Roger Corman)

66.Quatermass and the Pit (aka Five Million Years to Earth) (1967; Roy Ward Baker)

67.Ravenous (1999; Antonia Bird)

68.Rosemary’s Baby (1968; Roman Polanski)

69.The Serpent and The Rainbow (1988; Wes Craven)

70.Session 9 (2001; Brad Anderson)

71.Shaun of the Dead (2004; Edgar Wright)

72.Shivers: They Came From Within (1975; David Cronenberg)

73.Sleepaway Camp (1983; Robert Hiltzik)

74.Targets (1968; Peter Bogdonavich)
http://ecx.images-amazon.com/images/I/51VR9SB4ZBL._SS500_.jpg

75.Them! (1954; Gordon Douglas)
http://ecx.images-amazon.com/images/I/51GRjJnF0WL._SS500_.jpg

76.The Thing from Another World (1951; Christian Nyby)
http://ecx.images-amazon.com/images/I/51MCTEY9D0L._SS500_.jpg

77.Tomb of Ligeia (1964; Roger Corman)
http://ecx.images-amazon.com/images/I/51SV1V838HL._SS500_.jpg

78.Tombs of the Blind Dead (1971; Amanda de Ossorio)

79.Uzumaki (2000; Higuchinsky)

80.Village of the Damned (1960; Wolf Rilla)

81.Whatever Happened to Baby Jane? (1962; Robert Aldrich)

82.When a Stranger Calls (1979; Fred Walton)
http://ecx.images-amazon.com/images/I/515AKS5GTCL._SS500_.jpg

83.The Wicker Man (1973; Robin Hardy)

84.Witchfinder General (1968; Michael Reeves)

85.The Wolf Man (1941; George Waggner)

MY DREAM SCHEDULE

My dream schedule for the World Film Festival of Bangkok 2007 and other things

SATURDAY 20 October 2007
1.FROM MESSAGE TO MEDIA
http://www.bangkokdesignfestival.com/massmedia.htm

2.HERE THERE NOW
http://www.gallerysoulflower.com/ExbPic.aspx?id=52

3.YABA
http://www.kathmandu-bkk.com/exhibition_present01.html


SUNDAY 21 OCT

9.50 SERAPHIM FALLS
Lido

12.15 PLEASURE FACTORY
Siam

14.15 DNA
http://www.whitespaceasia.com/gallery/work.html

16.00 CLERKS 2
Houserama

18.15 BOYFRIEND
Houserama


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FRIDAY 26 OCT

12.30 DEMENTED (2006, Laurent Achard) (95)

15.30 ORBELA’S PEOPLE (2007, Percy Adlon) (118)

17.40 FALLEN (2005, Fred Kelemen) (90)
http://twilightvirus.blogspot.com/2007/10/fred-kelemen.html
http://dkfilmhouse.blogspot.com/2007/10/fred-kelemen-masterclass-2.html

19.30 MOSQUITO PROBLEMS AND OTHER STORIES (2007, Andrey Paounov, Bulgaria) (100)
http://likhna.blogspot.com/2007/09/ciff-notes-days-3-4-5.html


SATURDAY 27 OCT

13.00 SALMONBERRIES (1991, Percy Adlon) (94)

15.30 THE CALIFORNIA (2005, Jacques Fieschi) (105)

17.40 DALLAS AMONG US (2005, Robert Adrian Pejo) (93)

20.00 FLOWER IN THE POCKET (2007, Liew Seng Tat, Malaysia) (100)


SUNDAY 28 OCT

12.30 SAVIOR’S SQUARE (2006, Joanna Kos, Krzysztof Kauze, Poland) (105)

15.20 BAMAKO (2006, Abderrahmane Sissako) (115)

17.40 BAGDAD CAFE (1987, Percy Adlon) (108)

20.00 JELLYFISH (2007, Shira Geffen, Etgar Keret) (78)


MONDAY 29 OCT

12.30 FOREVER AND EVER (2001, Raymond To, Hong Kong) (96)

15.20 STEVE + SKY (2004, Felix Van Groeningen, Belgium) (100)

17.30 AND IF TOMORROW (2005, Giovanni La Parola, Italy) (90)

20.00 LITTLE SECRETS (2006, Pol Cruchten, Luxembourg) (90)



TUESDAY 30 OCT

13.00 THE QUEEN OF SHEBA’S PEARL (2004, Colin Nutley, Sweden) (131)

15.40 EGG (2007, Semih Kaplanoglu, Turkey) (91)

18.00 PHANTOM LOVE (2007, Nina Menkes) (81)
http://twilightvirus.blogspot.com/2007/10/phantom-love.html
http://memoriesofthefuture.wordpress.com/2007/10/12/i-dream-in-shades-of-black-and-white/

20.00 IMPORT EXPORT (2006, Ulrich Seidl) (135)


WEDNESDAY 31 OCT

13.00 MOTHER OF MINE (2005, Klaus Haro, Finland) (111)

15.30 THE BAND’S VISIT (2007, Eran Korilin) (85)

17.50 VILLAGE PEOPLE RADIO SHOW (2007, Amir Muhammad, Malaysia) (72)

20.20 HELP ME EROS (2007, Lee Kang-sheng) (86)
http://www.dvdverdict.com/judgeblog/jataide/post/1541



THURSDAY 1 NOV

13.00 LOSERS AND WINNERS (2006, Michael Loeken, Ulrike Franke, Germany) (96)

15.30 IN BETWEEN (1994, Yonfan, Sylvia Chang, Leung Chun 'Samson' Chiu) (105)

18.20 THINGS TO DO WHEN WE FALL IN LOVE (2007, James Lee) (89)

20.20 881 (2007, Roystan Tan) (105)



FRIDAY 2 NOV

13.00 CELESTE (1981, Percy Adlon) (107)

15.20 POSSIBLE LIVES (2006, Sandra Gugliotta, Argentina) (80)

17.20 DRIVING WITH MY WIFE’S LOVER (2006, Kim Tai-sik) (92)

20.20 MURMURING COAST (2004, Margarida Cardoso, Portugal) (120)



SATURDAY 3 NOV

13.00 SIAO YU (1995, Sylvia Chang)

15.20 THE PLANET (2006, Linus Torell, Michael Stenberg, Johan Soderberg, Sweden) (84)

17.30 THE LAST KING OF SCOTLAND (2006, Kevin Macdonald) (121)

20.10 THE MAN FROM LONDON (2007, Bela Tarr) (131)


SUNDAY 4 NOV

13.00 ALICE (2005, Marco Martins, Portugal) (102)

15.30 4 MONTHS, 3 WEEKS, AND 2 DAYS (2007, Cristian Mungiu, Romania) (113)

17.40 GARDENS IN AUTUMN (2006, Otar Iosseliani) (115)
http://filmref.com/journal/archives/2006/10/gardens_in_autumn_2006.html

20.20 SECRET (2007, Jay Chou) (102)


MONDAY 5 NOV – THURSDAY 8 NOV
THE NOCTURNAL WORLD OF FRED KELEMEN
http://dkfilmhouse.blogspot.com/2007/10/fred-kelemen-masterclass-2.html

---------------------------------------------------------------------------------

NOV 9-11
MAHABHARATA by Komonlagoon Dance Troupe
http://www.patravaditheatre.com/index.php?option=com_events&task=view_detail&agid=37&year=2007&month=11&day=09&Itemid=0


NOV 3-18
BANGKOK THEATRE FESTIVAL
http://www.onopen.com/2007/editor-spaces/2245


NOV 13-23
THE THIRD SCIENCE FILM FESTIVAL IN BANGKOK
http://www.goethe.de/ins/th/prj/wif/enindex.htm


NOV 15-16
QUICKSILVER by Ko Murobushi
http://www.patravaditheatre.com/index.php?option=com_events&task=view_detail&agid=35&year=2007&month=11&day=15&Itemid=0


NOV 22-23
MONOCHROME CIRCUS DANCE COMPANY ASIAN TOUR
http://www.patravaditheatre.com/index.php?option=com_events&task=view_detail&agid=36&year=2007&month=11&day=22&Itemid=0

THE TURNING POINT IN MY LIFE

This is my comment in Girish Shambu’s blog:
http://www.girishshambu.com/blog/2007/10/cinephilia.html

--Girish, I have no knowledge about Bollywood films, but I just want to tell you that my friends and I saw an Indian film called MY BROTHER…NIKHIL (2005, Onir) last year and like it a lot. I don’t know if you know this film or not. It’s about the ostracization of an AIDS patient. The film has no dance in it, but it features a song called Le Chale, sung by Sunidhi, which is a very catchy song. I can’t call this film “great”, but I think it’s very enjoyable. After my friends and I had seen this film, we walked out of the theatre and started singing some parts of “Le Chale” altogether. I can’t remember any other films which make us do something like this—singing its song together just after watching it for the first time.

A videoclip of Le Chale from MY BROTHER…NIKHIL can be watched here:
http://www.youtube.com/watch?v=_J3wiUQO4Ts


--The turning point in my film-watching life is in 1995. In that year, I said goodbye to my family and started living on my own. I was too poor to buy even a TV set then. I had some spare time so I think I’d better go to see free films shown at the Goethe Institute in Bangkok. The first film I saw there is CLASS ENEMY (1983, Peter Stein). I was shocked. The film is very powerful, but what really shocked me is the fact that though I had read some Thai movie magazines for many years, I had never heard of this film or Peter Stein before. I began to realize at that time that the most interesting films in the world might not be the ones nominated for an Oscar, nor the ones praised by Thai mainstream film critics, nor the ones reviewed by Leonard Maltin, nor the ones released by Miramax.

I began to go to see films at the Goethe Institute and the Alliance Francaise in Bangkok frequently, and have become a film addict since then.

--Brian said, “I remember in college buying the line that the foreign films available in the USA represented the "best of" the rest of the world, which seems hopelessly naive to me today”

I think my experience is a little bit like him. In early 1990’s I used to believe that foreign films released by Miramax or available as videos in Bangkok represented the best of the world. But in late 1990’s, after some experience at the Goethe Institute and the Alliance Francaise, I turned to believe the opposite. I turned to believe that films available as videos in Bangkok at that time were highly likely to be “compromising films.” This is obvious in the case of the New German Cinema. In late 1990’s, it was easy to buy a video of Werner Herzog, Wim Wenders, Rainer Werner Fassbinder or Volker Schlondorff in Bangkok. But do they represent the best of the New German Cinema? No, I don’t think so. What I really need is the videos or DVDs of Herbert Achternbusch, Hellmuth Costard, Alexander Kluge, Werner Nekes, Ulrike Ottinger, Sohrab Shahid Saless, Christoph Schlingensief, Werner Schroeter, Robert Van Ackeren, and Herbert Vesely. I still can’t find them now.

--The person who has been very influential in my film-viewing is Sonthaya Subyen, who has shown many great films for free in a bookstore or in a university auditorium for about ten years. He has a Thai blog at http://www.twilightvirus.blogspot.com/ . He showed such films as VIOLENCE AT NOON (1966, Nagisa Oshima), EL TOPO (1970, Alejandro Jodorowsky), SCREAM AND SCREAM AGAIN (1970, Gordon Hessler), NEWS FROM HOME (1977, Chantal Akerman), ZERO HOUR (1977, Edgar Reitz), RHEINGOLD (1978, Niklaus Schilling), ANGUISH (1987, Bigas Luna), EGG (1987, Danniel Danniel), TALES FROM THE GIMLI HOSPITAL (1988, Guy Maddin), and SUMMER VACATION 1999 (1989, Shusuke Kaneko).

--The books which have been very influential in my film-viewing are also the books edited and published by Sonthaya Subyen, especially Filmvirus 1 (1998) and Filmvirus 2 (2001). These books have some articles about Ray Carney, Krzysztof Zanussi, Alexander Kluge, Alain Robbe-Grillet, Philippe Grandrieux, and Fred Kelemen. I still re-read these articles from time to time.

--I’m very glad that Sonthaya still shows some movies and publishes some books from time to time. His latest Thai book about Apichatpong Weerasethakul will be available within a few days. Sonthaya will also hold an event called THE NOCTURNAL WORLD OF FRED KELEMEN in Bangkok in early November.

--As for something mainstream I might have neglected during the past twelve years, I think it’s TV series with very interesting female characters. I have neglected them because I don’t have enough time to watch the whole TV series any more, and I regret it because many interesting female characters are likely to be found in TV series, not in mainstream cinema. My most favorite female characters of all time include Eve (Liane Langland), the woman who is obsessed with killing her sister in the mini-series MASTER OF THE GAME (1984); the evil heroine (Maggie Siu) of a Hong Kong TV series called CONSCIENCE (1994); the female serial killer (Nisa Wongwat) in a Thai TV melodrama called PLEONG PAI (1990-1991), and, of course, Amanda (Heather Locklear) in MELROSE PLACE. Oh!, I wish I had more time.


A photo below is from http://www.twilightvirus.blogspot.com/
http://farm3.static.flickr.com/2166/1618626184_d9c74fc9f6_o.jpg

DRIFT (2007, SATHIT SATTARASART, A+)

THIS IS MY COMMENT IN BIOSCOPE WEBBOARD:

http://www.bioscopemagazine.com/smf/index.php?topic=71.480

MY FAVORITE OLD SONG FOR THE MOMENT IS "OCEAN BLUE" by ABC

You can watch OCEAN BLUE's music video at:
http://www.youtube.com/watch?v=HF844FUyauI

----------------------------------------------------------------

http://www.bioscopemagazine.com/smf/index.php?topic=659.0

--After a day has passed, now I think I would upgrade "DRIFT" from "A" to "A+". I don't know the intention of Sathit Sattarasart for this art project, but what I like very much about DRIFT is that it's the first art project in which I "stay in". Normally, when I go to see an art exhibition, most of exhibitions I see affect me VISUALLY. But there's nothing visually special in DRIFT. It looks like a very normal hotel room for me, but I stayed in the room for nearly 2 hours to inspect many parts of the room and watch a DVD. And the memory of those two hours is with me now, though I drifted away from that place yesterday. This is not an art exhibition WHICH I SEE, but it is an art exhibition WHERE I STAYED, WHERE I WAS, WHICH I WAS A PART OF. The brochure for DRIFT asks the audience to look for the ARTIST'S TRACES in the room, but I don't know what they are. I look for them, but I think I found the traces of the exhibition visitors who came to the room before me. I think in this art exhibition, EACH EXHIBITION VISITOR, INCLUDING ME AND MY FRIEND, MIGHT BECOME "THE ARTIST", OR AT LEAST A PART OF THE EXHIBITION.
http://www.nothinginmotion.com/projects/2007drift.htm

This is the map to Rose Hotel:
http://farm3.static.flickr.com/2420/1589056204_0898588a7d_o.jpg

This is a photo of DRIFT from Sathit's website:
http://farm3.static.flickr.com/2127/1589056190_b8e3741cfd_o.jpg

The three photos below were shot by my cheap mobile phone:

--A note Sathit left on the window pane:
http://farm3.static.flickr.com/2305/1589056216_7dbd4ea174_o.jpg

--The bed on which each exhibition visitor can lie:
http://farm3.static.flickr.com/2013/1589056224_15ffd3d140_o.jpg

--The vanity mirror:
http://farm3.static.flickr.com/2140/1589056236_7f6f05f825_o.jpg

HER NAME IS "NOMYEAUN"

THIS IS MY COMMENT IN BIOSCOPE WEBBOARD:
http://www.bioscopemagazine.com/smf/index.php?topic=659.0

ตอบน้องนาโนกาย

--ดูแผนที่ทางไป ROSE HOTEL ได้ที่นี่เลยค่ะ
http://www.nothinginmotion.com/projects/2007drift.htm

--อ้อ คนที่ไปกับดิฉันเมื่อวานไม่ใช่คุณเจ้าชายน้อย (FILMSICK) ค่ะ แต่เป็นคุณ LUNAR ซึ่งเป็นเลขานุการิณีของคุณเจ้าชายน้อย

---------------------------------------------------


http://www.bioscopemagazine.com/smf/index.php?topic=650.0


ตอบน้อง merveillesxx

ถ้านับเฉพาะฉากแล้ว KAIRO มีฉากที่ดิฉันกลัวสุดขีดอยู่ฉากนึง นั่นคือฉากที่ผีเดินกะย่องกะแย่งขาหักไปหักมามาหาพระเอก แต่ถ้าหากนับตัวหนังโดยรวมๆแล้ว ก็ชอบหนังเรื่องนี้มาก แต่ไม่ค่อยกลัวหนังเรื่องนี้ เพราะรู้สึกว่าหนังเรื่องนี้ดิฉันดูแล้วเหวอๆมากกว่ากลัว


ตอบคุณ yuttipung

ดิฉันกลัว WOLF CREEK มากๆเหมือนกันค่ะ นอกจากนี้ หนังเรื่องนี้ยังติดอันดับหนังที่ดิฉันรู้สึกว่า “สวย” ที่สุดเรื่องนึงในปีที่แล้วด้วย เพราะหนังเรื่องนี้ถ่ายฉากที่เป็นทิวทัศน์ธรรมชาติได้งดงามมากๆ



ตอบคุณ FILMSICK

ขอบคุณมากค่ะสำหรับอันดับหนังสยองขวัญ จริงๆแล้ว ONIBABA, JU-ON 1, EVIL DEAD 1, THE VANISHING, VAMPYR, POSSESSION, FUNNY GAMES, PEEPING TOM ก็เกือบเข้าอันดับของดิฉันเหมือนกัน แต่เนื่องจากดิฉันต้องจำกัดจำนวนรายชื่อไว้เพียง 31 เรื่อง ดิฉันก็เลยตัดหนังกลุ่มนี้ทิ้งไปด้วยสาเหตุที่ว่า “หนังกลุ่มนี้โด่งดังมากแล้ว” และพยายามเลือกหนังที่ดิฉันชอบเท่าๆกับหนังกลุ่มนี้ แต่ไม่โด่งดังเท่าหนังกลุ่มนี้ให้เข้าอันดับแทน

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http://www.bioscopemagazine.com/smf/index.php?topic=71.480

ตอบคุณ pc

เพิ่งรู้จากคุณ pc นี่แหละค่ะว่าเนื้อเพลง MOONLIGHT SHADOW อาจจะเกี่ยวกับการฆาตกรรมจอห์น เลนนอน ตอนแรกดิฉันอ่านเนื้อเพลงนี้แล้วก็งงๆเหมือนกันว่ามันเกิดอะไรขึ้น

ลองค้นหาข้อมูลใน WIKIPEDIA เขามีข้อมูลเกี่ยวกับเนื้อเพลงนี้ด้วยค่ะ MIKE OLDFIELD บอกว่าเขาแต่งเนื้อเพลงนี้โดยได้รับแรงบันดาลใจจากภาพยนตร์เรื่อง HOUDINI แต่เขาแต่งเนื้อเพลงนี้ในช่วงที่จอห์น เลนนอนถูกฆาตกรรมพอดี เพราะฉะนั้นเหตุการณ์ฆาตกรรมจอห์น เลนนอนจึงอาจมีผลต่อจิตใต้สำนึกของเขาขณะแต่งเพลงนี้
http://en.wikipedia.org/wiki/Moonlight_Shadow

BANANA YASHIMOTO ได้รับแรงบันดาลใจจากเพลงนี้ของ MIKE OLDFIELD จนนำไปแต่งเป็นนิยายเรื่อง MOONLIGHT SHADOW ด้วย
http://en.wikipedia.org/wiki/Moonlight_Shadow_(novella)

สำหรับเพลงเก่าๆที่ดิฉันชอบมากในตอนนี้คือเพลง OCEAN BLUE ของวง ABC




ตอบน้อง merveillesxx

พูดถึงชื่อไทยโบราณแล้ว ทำให้นึกถึงตัวละครในละครทีวีไทยเรื่องนึงที่มีชื่อว่า "นมเยื้อน" ไม่รู้น้อง merveillesxx หรือใครจำได้บ้างไหมว่า "นมเยื้อน" อยู่ในละครทีวีเรื่องอะไร และใครรับบทนี้ ดิฉันกับคุณ LUNAR พยายามนึกทั้งวันแต่ก็นึกไม่ออกว่า "นมเยื้อน" มาจากละครทีวีเรื่องอะไร แต่จำได้ว่าเคยได้ยินชื่อตัวละครตัวนี้จากละครทีวีเมื่อหลายปีก่อนแน่ๆ

อยากให้คนที่โทรศัพท์ไปตอบคำถามป้าวาสนา มีคนที่ชื่ออย่าง "นมเยื้อน" บ้างจัง ไม่รู้ว่าพอพูด "ดิฉันชื่อนมเยื้อนค่ะ" แล้วป้าวาสนาจะให้ความเห็นว่าอย่างไรบ้าง ไม่รู้เหมือนกันว่าตอนนี้มีคนไทยกี่คนที่เรียกตัวเองว่า "นมเยื้อน"

เข้าใจว่าชื่อ "นมเยื้อน" ในที่นี้เป็นชื่อของแม่นมชื่อเยื้อนที่ชอบเรียกตัวเองว่า "นมเยื้อน" ดิฉันเดาว่าชื่อ "นมเยื้อน" ในที่นี้คงไม่ได้เกิดจากเธอโดนตบนมจนซิลิโคนเขยื้อนแต่อย่างใด

WOMEN WE DON'T KNOW BY JOSE LUIS GUERIN

ARTINTELLIGENCE’s blog has a post about WOMEN WE DON’T KNOW, an art installation show by Jose Luis Guerin at 52nd Venice Biennale. You can read Artintelligence's post from the link below:
http://artintelligence.net/review/?p=203

You can watch a Youtube video about WOMEN WE DON'T KNOW from the link below:
http://uk.youtube.com/watch?v=oHusA8ebal8

WHY I LIKE THAI GHOST FILMS SO MUCH

HEY, HORROR FILM LOVERS, DON’T FORGET TO VOTE FOR “31 FLICKS THAT GIVE US THE WILLIES” IN “SHOOT THE PROJECTIONIST” BLOG. YOU CAN READ THE NOMINEE LIST AND THE VOTING RULES FROM THE LINK BELOW:
http://shoottheprojectionist.blogspot.com/2007/10/official-nominees-for-31-flicks-that.html

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This is my reply to Peter Nellhaus in my blog:
http://celinejulie.wordpress.com/2007/10/12/31-horror-films/

Hi Peter

Personally, I don’t like ART OF THE DEVIL (2004, Tanit Jitnukul, C) at all. It is very boring for me, and the story has no connection with ART OF THE DEVIL II (2005, Ronin Team, A+). So if you don’t have much time, I suggest you watch ART OF THE DEVIL II first.

I’m also amazed at how many Thai ghost films have been made lately, though I won’t complain much about it because I particularly like horror films. Hahaha. Moreover, though I admire some Thai film directors who try to make other kinds of movies, sometimes I find that I prefer their horror films to their other films. For example, I prefer THE UNSEEABLE (2006, Wisit Sasanatieng, A) to CITIZEN DOG (2004, Wisit Sasanatieng, A-/B+), and I prefer ART OF THE DEVIL II (2005, Ronin Team which includes Kongkiat Khomsiri, A+) to CHAIYA (2007, Kongkiat Khomsiri, A-/B+).

It would be great if Thai feature films become more varied, but I have to confess I often feel awkward when I watch some Thai romantic films or Thai historical period films. I can’t bear Thai films when they “intend” to make the audience feel PATRIOTIC or when they try to make the audience view the world or human relationships in TOO OPTIMISTIC eyes. I can bear Thai films when they just intend to cheaply scare the audience. Maybe that’s why I like Thai horror films so much, because some of them are not too optimistic about the world or human relationships. But that’s not the reason why other Thai audience like ghost films. It’s just the reason why I like ghost films, but I don’t think I share the same reasons with other Thai audience. I also don’t know why they like Thai ghost films so much.

INVISIBLE TARGET (2007, BENNY CHAN, A+++++)

This is my comment in BIOSCOPE webboard:
http://www.bioscopemagazine.com/smf/index.php?topic=659.0



Reply to Merveillesxx

--I have seen L’ICEBERG (2005, Dominique Abel, Fiona Gordon, Bruno Roby, A). I like it a lot. It’s not a “must-see” film, but somehow it reminds me of Jacques Tati and Aki Kaurismaki.

--Don’t forget to go to see “DRIFT” by Sathit Sattarasart at Rose Hotel. I went there today. I like it and give it “A”. In the hotel room that shows DRIFT, you can also choose to watch some DVDs available in the room. So I chose to watch HOTEL ROOM (1993, David Lynch, A).

--Don’t forget to go to see many interesting things on the ground floor of Central World Plaza as a part of the Bangkok Design Festival.
http://www.bangkokdesignfestival.com/EVENTS.htm

--Yes, Shawn Yue is very handsome in INVISIBLE TARGET (2007, Benny Chan, A+). Moreover, Nicolas Tse is looking good in this film, too.

Shawn Yue
http://gallery.asianfanatics.net/index.php?act=thumbs&aid=333

TIME MAGAZINE ON THAI CENSORSHIP

I just read Wise Kwai’s Thai Film Journal at Rottentomatoes.com and found that Wise Kwai wrote about an interesting article in Time Magazine. The article is called WILL THAI REFORMS MAKE CENSORSHIP WORSE?, written by Simon Montlake. I have to thank Wise Kwai a lot for writing about this article, or else I wouldn’t know about it.

The link to Wise Kwai’s Thai Film Journal:
http://www.rottentomatoes.com/vine/journal_view.php?journalid=100000335&entryid=453506&view=public

The link to the article in Time Magazine:
http://www.time.com/time/magazine/article/0,9171,1670261,00.html

An excerpt of this article:

“In the opposite corner is Ladda Tangsupachai, 58, head of the Cultural Surveillance Department at the Ministry of Culture and a prime mover behind the legislation. Her department already scrutinizes television shows, magazines, Internet cafes and schoolgirl fashions; they are keen to take on movies. "Uneducated" is the term Ladda uses to describe Thai filmgoers. "They're not intellectuals — that's why we need ratings," she says.

Film-industry folk support the idea of classifying movies, provided they have a voice in the process. But many believe that simply transferring the regulatory role from the police to the Ministry of Culture is a jump cut from the frying pan into the fire, especially in the postcoup climate, when political and social conservatism are on the rise. Ladda counters that the audience is on her side when it comes to choosing a flick. "Nobody goes to see films by Apichatpong," she says. "Thai people want to see comedy. We like a laugh." “

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--I just browsed through a book called CAVELL ON FILM and found an interesting passage written by John Stuart Mill quoted in this book. He seemed to be an interesting philosopher. I have no knowledge about John Stuart Mill, so I don’t say I agree with his thinking. But I think some of his writing is very interesting.

John Stuart Mill (1806-1873) wrote a book called ON LIBERTY (1869), which you can read from:
http://www.bartleby.com/130/

Here are some excerpts from ON LIBERTY by John Stuart Mill:

1.” But the strongest of all the arguments against the interference of the public with purely personal conduct, is that when it does interfere, the odds are that it interferes wrongly, and in the wrong place. On questions of social morality, of duty to others, the opinion of the public, that is, of an overruling majority, though often wrong, is likely to be still oftener right; because on such questions they are only required to judge of their own interests; of the manner in which some mode of conduct, if allowed to be practised, would affect themselves. But the opinion of a similar majority, imposed as a law on the minority, on questions of self-regarding conduct, is quite as likely to be wrong as right; for in these cases public opinion means, at the best, some people's opinion of what is good or bad for other people; while very often it does not even mean that; the public, with the most perfect indifference, passing over the pleasure or convenience of those whose conduct they censure, and considering only their own preference. There are many who consider as an injury to themselves any conduct which they have a distaste for, and resent it as an outrage to their feelings; as a religious bigot, when charged with disregarding the religious feelings of others, has been known to retort that they disregard his feelings, by persisting in their abominable worship or creed. But there is no parity between the feeling of a person for his own opinion, and the feeling of another who is offended at his holding it; no more than between the desire of a thief to take a purse, and the desire of the right owner to keep it. And a person's taste is as much his own peculiar concern as his opinion or his purse. It is easy for any one to imagine an ideal public, which leaves the freedom and choice of individuals in all uncertain matters undisturbed, and only requires them to abstain from modes of conduct which universal experience has condemned. But where has there been seen a public which set any such limit to its censorship? or when does the public trouble itself about universal experience? In its interferences with personal conduct it is seldom thinking of anything but the enormity of acting or feeling differently from itself; and this standard of judgment, thinly disguised, is held up to mankind as the dictate of religion and philosophy, by nine-tenths of all moralists and speculative writers. These teach that things are right because they are right; because we feel them to be so. They tell us to search in our own minds and hearts for laws of conduct binding on ourselves and on all others. What can the poor public do but apply these instructions, and make their own personal feelings of good and evil, if they are tolerably unanimous in them, obligatory on all the world?”


2.” In our times, from the highest class of society down to the lowest, every one lives as under the eye of a hostile and dreaded censorship. Not only in what concerns others, but in what concerns only themselves, the individual or the family do not ask themselves—what do I prefer? or, what would suit my character and disposition? or, what would allow the best and highest in me to have fair play, and enable it to grow and thrive? They ask themselves, what is suitable to my position? what is usually done by persons of my station and pecuniary circumstances? or (worse still) what is usually done by persons of a station and circumstances superior to mine? I do not mean that they choose what is customary, in preference to what suits their own inclination. It does not occur to them to have any inclination, except for what is customary. Thus the mind itself is bowed to the yoke: even in what people do for pleasure, conformity is the first thing thought of; they like in crowds; they exercise choice only among things commonly done: peculiarity of taste, eccentricity of conduct, are shunned equally with crimes: until by dint of not following their own nature, they have no nature to follow: their human capacities are withered and starved: they become incapable of any strong wishes or native pleasures, and are generally without either opinions or feelings of home growth, or properly their own. Now is this, or is it not, the desirable condition of human nature?”

"EN CONSTRUCCION" SHOWN IN BANGKOK

EN CONSTRUCCION (2001, Jose Luis Guerin) will be shown in Bangkok on Friday 19, October, at 19.00 hrs. The venue is ALL ZONE, 764/10 Sukhumvit Road (Between Sukhumvit Soi 32 and 34).

You can read the details at:
http://www.bangkokdesignfestival.com/AZ.htm

You can read Acquarello’s review of this film at:
http://www.filmref.com/notes/archives/2007/09/en_construccion_work_in_progre.html

FILMS AS POLITICAL EXPRESSIONS

This is my comment in Prap Boonpan and Chai Chaiyachit’s blog:
http://agonisticfilm.exteen.com/20071011/entry

--เข้ามาลงชื่อว่าได้อ่านบทความของคุณปราปต์และคุณชายแล้วค่ะ เขียนได้จุใจมากๆเลยค่ะ สมกับที่รอคอยมานาน

--ได้อ่านบทสัมภาษณ์ของคุณปราปต์และคุณชายในนิตยสาร BIOSCOPE แล้วด้วย ดีใจมากๆค่ะที่หนังของคุณทั้งสองคนจะได้ฉายอีกครั้ง แต่คราวนี้ดิฉันคงไม่ได้ไปดูอีกรอบเพราะคงจะติดพันอยู่กับ WORLD FILM FESTIVAL OF BANGKOK แหะๆๆ

--ที่คุณปราปต์เคยเขียนว่าจะรวบรวมหนังสั้นเก่าๆของตัวเองมารวมไว้ในดีวีดีนั้น ไม่ทราบว่างานคืบหน้าไปถึงไหนแล้วคะ ดิฉันขอเชียร์ให้คุณปราปต์รวบรวมหนังทุกเรื่องของตัวเองเท่าที่พอจะรวบรวมได้มาไว้ในดีวีดีแผ่นเดียวกันค่ะ และถ้าหากทำซับไตเติลภาษาอังกฤษไว้ในหนังด้วยได้ก็จะดีมาก แต่ถ้าหากทำซับไตเติลจริง งานนี้คงหนักหน่อย เพราะหนังของคุณปราปต์เป็นหนังที่พูดเยอะมาก ฮ่าๆๆ ถ้าหากทำดีวีดีเสร็จแล้ว ก็อย่าลืมหาทางเผยแพร่ดีวีดีของตัวเองด้วยนะคะ ถ้าหากสามารถเอาไปฝากวางขายที่จตุจักรได้ก็จะดีค่ะ ดิฉันจะได้ไปกว้านซื้อมาหลายๆแผ่นเพื่อแจกเป็นของขวัญปีใหม่ให้เพื่อนๆหลายคนที่เป็นชนชั้นกลางซึ่งเป็นกลุ่มที่ไปโหวตรับรัฐธรรมนูญได้ดูกัน เวลาดิฉันอยู่กับเพื่อนๆเหล่านี้ ดิฉันก็ไม่ค่อยกล้าแสดงความคิดเห็นทางการเมืองเท่าไหร่ค่ะ เพราะดิฉันกลัวว่าจะทะเลาะกันรุนแรง แต่ถ้าหากดิฉันสามารถแสดงความคิดเห็นทางการเมืองของตัวเองในทางอ้อมโดยผ่านทางหนังของคุณปราปต์ได้ ก็คงจะเป็นสิ่งที่ดีเหมือนกัน

--สำหรับประเด็นเรื่องการแสดงที่สมจริงหรือไม่สมจริงในหนังของคุณปราปต์นั้น โดยส่วนตัวแล้วมันไม่เป็นปัญหาสำหรับดิฉันเลยค่ะ ดิฉันคิดว่าหนังเรื่องนี้มันออกจะ “เหนือจริง” สำหรับดิฉันด้วยซ้ำไป เพราะดิฉันแทบไม่เคยเจอสถานการณ์ที่มีการด่าทอกันอย่างไม่ไว้หน้าแบบนี้มาก่อน เพราะฉะนั้นขณะที่ดิฉันดูหนังเรื่องนี้ ดิฉันจึงไม่ได้นำการแสดงในหนังไปเทียบกับการแสดงออกของคนต่างๆที่พบเห็นได้ในชีวิตประจำวันของดิฉันอยู่แล้ว เพราะสถานการณ์ในหนังเรื่องนี้มันก็ห่างไกลจากชีวิตประจำวันของดิฉันมากพอสมควร เพราะในชีวิตประจำวันของดิฉันนั้น ส่วนใหญ่จะมีแต่การ “แอบด่าทอคนอื่นๆในใจ” มากกว่าการด่ากันออกมาตรงๆแบบในหนังเรื่องนี้

อันนี้ขอแสดงความเห็นส่วนตัวเพิ่มเติมเล็กน้อย คือดิฉันคิดว่าการแสดงในหนังเรื่องใดๆก็ตาม ไม่จำเป็นจะต้องมีความสมจริงแต่อย่างใด จะสมจริงก็ได้ หรือไม่สมจริงก็ได้ ถ้าหากทำออกมาได้ดี มันก็ออกมาดูดีมีสไตล์ทั้งสองทาง หนึ่งในการแสดงที่ประทับใจดิฉันมากที่สุดในชีวิตคือการแสดงในภาพยนตร์เรื่อง L’ARGENT (1983, Robert Bresson, A++++++++++) เพราะการแสดงในหนังเรื่องนี้ให้ความรู้สึกว่ามันแข็งกระโด๊กที่สุดในชีวิตเท่าที่เคยดูมา มันให้ความรู้สึกที่บอกไม่ถูก จะว่ามันไม่สมจริงก็พูดได้ไม่เต็มปาก จะว่ามันโอเวอร์แอ็คติ้งก็ไม่ใช่อย่างแน่นอน แต่มันให้ความรู้สึกที่แข็งกระโด๊กมากๆ แต่มันกลับส่งผลดีต่อตัวหนัง เพราะมันทำให้หนังเรื่องนี้โดดเด่นออกมาจากหนังหลายพันเรื่องที่ดิฉันเคยดูมาในชีวิต และมันก็ดูเหมือนสอดรับเป็นอย่างดีกับตัวหนังซึ่งมองมนุษย์ในแง่ลบสุดๆ จนมนุษย์ในหนังไม่จำเป็นต้องแสดงความเป็นมนุษย์ออกมาในแบบภาพยนตร์ทั่วไป


--ดิฉันคิดว่ายิ่งหนังของคุณปราปต์แตกต่างจากหนังสั้นของคนอื่นๆมากเท่าไหร่ ก็ยิ่งส่งผลดีต่อตัวดิฉันค่ะ เพราะดิฉันชอบหนังที่แตกต่างแบบนี้นี่แหละ


--ปัจจัยหนึ่งที่ทำให้ชอบ LETTER FROM THE SILENCE มากขึ้นไปอีกหลังจากได้ดูหนังเรื่องนี้ ก็คือการได้อ่านบทความของ REGIS DEBRAY ใน NEW LEFT REVIEW ที่มีช่วงหนึ่งพูดถึง “พลังของงานเขียน” (อยู่ในหัวข้อ POWERS OF THE INVISIBLE)

อ่านบทความนี้ได้ที่
http://www.newleftreview.org/?page=article&view=2676

ดิฉันรู้จักงานเขียนชิ้นนี้จาก BLOG ของ ZACH CAMPBELL ซึ่งอยู่ที่
http://elusivelucidity.blogspot.com/2007/08/powers-of-invisible.html

ถ้าเข้าใจไม่ผิด บทความนี้มันค่อนไปในทางเชิดชูงานเขียนมากกว่าภาพยนตร์นะ มันเหมือนกับจะบอกว่างานเขียนสามารถกระตุ้นให้คนลุกขึ้นมาปฏิวัติได้ แต่ภาพยนตร์ทำแบบนั้นไม่ได้ อย่างไรก็ดี หนังเรื่อง LETTER FROM THE SILENCE ดูเหมือนจะทำให้การตัดสินว่าความเห็นของ REGIS DEBRAY ถูกหรือผิด เป็นสิ่งที่ยากมากยิ่งขึ้นไปอีก เพราะดิฉันคิดว่าในแง่หนึ่ง LETTER FROM THE SILENCE เป็นการเชิดชูพลังแห่งการปฏิวัติที่อยู่ในงานเขียน (ซึ่งเหมือนกับเป็นการเห็นด้วยกับความเห็นของ DEBRAY) แต่ในอีกแง่หนึ่ง ภาพยนตร์เรื่องนี้ก็อาจจะกระตุ้นให้ผู้ชมเกิดความรู้สึกอย่างรุนแรงต่อความทุกข์ที่ชาวบ่อนอก-หินกรูดและคุณนวมทองได้รับ เพราะฉะนั้นภาพยนตร์เรื่องนี้จึงน่าจะมีพลังแห่งการปฏิวัติอยู่ด้วยเช่นกัน (ซึ่งจุดนี้แตกต่างจากความเห็นของ DEBRAY)

วันนี้ดิฉันขอเขียนแค่นี้ก่อนนะคะเพราะดึกแล้ว ขอลงท้ายว่า ดิฉันคิดถึงหนังเรื่อง “ความลักลั่นในงานรื่นเริง” เกือบทุกวันเลยค่ะตั้งแต่ได้ดูหนังเรื่องนี้ เพราะมันมักจะมี “ข่าว” อะไรบางอย่างที่ทำให้นึกถึงหนังเรื่องนี้อยู่เสมอ อย่างล่าสุดก็ข่าวสถานการณ์ในพม่าที่ทำให้นึกถึงบทสนทนาเรื่องยาดานาในหนังเรื่องนี้

31 HORROR FILMS

I just knew about Ed Hardy, Jr’s project for 31 FILMS THAT GIVE YOU THE WILLIES from Peter Nellhaus’ blog and Esotika’s blog. So I think I should make my list, too.

--Ed Hardy, Jr’s blog is at:
http://shoottheprojectionist.blogspot.com/2007/09/31-flicks-that-give-you-willies-more.html


--Esotika’s list is at:
http://esotika.blogspot.com/2007/10/31-films-that-give-you-willies.html

In Esotika’s list, I would like to see ALL THE COLORS OF THE DARK (1972, Sergio Martino)
http://ecx.images-amazon.com/images/I/51QQ3GKKMNL._SS500_.jpg


--Bleeding Tree’s list is at:
http://bleeding-tree.blogspot.com/2007/10/31-horror-movies.html

In Bleeding Tree’s list, I would like to see INCUBUS (1965, Leslie Stevens)


--Peter Nellhaus’ list is at:
http://www.coffeecoffeeandmorecoffee.com/archives/2007/10/post_12.html

In Peter’s list, I would like to see CAPTAIN KRONOS, VAMPIRE HUNTER (1974, Brian Klemens)
http://ecx.images-amazon.com/images/I/51CWGH52Q6L._SS500_.jpg

This is my comment in Peter Nellhaus’ blog:

I would love to see you after you just saw THE DEVILS, because I’m curious to know how you looked like. Hahaha.

I haven’t seen this film yet, but I have heard it is great. Talking about Ken Russell, I like THE LAIR OF THE WHITE WORM (1988) very much. I would like to include THE LAIR OF THE WHITE WORM in my list, too, but in the end I decided to drop it because I think what I like the most in this film is the personality of Amanda Donohoe, not how frightened I was while watching it.



--This is my list:


(In alphabetical order)

1.ANGEL HEART (1987, Alan Parker)

2.ANGUISH (1987, Bigas Luna)

3.BOOGEYMAN (2005, Stephen Kay)

4.COLIC: DEK HEN PEE (2006, Patchanon Thammajira)

5.DEADLY BLESSING (1981, Wes Craven)

6.DEMENTIA (1955, John Parker)

7.LES DIABOLIQUES (1955, Henri-Georges Clouzot)

8.DER FLUCH (1988, Ralf Huettner)

9.HALLOWEEN II (1981, Rick Rosenthal)

10.HOTEL (2004, Jessica Hausner)

11.THE HOUSE (2007, Monthon Arayangkoon)

12.THE INITIATION OF SARAH (1978, Robert Day)

13.IN THE MOUTH OF MADNESS (1995, John Carpenter)

14.ISLE OF THE DEAD (1945, Mark Robson)

15.JEEPERS CREEPERS (2001, Victor Salva)

16.KOKKURI (1997, Takahisa Zeze)

17.THE LOCALS (2003, Greg Page)

18.LONG KHONG (ART OF THE DEVIL II) (2005, Pasith Buranajan, Kongkiat Khomsiri, Isara Nadee, Seree Phongnithi, Yosapong Polsap, Putipong Saisikaew, Art Thamtrakul)
http://ecx.images-amazon.com/images/I/51-IHIHEPYL._SS500_.jpg
http://farm3.static.flickr.com/2371/1553493356_3b56ea0634_o.jpg
http://farm3.static.flickr.com/2291/1553493340_9c6ae8e60e_o.jpg
http://farm3.static.flickr.com/2210/1553493342_9648f259b6_o.jpg


19.MIDNIGHT OFFERINGS (1981, Rod Holcomb)

20.MUANG NAI MORK (1978, Permpol Choei-arun)

This film is about a brutal family who runs a hotel in the far north of Thailand. They kill many guests of the hotel to steal the guests’ money. Unfortunately, one of the guests they kill is the long-lost son of the hotel’s owners. The film is inspired by a writing of Albert Camus.


21.NIGHTSHADE (1972, Niklaus Schilling)

22.NOSFERATU THE VAMPIRE (1979, Werner Herzog)

23.PET SEMATARY (1989, Mary Lambert)

24.PHENOMENA (1985, Dario Argento)

25.THE RED SHOES (2005, Kim Yong-gyun)

26.THE REFLECTING SKIN (1990, Philip Ridley)

27.THESIS (1996, Alejandro Amenabar)

28.TOOLBOX MURDERS (2003, Tobe Hooper)

29.TREMORS (1990, Ron Underwood)

30.UNINVITED (2003, Lee Su-yeon)

31.WOLF CREEK (2005, Greg McLean)

THE ORIGIN OF BEIJING OLYMPICS LOGO

This cartoon is from a forward mail.

FILM WISH LIST: HORSE THIEVES

THIS IS MY COMMENT IN SCREENOUT WEBBOARD:
http://www.xq28.net/wow/viewtopic.php?f=7&t=192&st=0&sk=t&sd=a&start=275

ดีใจค่ะที่คุณอ้วนก็ชอบ SHINDO ขอบคุณมากค่ะสำหรับรูปหนุ่มญี่ปุ่นหล่อๆ


ตอบคุณ pink 0700

ดีใจค่ะที่คุณ pink 0700 ได้ยลรัศมีเทพของ Benoit Magimel เป็นบุญตา คนอะไรทั้งหล่อ ทั้งเล่นหนังเก่ง

ดิฉันเองก็เคยรู้สึกว่าตัวเองได้ยลรัศมีเทพอีกครั้งหนี่งตอนที่ได้เห็น Gregoire Colin ในหนังเรื่อง BEAU TRAVAIL (1999, Claire Denis, A+) เขาทำให้ดิฉันต้องอุทานในใจว่า “อุแม่เจ้า” ขณะที่ดูหนังเรื่องนี้ในเทศกาลหนังฝรั่งเศสที่เอ็มโพเรียม

ดิฉันรู้สึกว่า Gregoire Colin ดูหล่อที่สุดใน BEAU TRAVAIL ค่ะ แต่ในหนังเรื่องอื่นๆเขาอาจจะไม่หล่อเท่านี้ แต่เขาก็ได้ใช้ฝีมือการแสดงมากพอสมควรในหนังเรื่องอื่นๆ เพราะเขามักจะรับบทหนุ่มขึ้งเคียดอยู่บ่อยๆ ดิฉันยังนึกไม่ออกว่าเคยเห็นเขารับบทเบาๆบ้างหรือเปล่า

ล่าสุดนี้ก็ได้ข่าวว่าเขาเล่นหนังเรื่อง HORSE THIEVES (2007, Michel Wald) ซึ่งเป็นหนังย้อนยุคเกี่ยวกับชายหนุ่มคนนึงที่ตามล่าฆาตกร (Gregoire Colin) ที่ฆ่าพี่ชายของเขาซึ่งเป็นโจร ดิฉันอยากดูหนังเรื่องนี้มากๆเลยค่ะ

One of the films I would like to see now is HORSE THIEVES (2007, Michel Wald), because it stars Gregoire Colin.

Images from HORSE THIEVES:
http://www.allocine.fr/film/galerievignette_gen_cfilm=110959.html

MEMORY OF WATER, JORG SASSE, TOSSAPOL BOONSINSUKH

THIS IS MY COMMENT IN FILMSICK’S BLOG
http://filmsick.exteen.com/20071008/entry

ยังเก็บตำราเรียนสมัยมัธยมเอาไว้อยู่หรือนี่

พูดถึงเขตแดนในปวศ.ไทยแล้ว “ฟ้าเดียวกัน” เล่มใหม่มีบทความน่าสนใจดีเกี่ยวกับการที่ไทยพยายามเรียกร้องดินแดนคืนจากฝรั่งเศสในช่วงสงครามโลกครั้งที่สอง เราไม่เคยรู้เรื่องนี้มาก่อนเลย

เห็นแผนที่แล้วนึกถึง INDIA SONG, เห็นรอยแตกบนพื้นแล้วนึกถึง THE STONE RAFT (2002, George Sluizer)

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THIS IS MY COMMENT IN BIOSCOPE WEBBOARD:
http://www.bioscopemagazine.com/smf/index.php?topic=583.0

--I’m very glad you like these photos, Merveillesxx. I also like this kind of photos very much. I still remember that in 1994 or so, I took a microbus home from the university. Then it rained heavily, but inside the microbus I thought I saw one of the beautiful images. It was the image of huge amount of rainwater pouring down successively on the outside of the very large glass window pane of the microbus. It made me feel as if I was inside a cave behind a waterfall. Do you still remember the microbus, the small bus with large glass window pane? I think the image would not have been this beautiful if I sat inside a normal bus, with small ugly window panes. Are there any microbus still running in Bangkok? I think I haven’t seen it for many years.

I asked myself why I still remember that it happened around 1994. The event is nothing important at all. It was just raining. Why do I still remember this image of huge amount of rainfall outside a microbus after it happened 13 years ago? I don’t know. My memory is very selective, and I can’t control it.

The first reason why I still remember it is because the image was very beautiful. The reason why I still remember that it happened around 1994 is because during those years I rarely took a microbus home because it took a long time before it could reach my neighbourhood. But in 1994 I nearly finished studying in the university. I had a lot of free time. So I didn’t mind taking a microbus in the early afternoon to go back home, because I was not in a hurry during that time of my life. Well, maybe I remember everything wrongly. I don’t have any proof that it actually happened that year. But that is not important, isn’t it? I just wonder why I remember such an unimportant event so well, and try to figure out the reasons of it.

Sorry if I bother you with my autobiography. I just would like to write whatever came into my mind.

----------------------------------------------------

--If I remember it correctly, another film with very beautiful images of waterdrops on car windows is TO WHOM IT MAY CONCERN (2007, Wakai Makiko, A+). You also saw this short lesbian film in the Thai Short Film Festival. In this film, we hear a character talking about her love for a foreign woman, but we rarely see anything in this film except car windows full of water drops, or steam, I’m not sure.

Though the images in TO WHOM IT MAY CONCERN and in the ending of LIFE IS SHORT 2 might look similar, I think the uses of this same image is very different. In LIFE IS SHORT 2, the image is the center of the film at that moment. There is no voiceover, no story. Everything relies on that image. All the feelings the audience feel come from that image. LIFE IS SHORT 2 uses the whole power of that image.

But in the case of TO WHOM IT MAY CONCERN, I think the image is not as powerful as in LIFE IS SHORT 2, but maybe that’s the intention of the director. I guess the director just uses this lonely image to “support” the story. The director may want the audience to focus his/her attention to the voiceover, and want the audience to create the story/the images of the story by himself/herself inside the audience’s minds. The audience will perceive two images at the same time—the mental eye sees the images of a lesbian relationship, the physical eyes see the images of a blurred car window. The images which appear before the physical eyes must not be too strong or too powerful, or else it will distract the viewers from the voiceover and the story about the lesbian relationship.

So I think it is interesting that the same kind of image is used differently in these two experimental films. LIFE IS SHORT 2 gives the whole power to the image, while TO WHOM IT MAY CONCERN suppresses some power of the image and uses this lonely image to support the images in the imagination of the audience.

-----------------------------------------------

--Apart from Naoto Hatakeyama, another photographer whose works remind me of Tossapol Boonsinsukh’s films is Jorg Sasse.

Jorg Sasse’s website is at:
http://www.c42.de/

The photos below come from the website of Jorg Sasse. Each photo reminds me of a specific film of Tossapol Boonsinsukh. The photos are not at all similar to the images in Tossapol’s films, but somehow the feelings derived from the photos remind me of the feelings I experienced while watching Tossapol’s films.


This photo reminds me of ARE YOU GONNA MISS ME?
http://farm3.static.flickr.com/2325/1533205441_0daa8d9799_o.jpg

This photo reminds me of CHICKEN SMILE.
http://farm3.static.flickr.com/2057/1533205383_b8f02fbee9_o.jpg

This photo reminds me of LIFE IS SHORT 2: EPISODE – HIDE, though in the film Tossapol used an extreme close-up of his hair to create an illusion of swaying grass.
http://farm3.static.flickr.com/2025/1533205387_33bd738f4c_o.jpg

This photo reminds me of NICE TO MEET YOU.
http://farm3.static.flickr.com/2419/1533205447_2424d8e9df_o.jpg

This photo reminds me of NO ONE AT THE SEA.
http://farm3.static.flickr.com/2236/1533205373_0422f301d8_o.jpg

This photo doesn’t remind me of Tossapol Boonsinsukh’s film, but reminds me of the film FIREFLIES (2005, Chawit Waewsawangwong).
http://farm3.static.flickr.com/2303/1533205429_e9ecb6dcc2_o.jpg

SLOW GLASS BY NAOYA HATAKEYAMA

I just saw LIFE IS SHORT 2 (2003-2006, Tossapol Boonsinsukh, A+) for the second time last Friday. I like the ending scene of this film very much. It was shot from inside a moving car, looking outside through a window covered with raindrops. This beautiful image conveys a deep sense of loneliness, longing, and sadness.

This image in Tossapol’s film also reminds of photos by Naoya Hatakeyama. The photo series is called SLOW GLASS (2001). You can viewed the photos from the link below:
http://www.lagallery-frankfurt.de/hatakeyama7.html

TOSSAPOL BOONSINSUKH'S FILMOGRAPHY

This is my comment in Screenville’s blog:
http://screenville.blogspot.com/2007/09/afternoon-times-2005boonsinsukh.html

Hi, Harrytuttle

About the song in the taxi scene, at first I thought it was played from the radio in the taxi. I assumed that the silence before it is caused by Tossapol’s lack of sound recording apparatus. But when I read your review, I realize it is highly possible that it can be played in the mind of the heroine. So I don’t know for sure now where the song comes. But it’s not important for me to know exactly where it comes. What’s important is that it can be interpreted differently and I like this fact.


Since information about Tossapol Boonsinsukh is hard to be found in the internet, so I think I should put a filmography of him here.

TOSSAPOL BOONSINSUKH

Partial Filmmography

(in alphabetical order)

1..__.__.__.__.

Note: This film is shot in 8mm film format, if I remember it correctly. It’s about two people who try to communicate with each other, but they stand in the opposite sides of a railway station.

2.AFTERNOON TIMES (2005, 90 min)

3.ARE YOU GONNA MISS ME? (TER JA KID TUENG CHAN BANG SHAIMAI?) (2006)

4.THE AUDIENCE (2005, 10 min)

5.BAD MORNING (2006, 22:35 min)

6.BETWEEN US IN ONE MORNING (2006)

7.CHICKEN SMILE (2005, 14 min)

8.DANCE TOGETHER
Note: This short film was shot by a mobile phone.

9.DON’T WARM EGG IN MICOWAVE OR ELSE IT WILL EXPLODE! (HAAM EUN KAI NAI MICOWAVE DIAW RABOED TOOM!) (2005, 14 min)

Note: I intend to write “micowave” here because I think Tossapol might not misspell the word, but he might intend to emphasize the fact that this is a colloquial sentence, and some Thai people don’t pronounce “r” when they speak colloquially.

10.HAND FREE (2003, 2 min)

11.I’M SORRY (2003)

12.THE LAST SKY PASSENGER (2004, 9 min)

13.LIFE IS SHORT 2 (2006, 11:47 min)

Note:This film is a compilation of about ten short films, including

13.1 BEER

13.2 HOMESICK

13.3 HIDE

13.4 FRIENDS

13.5 THE MAN WHO TRIED TO STOP THE WORLD (animation)

13.6 IN THE EVENING

13.7 RAIN WILL COME

13.8 POD AND BEAR

13.9 DRIVEN

13.10 DOG IN THE RAIN


14.MISSING YOU (2005)

15.NICE TO MEET YOU (2005, 25 min)

16.NO ONE AT THE SEA (2005)

17.NUAN

18.THE PEN OF TEACHER ONEPEN (PAKKA KONG KRU ONEPEN) (2003, 46 min)

19.ROOM:FIELD (2006)

20.SHE IS READING NEWSPAPER (2005, 8:32 min)

21.SNOW FALLING IN MY HOUSE LATE MORNING (HIMA TOK TEE BAAN KONG POM TON SAISAI) (2004, 7 min)

22.UMBRELLA (2005, 4:09 min, animation)

23.WHEN WILL I SEE YOU AGAIN? (LAEW MUARAI RAO JA DAI POB KUN EEK SIATEE?) (2006)

MOONLIGHT SHADOW--MIKE OLDFIELD

THIS IS MY COMMENT IN BIOSCOPE WEBBOARD:
http://www.bioscopemagazine.com/smf/index.php?topic=71.450

ตอบคุณ pc

ได้เข้าไปดูมิวสิควิดีโอ MOMENTS IN LOVE ของ ART OF NOISE แล้ว ชอบมากๆเลยค่ะ ดิฉันคิดว่ามิวสิควิดีโอเพลงนี้ไม่ได้ยอดเยี่ยมสุดๆ และเพลงนี้ก็ไม่ได้ยอดเยี่ยมสุดๆ แต่คิดว่ามิวสิควิดีโอเพลงนี้ทำให้ตัวเพลงฟังดูเพราะขึ้นมาก ดิฉันรู้สึกว่าจังหวะการหมุนในการเล่นสเก็ตน้ำแข็งในเพลงนี้มันเหมือนกับช่วยสร้างภวังค์ความรู้สึกให้ดิฉันอินกับเพลงได้มากยิ่งขึ้น
http://www.youtube.com/watch?v=RIcmIhOesaI

สำหรับเพลงของ ART OF NOISE ที่ดิฉันชอบมากที่สุด คือเพลง INSTRUMENTS OF DARKNESS (ALL OF US ARE ONE PEOPLE) ค่ะ ดูมิวสิควิดีโอเพลงนี้ในเวอร์ชันที่ REMIX BY PRODIGY ได้ที่
http://www.youtube.com/watch?v=dA_oMElqXTA


พอมาได้ฟังเพลงในทศวรรษ 1980 อย่าง MOMENTS IN LOVE แล้ว ก็เลยทำให้นึกถึงเพลงในทศวรรษ 1980 อีกเพลงนึงที่ชอบมากๆ ซึ่งก็คือเพลง MOONLIGHT SHADOW ของ MIKE OLDFIELD ดูมิวสิควิดีโอเพลงนี้ได้ที่
http://www.youtube.com/watch?v=8bOLkPbPCbk

The last that ever she saw him
Carried away by a moonlight shadow
He passed on worried and warning
Carried away by a moonlight shadow.

Lost in a river last saturday night
Far away on the other side.

He was caught in the middle of a desperate fight
And she couldn't find how to push through

The trees that whisper in the evening
Carried away by a moonlight shadow
Sing a song of sorrow and grieving
Carried away by a moonlight shadow


All she saw was a silhouette of a gun
Far away on the other side.
He was shot six times by a man on the run
And she couldn't find how to push through

I stay
I pray
I see you in heaven far away

I stay
I pray
I see you in heaven far away

Four AM in the morning
Carried away by a moonlight shadow
I watched your vision forming
Carried away by a moonlight shadow


Star was light in a silvery night
Far away on the other side
Will you come to talk to me this night
But she couldn't find how to push through
I stay
I pray
I see you in heaven far awayI stay
I pray
I see you in heaven far away


Far away on the other side.
Caught in the middle of a hundred and five
The night was heavy but the air was alive
She couldn't find how to push through
Carried away by a moonlight shadow
Carried away by a moonlight shadow
Far away on the other side.

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http://www.bioscopemagazine.com/smf/index.php?topic=593.0

ตอบน้อง merveillesxx

จะบอกว่าเพลงที่น้องเปิดในงานฉายหนัง PENGUIN คือหนึ่งในเพลงที่พี่ชอบมากที่สุดในชีวิตค่ะ นั่นก็คือเพลง FROU-FROU FOXES IN MIDSUMMER FIRES ของ COCTEAU TWINS
http://www.asklyrics.com/display/Cocteau_Twins/Frou_-_Frou_Foxes_in_Midsummer_Fires_Lyrics/206586.htm

O PANDA, THOU SHALT NOT COMMIT ADULTERY

This is my comment in NINAMORI’s blog:
http://ninamori.blogspot.com/2007/10/blog-post.html

แล้วหนูจะรออ่านอย่างใจจดใจจ่อนะคะ
---------------------------------------------------------------------

This is my reply to Zeren in my blog:
http://celinejulie.wordpress.com/2007/10/07/imitation-of-life/

Hi, Zeren, since you mention the San Jose Cinequest Film Festival, I assume you are in USA, and may not know the Thai social context of the animation PANDA, so I would like to give you some information about it.

PANDA is about a psychopath panda bear going on a killing spree and he kills lots of penguins. I don’t know the real intention of the director of this film, but this film makes me think about the following things:

1.First, I think the director may want to satire the loveliness of pandas and penguins. The loveliness of penguins is made famous by the films MARCH OF THE PENGUINS (2005, Luc Jacquet, A+) and HAPPY FEET (2006, George Miller, A+/A), which international audience know well already.

2.As for the loveliness of pandas, I think some international audience may not know about this crazy thing in Thailand. I don’t know if the following things have some influences on the director of PANDA or not, but I think it is interesting to know anyway.

2.1 A few years ago, some pandas were brought to a zoo in Thailand. They are very lovely and the Thai media paid much attention to them.

2.2 Then the media paid attention to the question if the pandas would have sex with each other or not. The people hoped that the pandas would have babies, but before that they had to have sex with each other, but the pandas here seemed to be not enthusiastic about sex.

2.3 Then a Thai song became very very famous. It is called “ME PANDA” (PANDA BEAR) by Hairo, and the lyrics of the song is about a guy who wants to go to see the pandas in the zoo, wondering if they eat pizza like human beings. I think the song is totally silly but totally funny. Then many versions of this song were made, including a transvestite version !?!?
http://www.jabchai.com/main/view_joke.php?id=6622

2.4 I think the song ME PANDA might have inspired the director of the animation PANDA. The song ME PANDA is also the inspiration of another Thai hit song called FAMILY ME PANDA, by Nong Benz. The lyrics of the song are very funny, because the singer asks the panda couples not to commit adultery. The singer also prays that the child of the panda couples should not be a homosexual !?!?. I have ambiguous feelings for this song. Surely the song is kind of homophobic, but at least the song accepts the fact that a homosexual panda can be born naturally.

I think all of this is a useless fact, but the panda fever in Thailand makes me laugh. So I take this chance to write about it in my blog.