SECOND POLL: FRED KELEMEN'S FAVORITE PAINTERS (1)

--So my first poll in blogspot.com has ended. The question is “IF YOU HAVE TO LIVE YOUR LIFE IN A FILM, IN WHOSE FILM WOULD YOU CHOOSE TO LIVE YOUR LIFE?”

The result from 14 votes is:

1.ROBERT BRESSON + PIER PAOLO PASOLINI
Each got 4 votes, or 28 %

3.ARTUR ARISTAKISIAN + SHARUNAS BARTAS + BRUNO DUMONT + FRED KELEMEN + BELA TARR
Each got 3 votes, or 21 %

Thank you very much for everyone who participated in my poll.

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

--I’m glad that Alain Robbe-Grillet got the most votes from the first poll in MOON IN THE GUTTER’s blog:
http://mooninthegutter.blogspot.com/2007/11/results-are-inand-moon-in-gutter-gets.html

As for the second poll in MOON IN THE GUTTER's blog, I voted for Eli Roth's THANKSGIVING as my favorite Thanksgiving-related film.

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


--As for my second poll, it is still about Fred Kelemen. In the Thai book FILMVIRUS 2, Fred Kelemen gave a list of his favorite painters, including the six painters below. So I just would like to know who is your favorite painter among these six painters.

1.EL GRECO

2.ANSELM KIEFER

3.ERNST LUDWIG KIRCHNER

4.NIKOLAI MAKAROV

5.MARK ROTHKO

6.EGON SCHIELE


--I will try to post some paintings of them below.

1.EL GRECO (1541-1614)
http://www.ibiblio.org/wm/paint/auth/greco/

1.1 CHRIST ON THE CROSS ADORED BY DONORS (1585-1590)
This painting somehow reminds me of a scene in FROST (1997, Fred Kelemen, A+), in which the boy saw a figure of Christ on a cross, but he misunderstood that it was a real corpse.
http://farm3.static.flickr.com/2331/2057760596_59dab56b1b_o.jpg


1.2 LAOCOON (1610)
http://farm3.static.flickr.com/2318/2057760602_c7db764019_o.jpg


1.3 THE OPENING OF THE FIFTH SEAL OF THE APOCALYPSE (1608-1614)
http://farm3.static.flickr.com/2105/2057760606_5ba2ff0414_o.jpg



2.ANSELM KIEFER
http://www.leninimports.com/anselm_kiefer_gallery.html#anselm_kiefer_gallery_5

It's not surprising that Fred Kelemen likes the paintings of Anselm Kiefer, because Kelemen's films are full of barren landscapes and bleakness which you also find in Anselm Kiefer's painting. Each of them also has a work called ABENDLAND.

INTERIOR SPACE (1981)
http://farm3.static.flickr.com/2370/2057760632_0f52dc0a31_o.jpg

DEM UNBEKANNTEN MALER (1983)
http://farm3.static.flickr.com/2400/2057760620_8794aa1306_o.jpg

TWILIGHT OF THE WEST (ABENDLAND) (1989)
http://farm3.static.flickr.com/2273/2057760616_7fab6d2325_o.jpg


3.ERNST LUDWIG KIRCHNER (1880-1938)
He committed suicide.
http://en.wikipedia.org/wiki/Ernst_Ludwig_Kirchner

3.1 ARTILLERYMEN (1915)
http://farm3.static.flickr.com/2081/2057021423_c2e47c45c1_o.jpg

3.2 STAFEALP IM SCHNEE (1919)
http://farm3.static.flickr.com/2308/2057021431_ce61f59070_b.jpg

3.3 KAFFEETISCH (1923)
http://farm3.static.flickr.com/2138/2057021429_12b11011bc_b.jpg

PATRIOTISM IS MY ENEMY

Recently I have tried not to pay too much attention to Thai political news or else I would feel too depressed. However, you can't escape feeling very depressed living in Thailand. One thing that makes me feel very depressed today is the news about some influential Thai people who try to pass an evil law in the name of patriotism.

I copy the news below from the following link:
http://www.thailandqa.com/forum/showthread.php?t=17109


Patriotism bill 'goes too far'


Lawmakers yesterday flagged some parts of the National Flag Amendment Bill as impractical, including a requirement for motorists to stop driving for the national anthem, but its sponsor insisted on the need to revive patriotism. Published on November 23, 2007

"I'm 70 years old now. I've heard the national anthem playing when the flag is raised every morning and when the flag is lowered in the evening and when we stand at attention for that, it makes us feel uplifted and love our country. So I want to bring that back for campaigning once more," said General Preecha Rojsen.

The bill, tabled by Preecha as chairman of NLA committee on education, religion and culture, amends the National Flag Act of 1986, which requires the flag ceremony to be performed at 8am and 6pm every day and people to pay respect to the ceremony and the national anthem.
The National Legislative Assembly assigned a 15-member committee to vet the bill within 10 days.

Article 45/5 of the bill stipulates that members of the public must stand at attention or be still and, in case they are driving or riding, stop their vehicles and face the direction from which they hear the anthem or see people raising or lowering the national flag.

They can proceed on their way or with their activities after the playing of the anthem and the hoisting or lowering of the flag ends. Exceptions are made only for vehicles on expressways, railways, airways, waterways or other channels where they cannot stop.

Preecha told The Nation that he proposed the amendment because honouring the flag helped instil patriotism and emphasised people's awareness of national importance. If people were patriotic, society in general would be orderly and Thai culture would be promoted. Foreign visitors admire seeing Thais paying respect to their flag and anthem.

The bill was not meant to punish people but to fix the PM Office's regulation issued during the Thaksin Shinawatra administration that relieved government offices from having to hoist and lower the flag every morning and evening, he said.

As for motorists, he said the current law did not cover them. It only applied to pedestrians or people at rest or engaged in activities. People in cars should also revere the national flag and anthem, as they would only have to pause for one minute and eight seconds.

"I've talked to police. [Doing that] during the above-mentioned times would not create traffic jams. You just stop the car, no need to get out. If it were 20 years ago, you would have to stop the car and get out to stand at attention," he said.

The Bangkok Metropolitan Administration and police already had speakers installed along the roads. They should play the anthem so people can hear it and demonstrate their patriotism, he said.

Members of his committee from the Education Ministry agreed with this idea and would launch a campaign at schools for kids to observe, he said, adding that he expected the bill to pass within the NLA's term.

Prapasri Osathanon

The Nation


You can read more about it here:
http://www.reuters.com/articlePrint?articleId=USBKK16212120071123

HELLO HELVETICA

“HELLO HELVETICA” is a small exhibition held in Bangkok in October 2007. It is a part of the BANGKOK DESIGN FESTIVAL, and was held to accompany the showing of the film HELVETICA (2007, Gary Hustwit, A). HELLO HELVETICA is created by asking some artists to create some works inspired by Helvetica font.

Below are the images of some of these works.

1.THE BEAUTY OF IMPERFECTION by Thammanoon Maipim (Duck Unit)
http://farm3.static.flickr.com/2078/2052694214_55b6a770b7_o.jpg

2.BDF HELVETICA by 649
http://farm3.static.flickr.com/2336/2051897487_e41f8fe8e0_o.jpg

3.THE COLLECTION by Likay Bindery
http://farm3.static.flickr.com/2225/2051897477_ddfe9fb93d_o.jpg

4.DEAR MY UNCLE by Pongsatorn Limanon
http://farm3.static.flickr.com/2376/2051897481_55da47d4b4_o.jpg

5.DON’T BE SELFISH by Kelvin Wong (SC Matchbox)
http://farm3.static.flickr.com/2046/2051897471_4364394086_o.jpg

6.HELVETICA IS ALL AROUND by Pharueporn Mukdashanit + Porachan Sathanon (B.O.R.E.D.)
http://farm3.static.flickr.com/2420/2052694204_7ecfd681de_o.jpg

7.MY NEW UNCLE by Songsin Tiewsomboon
http://farm3.static.flickr.com/2188/2051897489_c1b4378252_o.jpg

8.NO POLITRICKS by Jirat Subpisankul (Head Quarter “Sunshine”)
http://farm3.static.flickr.com/2066/2052694206_d004997de2_o.jpg

9.THINGS NOT HELVETICA by Virayut Khunvithayapaisal
http://farm3.static.flickr.com/2338/2051897475_e6c9b635c9_o.jpg


--As for my opinion, I don’t like Helvetica font. My most favorite font is OLD ENGLISH TEXT MT.

http://www.myfonts.com/fonts/agfa/old-english-text/mt/win-t1/290831/charmap.html?cpselect=CP2&page=1

http://farm3.static.flickr.com/2150/2052752578_b4100cdd78_b.jpg

FILMSICK'S REVIEW IN NINA'S WEBSITE

Filmsick and I feel it is such a great honor that Nina Menkes has put Filmsick’s review in her website.

Nina Menkes has also corrected some English words in the review.

You can see the review at the bottom of this web page:
http://ninamenkes.com/cMs/index.php?option=com_content&task=view&id=25&Itemid=41

WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION (A+++++)

THINGS EXPERIENCED DURING 15-18 NOVEMBER 2007

A.FILMS

1.FREAKS (1932, Tod Browning, A+)
Thanks to Galapapruek for giving me this video.
http://ecx.images-amazon.com/images/I/5185KP7ZWZL._SS500_.jpg


2.MICHAEL CLAYTON (2007, Tony Gilroy, A+/A)

I like Tilda Swinton in this film very much. She is a cold-blooded woman who is very "normal". Villains and villainesses in other films are usually presented as confident and very different from us viewers. But I think in this film we can recognize that in some aspects the villainess is like us. And that frightens me. It makes me feel afraid that many normal-looking people around me can be as cold-blooded as she is when the situation arises.

My most favorite scene in this film is the ending scene.


3.DESECRATION (1999, Dante Tomaselli, A-)

Thanks to Filmsick for giving me this DVD. I think this film is more funny than scary, but I like the ending very much. And I think the director has some potential.
http://ecx.images-amazon.com/images/I/41H00NDNRKL._SS500_.jpg



B.STAGE PERFORMANCES

1.WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION (A++++++++++)
Driected by Ninart Boonpothong; performed by Naked Masks Network


2.THE TRAGEDY OF BELLIES (NANG BAB AB YAK) (A+)
Directed by Chavatvit Muangkeo; performed by Dramatic Club


3.WHERE SHOULD I LAY MY SOUL? (RAI PAMNUK) (A+)
Directed by Nikorn Saetang; performed by 8x8 Theatre


4.THE MESSAGE (LIKHIT NAGA) (A+)
Directed by Pradit Prasartthong; performed by Makhampom Theatre Group


5.BITTER LOVE (SLANG) (A)
Directed by Sineenadh Keitprapai; performed by Crescent Moon Theatre


6.LITTLE RED RIDING HOOD (A)
Directed and performed by Babymime


7.OF GOD & COUNTRY (A)
Directed by Ashish Sen; performed by Pathy Aiyar


8.CRAZY AGOGO BOY'S ADVENTURE (A-/B+)
Directed by Surachai Saengsuwan; performed by Crazy Agogo Boy


9.SICK STORIES (A-/B+)
Directed by Wahrit Walton; performed by "Performing Arts, Communication Arts, Chulalongkorn University"


--I also saw "3 IN 1" by Wannasak Sirilar + Yano + Mizusu, which is actually a restaging of some parts of "5 the story R", which I had seen a few months ago.

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

MY FEELINGS

I don't understand the political subtext of WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION. The story of this play happened during the night of the military coup in Thailand last year, but I'm not quite sure how the story of HAMLET is connected to the story of the Thai coup d'etat.

Though I don't think I really understand this play, I still tremendously enjoy it. I think this is one of the strangest Shakespeare's adaptations I have ever seen. The story of this play is about a boy who fell asleep after playing some Beatles's songs on his keyboard and watching HAMLET on his notebook. Then he dreamed, and the Beatles's songs, the story of HAMLET, and the story of the boy's life are mixed together very crazily in his dream. We saw some parts of HAMLET, but the story of HAMLET is interrupted many times when the characters in HAMLET suddenly sing and dance to the songs of the Beatles. What we see is also ruled by the logic (or the illogic) of dream. Sometimes we think we are already awake, but in fact we are still dreaming. Our worry, our frustration, and maybe our most secret wishes are revealed in our dreams. The "identity" of the person we see in our dreams are always changing. Sometimes we are the spectators to the actions in our dreams. Sometimes we become the participants in the actions. One of my most favorite scenes include the scene in which the character of HAMLET is played by two persons at the same time, and the scene in which the gender role is reversed without any reasons.

Talking about one character played simultaneously by two persons reminds me of one of the films I would like to see very much. It is THE BRAZILWOOD MAN (1982, Joaquim Pedro de Andrade, Brazil). Olaf Moller wrote about this film in FILM COMMENT, sep-oct 2007. THE BRAZILWOOD MAN is about the life of Oswald de Andrade, who is a Brazilian author. Olaf Moller wrote, "THE BRAZILWOOD MAN gives us a double Oswald: a man and a cross-dressed woman appear together on screen, simultaneously playing the writer. In the end, the female Oswald, inspired by the manifesto's call for a revolutionary cannibalistic matriarchy, eats her male counterpart"

--If the phrase "strangest Shakespeare's adaptations" reminds you of the film KING LEAR (1987, Jean-Luc Godard), which is one of the most difficult films I have ever seen, and may make you feel afraid to watch the play WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION, please don't be afraid. I can guarantee you that this play is very entertaining.

--I have to confess that I have never been a fan of the Beatles. I have never liked the song HEY JUDE. But I love the Beatles' songs when they were used in this play very much. These songs suddenly become very interesting, very beautiful. Somehow seeing and listening to Hamlet (Chaturachai Sreejanwanphen) singing HEY JUDE in this play made me feel very sad and want to cry.

"CINEMA IS SORCERY"

This is my comment in Jesse’s blog:
http://memoriesofthefuture.wordpress.com/2007/11/19/in-that-sleep-of-death-what-dreams-may-come/

Thank you very much, Jesse, for your comment on PHANTOM LOVE.

I saw this film twice during the World Film Festival of Bangkok, and I can’t describe its tremendous power. Luckily, the producer of this film was present in the festival. If I don’t remember it wrongly, he said that Menkes’ films are about a woman descending into herself. In the case of PHANTOM LOVE, I think the woman struggles to find a balance in her life, her past/present, her relationship, etc. She may be successful in the end.

After my friends and I had seen this film, we discussed about it. One question we can’t find the answer is that what kind of animals appeared in the scene when the woman was floating down the river. We see some animals standing far from the river in that scene. Some say that the animals are horses, other say that the animals are her sister’s black dogs. This is not an important question. I’m just curious.

I also like the use of sound in this film very much, particularly in one early scene in which we see the woman sitting alone in her room, but we hear the high shrieking voice of her mother saying, “Mirror mirror on the wall”. This voice is very haunting, and it appears out of nowhere. It’s like a curse floating in the air.

Nina Menkes wrote in her website that cinema is sorcery. I like this sentence very much. PHANTOM LOVE is real magic.

FILMSICK'S REVIEW OF "PHANTOM LOVE"

FILMSICK wrote in Thai about PHANTOM LOVE (2007, Nina Menkes) in his blog:
http://filmsick.exteen.com/20071109/phantom-love-1

This is my translation of what Filmsick wrote:

A big snake slithered in the middle of a narrow corridor which Lulu had to pass through. Its gigantic body reflected the neon light, making its skin glitter. She paused for a while, staring at the big snake slithering slowly. She moved towards the snake. Suddenly, when she was going to walk past it, the image is paused for a while, maybe for 3-5 seconds. We saw the back of a woman in black dress, her feet pausing in the air, and the snake!

The black-and-white images which appear repeatedly and in a rhythm, the haunting sound effects, the editing which is hostile to the story (if there is a story)—all of these are in the latest film of Nina Menkes, an American female director. Most of her films are not widely distributed. Most of them are shown in film festivals and arthouse theatres. Most of them were made with low budget, star her own sister, and were shot in distant locations, such as in Israel or India. Her films don’t focus on chronological order or on telling stories.

PHANTOM LOVE is more like a record of nightmares than a lucid story. The story in this film is like a small wire used to connect fragments of dreams. The story is about Lulu, a woman who worked in a dark casino full of Chinese customers. She lived in a dark house, which looked very much like a hotel room. Her lover did nothing except having sex with her and staying on top of her. She had a cat, and spent her free time watching news about Iraqi war. She had a mad sister who had wounds on her face and lived with two black dogs. Their mother did nothing except calling Lulu to complain to her about Lulu’s sister and keeping on attacking Lulu in Lulu’s dream.

Big and small fragments in this film seems to be shot with no connection to one another, before these fragments are put together to create repeated rhythm in the film. In the earlier part of the film, we see same events occurring in repeated rhythm—having sex, filing nails, watching TV, going to work. We see her “self” and her repeated chores, but we can’t put these scenes into a chronological order, can’t predict anything, or can’t understand their details. All of these scenes are punctuated by images of animals. Some of them are parts of the story; some of them appear out of nowhere. A big snake, an octopus, a cat, bees—all of them seem to signify something and create a strange and inexplicable rhythm.

The story moved forward. Lulu went to visit her sister who had some strange wounds. Her sister lived in a dirty house. Her wounds might be the result of her allergy to some drugs or maybe she was physically abused. Maybe her wounds appeared out of nowhere. Her sister just kept crying and saying that their mother tried to make her commit suicide.

Their mother appeared in a dark room. Her high shrieking voice asked the magic mirror who was the fairest of them all. Then she appeared in Lulu’s dream as an attacker--once she tried to rape Lulu, then she tried to kill Lulu.

The film creates alienation towards both the characters and the audience in a very interesting way. Generally, alienation towards the audience may be accomplished by making the audience being aware that they are watching a film. Bertolt Brecht, a German author and dramatist, did this thing. (The example of this kind of awareness is when a character turned to talk to the audience and rewound a scene in Michael Haneke’s FUNNY GAMES). Some films create alienation towards the characters by using the frame to oppress the characters as if they are just objects amidst landscape. But all of these things usually appear very smoothly in a film with well-told story.

But in PHANTOM LOVE, the film creates alienation among many dimensions—the characters, the audience, the characters’ minds, and the film itself. The film makes the characters alienated to their surroundings, and then makes many places in the film seem to be unconnected to each other. In one scene, a character sat in a place which looked like a house, but when the camera cut away to another corner of the room, that corner looked very much like a corner of a luxurious hotel room. In one scene we saw a character sleep in a room, but wake up in another room. We see a Caucasian character work in a Chinese dress in a casino full of Asians. We see Lulu walk only in passageways which look like tubes or caves. Her sister’s house seems to be in the USA, but the location outside looks like India. When Lulu crossed the bridge (which also looks like a tube or a cave), Indian people appeared suddenly, making Lulu look like an alien in India. One of the most important scenes in this film also happens in a tube-like passageway. It’s when her sister held a lamp and walked out of a dark corridor before she merged her body with Lulu.

All of these things appear in no chronological order. There’s no scene indicating that the characters travel to other places or giving enough background to the place of the characters. (The characters are given nearly no background and no motivation in the film. All of this information is unnecessary.)

Of course, all of these things are connected to the strange appearances of many kinds of animals. I have heard that Nina Menkes believes that human spirits are connected to animals, and each kind of animal is a symbol of power inside a human being. Lulu had an agile cat. Her sister had big loyal dogs. Whenever Lulu had sex, images of an octopus appeared. The octopus looked frightening and charming at the same time. Her mother usually appeared with bees (such as in the scene which the mother stood in front of a mirror with bees flying around). In the only one flashback scene in the film, we see Lulu’s father threw a fish bowl to the floor. This fish may symbolize Lulu’s family life. After the fish bowl broke, her mother became the bees, her sister became the dogs, Lulu became the cat.

If we connect the animals to the characters (as if the characters can transform themselves into animals), we may discover that the wounds on her sister’s face might be caused by the stinging of the bees. These bees kept on annoying, like their mother who kept on calling Lulu repeatedly. (In some scenes Lulu had hung up the telephone, but we could still hear it ringing continuously.) And while the bees could attack Lulu’s sister, the mother was so afraid of Coco (Lulu’s cat) that she screamed out loud when she saw Coco enter her room.

We rarely see male characters in this film. They exist without appearance. Lulu’s father appears only in the scene of the breaking of the fish bowl. Lulu’s lover appears in the form of his back, which kept on moving up and down while Lulu’s face indicated extreme boredom. Then her lover hit her. Male characters in this film seem to have only two functions—having sex and assaulting women. Maybe we can say that the love between men and women is a form of “Phantom Love” or “Wicked Love”. When we look at the roles of men in this film, this film seems to look like a feminist film which talks about oppressed women who have to stand boring chores, boring activities (filing nails), boring service (Lulu’s casino job) and being a sex object. Women seem to be in a completely disadvantage position.

But wicked love in this film is not about that, but it’s about the love between women themselves. This film talks about the relationships between three women—mother and her two daughters. But their relationships are wicked. They hate one another.

The hatred between sisters is not obvious. We can see only the cold compassion Lulu had towards her sister. But in one scene we see that her sister merged with Lulu and became one woman. They seem to be two divided minds of a woman. One is weak; the other is cold-hearted. They are abused, not by men, but by a woman—their own mother.

Maternal love is a kind of love which only women can possess. Maternal love gives an honor to women. Many people say that maternal love is caused by instinct, but filial love is a duty. But in this film maternal love (particularly towards a daughter) usually comes with envy--envy of daughters as competitors, envy of their younger ages, especially when the daughter becomes a woman and the mother gets old (which leads to the question who is the fairest of them all). We never see the direct reaction between mother and daughters in this film, but we can guess about it from Lulu’s dream and from her sister’s talk and can understand how negatively their mother influenced them. In the scene which the mother tried to kill Lulu in her dream, Lulu fought back by using the reflection of a mirror to make her mother see the motherhood and the ugliness inside herself before the mother fled away.

Therefore, we can say that animals in this film may signify only femininity. They signify not only the characters, but also the situations facing the characters, including the big snake on the floor and the butterfly on a lamp which appeared after Lulu’s last dream about being cleansed in the Ganges river.

Apart from the animals, this film is also full of haunting noises and TV news about Iraqi war. Every TV in this film seems to show only this news. In one scene, Lulu was watching the TV news, and when she pushed her remote control, we heard an explosion in the news, as if Lulu’s life was destroyed in the explosion. Other noises include the telephone noise and the haunting soundtrack. In one of the most important scenes, we see someone running and trying to evade bombs between a narrow passage between buildings. The shape of this passage looks very much like the corridor with the snake and the bridge with Indians. The state of someone walking in a narrow passage full of dangers (snake, bombs, strangers, or even the river) may signify the oppression of the main character which is the female sex.

However, there are two interesting scenes in this film. One is when Lulu found a crystal ball on the floor. The other is when she dreamt that she was floating along the Ganges river. The first scene leads to the scene in which she dreamt that she exploded into pieces. The other scene leads to the scene in which her naked body evaporated into white light. These scenes seem to indicate cleansing and getting away from the state of oppression. This can only be achieved by getting rid of femininity.

This film may remind someone of David Lynch’s ERASERHEAD, films by Maya Deren, or films of Michelangelo Antonioni which analyze emptiness inside human beings. But that doesn’t make Nina Menkes’ film inferior to or being the reproduction of other films. Menkes has absorbed and created her own unique world, the haunting world which is the realm of women, the world in which films don’t have only narrative function, but can also go much farther than that to be something which can capture indescribable mirage. Menkes’ films can create this kind of images, bind them together by using the seam between each film frame, and present something which is beyond the power of literature.

ANDREW GARFIELD

THIS IS MY COMMENT IN SCREENOUT WEBBOARD
http://www.xq28.org/wow/viewtopic.php?f=7&t=192&start=275

ตอบน้อง ZM

ไม่รู้ว่าน้อง ZM ได้ไปดู LIONS FOR LAMBS (A+) แล้วยัง แต่พี่ขอเตือนน้องก่อนว่า พี่ได้จับจอง ANDREW GARFIELD หนึ่งในนักแสดงนำของเรื่องนี้ไปแล้วนะคะ

ANDREW GARFIELD

IN WHOSE FILM WOULD YOU CHOOSE TO LIVE YOUR LIFE?

I just knew from MOON IN THE GUTTER’s blog about the voting feature
of blogspot.com.

http://mooninthegutter.blogspot.com/2007/11/moon-in-gutters-first-poll-and-one.html

So I create my first poll as you can see on the top right of the page.

Please feel free to vote, and you can leave any comment here. I know it’s a tough choice. Hahaha.

As for now, I vote for Sharunas Bartas, because I have seen only one film of his—THE CORRIDOR (1994, A+), and the life in that film is not as tortured as the life in the other films of other directors. Maybe I will change my mind after I see other films of Sharunas Bartas.

FRED KELEMEN INTERVIEWED BY KONG RITHDEE

Bangkok Post has published an interview with Fred Kelemen by Kong Rithdee on Friday

You can read the article from the link below:

http://www.bangkokpost.com/Realtime/16Nov2007_real001.php

BRIGHTEST STAR -- DRIZABONE

This is my reply to Alvaro in my blog:
http://celinejulie.blogspot.com/2007/11/blackbird-sasithorn-panichnok.html

I’m sorry I can’t read Spanish in your website, but I like your taste in music very much. I’m glad to know that someone loves OPUS III like me. And I notice that you and I both like Chicane, EBTG, Deep Forest, Mono, Orbital, Shep Pettibone, Moloko, and Paul Oakenfold.

Talking about OPUS III reminds me of dance music I like in 1990’s. My favorite dance songs in 1990’s include:

1.FIND ME – JAM & SPOON FEATURING PLAVKA
http://www.youtube.com/watch?v=VzSKqpZfYMs

2.FIRED UP! – FUNKY GREEN DOGS
http://www.youtube.com/watch?v=gKvyCnMz3Wo

3.RHYTHM IS A MYSTERY – K-KLASS
http://www.youtube.com/watch?v=MGsvK4YkfJw

4.THE WHISTLE SONG – FRANKIE KNUCKLES
http://www.youtube.com/watch?v=xTDIATMRMZQ

5.BRIGHTEST STAR – DRIZABONE
http://www.youtube.com/watch?v=DvQTFgr3ffc

BLACKBIRD (SASITHORN PANICHNOK, A+++++)

THIS IS MY COMMENT IN BIOSCOPE WEBBOARD:
http://www.bioscopemagazine.com/smf/index.php?topic=71.510

ตอบน้อง NANOGUY

ชอบเรื่อง “ลี้” ของมะเดี่ยวมากๆเหมือนกันค่ะ ชอบบทของเรื่องนี้มากๆ ชอบมากกว่า “คน ผี ปีศาจ” และ “13 เกมสยอง” อีก


THINGS EXPERIENCED BETWEEN 7-11 NOVEMBER 2007

A.FILMS

1.FROST (1997, Fred Kelemen, A+)


2.LIONS FOR LAMBS (2007, Robert Redford, A+)


3.FIGHTING BEAT (2007, Piti Jaturaphat, A)
This is one of my guilty pleasures of 2007.
http://www.nangdee.com/title/?movie_id=1440
http://farm3.static.flickr.com/2226/2017035115_489eb0592d_o.jpg
http://farm3.static.flickr.com/2010/2017035075_fa08a1eace_o.jpg
http://farm3.static.flickr.com/2142/2017035059_d0c990878e_o.jpg
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http://farm3.static.flickr.com/2225/2017035091_f3f6bbed4a_o.jpg
http://farm3.static.flickr.com/2323/2017035079_e4c024ea05_o.jpg


4.MAD HOT BALLROOM (2005, Marilyn Agrelo, A)


5.THE SPIRITUAL WORLD (WINYAN LOKE KONTAI) (2007, Tharatap Thewsomboon, A)
I love the world portrayed in this film very much.


6.LULLABYE BEFORE I WAKE (2007, Nate Pantumsinchai, A-)


7.SECRET (2007, Jay Chou, A-/B+)


B.STAGE PERFORMANCES

1.BLACKBIRD (TID GUB) (A+)
Directed by Sasithorn Panichnok; performed by “DRAMA 69”; from a play by David Harrower

I love the leading actor (Supasawasdi Buranawed) and leading actress (Pawinee Samankabutr) of this play very much. I have seen them in a few plays and they are terrific. I also like the character of the heroine very much. She is a woman who wants to take revenge on a guy who had sex with her when she was just 12 years old.

What is interesting in this play is that the man is not purely evil and the woman is not purely innocent. After they argue for a while, the woman seems to show that she still loves or desires this guy. One of the most impressive moments in this play is when the light went out, the man went out of the room, and the woman called out for the man with the tone of voice which did not indicate hatred, but may indicate love.

Pawinee really shines in the role of “Mai”. She is defiant, stubborn, sarcastic, hateful, angry, heartbroken, and really formidable in this play.

The play also ends at the right moment. Nothing is solved. New serious doubt arises. Many things we have just heard during the play may be just a lie. The truth may be uglier than what we have just believed during the play.


2.WHO MOVED MY DREAM? (KRAI AU KWAM FUN KONG CHAN PAI) (A+)
Directed by Wannasak Sirilar; performed by “Flower of Love Entertainment”


3.WHAT? (NAI) (A+)
Directed by Maysa Utairat + Skowrin Keadpiaum; performed by MSU ACT 1 SCENE 1
This play is about a male college student who was raped.


4.I LOVE YOU GUY (TEE RUK KONG…GUN) (A+)
Directed by Saifah Tanthana; performed by ON BOX THEATRE GROUP


5.LOVE CONFESSION (BOK RUK) (A+/A)
Directed by Pornphen Fhaaumnuay + Chaturachai Sreejanwanphen + Nakorn Nopkhum; performed by “Naked Masks Network: Youth Section” and “Wat Sungvej School”


6.NO TRANSLATION (A)
Directed by Terry Hatfield; performed by Butoh Co-Op Thailand


--Frankenstein wrote about 8 plays he saw in the Bangkok Theatre Festival 2007 in the link below:
http://lighthouse.exteen.com/20071112/entry


MY PLAN
http://www.lakorn.org/btf2007/program.htm

THURSDAY 15 NOV

20.00 QUICKSILVER
By Ko Murobushi, at Patravadi Theatre
http://www.patravaditheatre.com/index.php?option=com_events&task=view_detail&agid=35&year=2007&month=11&day=15&Itemid=0


FRIDAY 16 NOV

19.30 WHERE SHOULD I LAY MY SOUL?
By 8x8, at 8x8 Theatre, Samyan


SATURDAY 17 NOV

14.00 WHEN I SLEPT OVER THE NIGHT OF THE REVOLUTION
By Naked Masks Network, at Hemlock

16.00 PUSH UP (ตาดูดาว เท้าเหยียบเธอ)
By Damkerng Thitapiyasak, at Wat Sungvej School

18.00 WE AND THE OTHERS
By Suan Sunandha Rajabhat University, at Lulla Bar

19.45 CRAZY AGOGO BOY’S ADVENTURE
By Crazy Agogo Boy, at Suan Santi Chai Prakarn Park

20.15 THE TRAGEDY OF BELLIES
By Dramatic Club, Suan Santi Chai Prakarn Park


SUNDAY 18 NOV

14.00 BITTER LOVE
By Crescent Moon Theatre, at Pridi Banomyong Institute

17.00 OF GOD & COUNTRY
By Pathy Aiyar, at Hemlock

19.00 3 IN 1
By 3 IN 1 + Flower of Love Entertainment, at Bar Bali

20.30 LITTLE RED RIDING HOOD
By Babymime, at Suan Santi Chai Prakarn Park


MONDAY 19 NOV

19.30 THE MESSAGE
By Makhampom Theatre Group, at Makhampom Studio

HELKE SANDER'S DVDS WITH ENGLISH SUBTITLES

I just knew that 16 films directed by Helke Sander are now released as DVDs with English subtitles. How great it is! I hope the DVDs of Helke Sander will be available in Bangkok very soon.

http://www.neuevisionen.de/shopping/product_info.php?products_id=169/

Helke Sander’s films which are now released as DVDs with English subtitles include:

1.THE ALL-ROUND REDUCED PERSONALITY – REDUPERS (1977, 98 min, A+)

2.THE SUBJECTIVE FACTOR (1980, 138 min)

3.LOVE IS THE BEGINNING OF ALL TERROR (1983, 117 min)

4.LIBERATORS TAKE LIBERTIES (1992, 192 min)
http://www.imdb.com/title/tt0184255/
This is a documentary about the raping of German women by Russian soldiers after World War II.

5.IN THE MIDST OF THE MALESTREAM (2005, 93 min)


For more information about Helke Sander, please read:
http://www.helke-sander.de/

SUGGESTIONS FOR TRENDY MERVEILLESXX

This is my funny comment in Bioscope webboard. It’s just a joke. Don’t be serious about it.
http://www.bioscopemagazine.com/smf/index.php?topic=705.0

ตอบน้อง ennisdelmar

ดีใจมากจ้ะที่น้องชอบ SOMBRE ตอนนี้พี่ก็รออยู่ว่าเมื่อไหร่จะมีใครผลิตดีวีดี LA VIE NOUVELLE ในแบบที่มีซับไตเติลภาษาอังกฤษออกมาขายเสียที



Reply to Merveillesxx

Oooh! You are so “out”. I pity you so much. Anyway, if you want to be “in trend” and understand what teenagers today are crazy for, you need to see the following DVDs right now. These DVDs are selling like hot cakes at every branch of 7-Eleven. You might have noticed that since the beginning of November, whenever you go to buy something at 7-Eleven, the cashier will ask you, “Would you like to buy a DVD of Alexander Kluge?” That’s one of the reasons why a lot of teenagers have seen Kluge’s films and are totally crazy for Kluge’s films now. So, Merveillesxx, if you want to be trendy and understand what all your friends have seen, you must see all these popular DVDs right now:


1.CLASS RELATIONS (1984, Jean-Marie Straub + Daniele Huillet, 122 mins)

This DVD with English subtitles was released in October 2007.
http://www.edition-filmmuseum.com/product_info.php/info/p30_Klassen-verh-auml-ltnisse.html/XTCsid/25180782d0dbd67f5a74ab57830df9fd

http://farm3.static.flickr.com/2313/2001634693_59adcb4c5b_o.jpg



2.50 FILMS BY ALEXANDER KLUGE

This DVD collection contains 16 DVDs with English subtitles.
http://www.edition-filmmuseum.com/product_info.php/info/p10_Alexander-Kluge---The-films-for-cinema.html

http://farm3.static.flickr.com/2137/2001634669_4e7d2c427b_o.jpg
http://farm3.static.flickr.com/2018/2001634641_03c4ba7848_o.jpg
http://farm3.static.flickr.com/2061/2001634589_c54f0ea0b7_o.jpg



3.LOOKING FOR LANGSTON (1989, Isaac Julien)

This DVD was released at 31 July 2007.

Synopsis from http://www.amazon.com/

“Award-winning British filmmaker Isaac Julien`s LOOKING FOR LANGSTON is both critically acclaimed and controversial. The film is a lyrical and poetic consideration of the life of revered Harlem Renaissance poet Langston Hughes. Isaac Julien invokes Hughes as a black gay cultural icon, against an impressionistic, atmospheric setting that parallels a Harlem speakeasy of the 1920s with a 1980s London underground nightclub. Extracts from Hughes poetry are interwoven with the work of cultural figures from the 1920s and beyond, including Essex Humphill, Bruce Nugent, and Robert Mapplethorpe, constructing a lyrical and multilayered narrative. Julien explores the ambiguous sexual subtexts of the period of rich artistic expression, and the enduring cultural significance of the pioneer s work. Shot in sumptuous monochrome, the film combines archival footage with the newly staged set pieces, fantasy sequences, and an imagined love story. The result is a beautiful and ultimately celebratory piece about artistic expression and the nature of desire.”

http://ecx.images-amazon.com/images/I/41+8+u6m9tL._SS500_.jpg



4.MARGARET TAIT, SELECTED FILMS 1952-1976

http://ecx.images-amazon.com/images/I/51Q+EUhQfEL._SS400_.jpg
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Synopsis from http://www.amazon.co.uk/

“LUX is pleased to announce the release of a new DVD collection of key films by Orcadian poet and filmmaker Margaret Tait, produced from newly restored prints and available for the first time on DVD. Margaret Tait was one of Britain's most unique and individual artist filmmakers. Over the course of 46 years she produced over 30 films including one feature, Blue Black Permanent (1992) and published five books of poetry and short stories, while living between the Island of Orkney and Edinburgh. Margaret described her life's work as consisting of making film-poems. She often quoted Lorca's phrase of 'stalking the image' to define her philosophy and method, the idea that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose with an attention to simple commonplace subjects combined with a rare sense of inner rhythm and pattern give her films a transcendental quality, while still remaining firmly rooted within the everyday. Margaret once said of her films, with characteristic modesty, that they are born of 'of sheer wonder and astonishment at how much can be seen in any place that you choose...if you really look'. DVD contains the following films: Portrait of Ga (1952), Aerial (1974), Hugh MacDiarmid: A Portrait (1964), Colour Poems (1974), Where I am is Here (1964), Place of Work (1976), Tailpiece (1976), John Macfadyen (1970).”



5.WORKING GIRLS (1986, Lizzie Borden)

The DVD is released on August 21, 2007.

Synopsis from http://www.amazon.com/

“Molly is a lesbian with an Ivy League degree. Gina plans on opening her own beauty salon. Dawn is a law student. Mary answered an ad to be a hostess and decided to try it. Welcome to a typical day in the life of a group of New York City prostitutes. Plying their trade in an expensive, immaculately maintained Manhattan bordello, they deal with everything from the mundane to the profane while servicing men of all shapes, sizes and fetishes. For these working girls, every job may have its price, but every day has its cost. Award winning femininst director Lizzie Borden (Born In Flames) spent six months interviewing real prostitutes for this acclaimed drama, delivering an unflinching look at The World's Oldest Profession filled with rare humor, insight and honesty.”

http://ecx.images-amazon.com/images/I/51Y2cmQpooL._SS500_.jpg


So, Merveillesxx, if you want to be “in trend”, go to the nearest 7-Eleven and buy all these DVDs right now!

THE SOUND OF WATER DRIPPING IN THE MIDDLE OF THE NIGHT

This is my reply to Harrytuttle in my blog:
http://celinejulie.blogspot.com/2007/11/world-film-festival-bangkok-2007.html

--Yes, I like YUMURTA a lot. I think I even like YUMURTA and ANGEL’S FALL (2005, Semih Kaplanoglu) more than the three films of Nuri Bilge Ceylan that I saw—CLOUDS OF MAY, DISTANT, CLIMATES. I like Ceylan’s films very much, but the main characters in YUMURTA and ANGEL’S FALL fascinate me more than the main characters in Ceylan’s. I think the character “Yusuf” in YUMURTA is enigmatic to me. I couldn’t guess anything about him when I was watching this film. I didn’t know if he was a psycho, a man with deep secrets, a man with tortured soul, a man with a broken heart, a man with a past or without a past, etc. Kaplanoglu gave us so little information about the characters, and the characters in YUMURTA always restrain their expressions and emotions. And when I face characters like this, my imagination tends to run wild. At first I guessed some evil things would surely happen in YUMURTA, like the sexual crime and murder in ANGEL’S FALL, so I felt quite relieved when nothing evil really happens in the film.


--In my opinion, I like THINGS WE DO WHEN WE FALL IN LOVE very much, though a little bit less than BEFORE WE FALL IN LOVE AGAIN (2006, James Lee). I think BEFORE WE FALL IN LOVE again is weirder, more original, more minimalist. THINGS WE DO WHEN WE FALL IN LOVE, for the most part, is like a naturalistic film about stale love relationship. I felt great when I was watching this film, but it doesn’t make me feel as if I was watching something “new” as in the case when I was watching BEFORE WE FALL IN LOVE AGAIN.

One reason why I love both films very much is because these two films seem to portray love or relationship in a bad way. After I saw these two films, it’s hard for me to believe in love, the eternity of love, the sincerity of love, or something like that. These two films seem to portray the other side of love relationship, the side which most romantic films intend to ignore.

My most favorite scene in THINGS WE DO is the scene in which the main couple was sleeping in a bed, then the woman (if I don’t remember it wrongly) woke up and seemed to be troubled by the sound of water dripping in the bathroom. I don’t know if this scene symbolizes anything or not. This scene is surely not important at all to the plot of the film, but I like this scene very much because it seems like a small detail in our daily life, but this small detail in life is rarely portrayed in films.

Though most parts of THINGS WE DO are as naturalistic as French films about human relationships, there are two unnaturalistic scenes in this film which are very interesting to me. First, it is the scene in which the hero suddenly found himself wandering in a barren landscape. The use of surreal barren landscape in this scene somehow reminds me of some Indonesian films of Faozan Rizal. The second scene is the scene in which the hero danced in front of his car. This scene reminds me of some stupid Thai films in the 1980’s. If this scene appeared in old Thai films, I would have thought the scene was very ugly and stupid. But when this scene appears in this film and seems to be totally different from other scenes in the film, I think I like this scene for its craziness.


--You can see the photos from THINGS WE DO WHEN WE FALL IN LOVE here:
http://www.flickr.com/photos/doghouse73pictures/sets/72157594510575195/

PHILIPPE GRANDRIEUX INTERVIEWED

I just knew from Girish Shambu’s blog and Supposed Aura’s blog about an interview clip featuring Philippe Grandrieux, the director of SOMBRE (1999, A+), and LA VIE NOUVELLE (2002).

Girish’s blog:
http://www.girishshambu.com/blog/2007/11/links.html#comments

Supposed Aura’s blog:
http://supposedaura.blogspot.com/2007/11/of-questioning-of-experience.html


I think the clip is from a film-essay EXPERIMENTAL CONVERSATIONS (2006, Fergus Daly)


The clip has an interview with Grandrieux and Nicole Brenez, a famous film critic who talks about LA VIE NOUVELLE.

You can watch the clip in the link below:
http://www.youtube.com/watch?v=kSiLvZ2ALiY


Those who can read Thai can read an old interview with Philippe Grandrieux in the book FILMVIRUS 2.

Photos of LA VIE NOUVELLE from http://www.allocine.fr/

http://farm3.static.flickr.com/2184/1985076620_ceccbd6e2d_o.jpg
http://farm3.static.flickr.com/2347/1985076682_8acc31c758_o.jpg
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WORLD FILM FESTIVAL BANGKOK 2007

FILMS I SAW IN THE WORLD FILM FESTIVAL OF BANGKOK 2007

IN PREFERENTIAL ORDER

1.PHANTOM LOVE (2007, Nina Menkes, A+)
http://www.myspace.com/phantomlovemovie
http://filmsick.exteen.com/20071109/phantom-love-1


2.EGG (YUMURTA) (2007, Semih Kaplanoglu, Turkey, A+)


3.FALLEN (2005, Fred Kelemen, Latvia, A+)
http://filmsick.exteen.com/20071109/fallen
http://www.fredkelemen.com/html/filme/krisana_pictures.html
http://farm3.static.flickr.com/2195/1984502356_4eeb2bcfb6_b.jpg
http://farm3.static.flickr.com/2089/1984502318_728ecb6d34_b.jpg
http://farm3.static.flickr.com/2158/1984502296_48e7fa4cbb_b.jpg
http://farm3.static.flickr.com/2052/1984502268_89c8023a2d_b.jpg


4.VILLAGE PEOPLE RADIO SHOW (2007, Amir Muhammad, Malaysia, Documentary, A+)


5.THE MURMURING COAST (2004, Margarida Cardoso, Portugal, A+)
http://www.imdb.com/title/tt0406669/


6.SAVIOUR’S SQUARE (2006, Joanna Kos-Krauze + Krzysztof Krauze, Poland, A+)
http://www.imdb.com/title/tt0488027/

Krzysztof Krauze also directed THE DEBT (1999), which is available as DVD.
http://ecx.images-amazon.com/images/I/51WEH73KD3L._SS500_.jpg

Acquarello wrote about THE DEBT in the link below, and compared THE DEBT to the films of Bela Tarr, Sharunas Bartas, and Darezhan Omirbaev:
http://filmref.com/journal/archives/2005/02/debt_1999.html


7.ALICE (2005, Marco Martins, Portugal, A+)
http://www.imdb.com/title/tt0459072/


8.GARDENS IN AUTUMN (2006, Otar Iosseliani, A+)
http://www.imdb.com/title/tt0494239/


9.THE CALIFORNIA (2006, Jacques Fieschi, A+)


10.4 MONTHS, 3 WEEKS, AND 2 DAYS (2007, Cristian Mungiu, A+)


11.THE MAN FROM LONDON (2007, Bela Tarr, Hungary, A+)


12.DEMENTED (2006, Laurent Achard, France, A+)


13.BAMAKO (2006, Abderrahmane Sissako, Mali, A+)


14.ANTONIA’S LINE (1995, Marleen Gorris, A+)


15.IMPORT/EXPORT (2007, Ulrich Seidl, Austria, A+)


16.THINGS WE DO WHEN WE FALL IN LOVE (2007, James Lee, Malaysia, A+)

17.DRIVING WITH MY WIFE’S LOVER (2006, Kim Tai-sik, South Korea, A+)

18.CELESTE (1981, Percy Adlon, Germany, A+/A)

19.JELLYFISH (2007, Israel, Shira Geffen + Etgar Keret, A+/A)

20.THE SONGS OF EH DOH SHI (2007, Supamok Silarak, Thailand, A)

Wise Kwai wrote about this film here:
http://www.rottentomatoes.com/vine/journal_view.php?journalid=100000335&entryid=458345&view=public

21.HELP ME EROS (2007, Lee Kang-sheng, Taiwan, A)

22.STEVE + SKY (2004, Felix Van Groeningen, Belgium, A)

23.SALMONBERRIES (1991, Percy Adlon, A)

24.THE BAND’S VISIT (2007, Eran Kolirin, Israel, A)

25.FLOWER IN THE POCKET (2007, Liew Seng Tat, Malaysia, A/A-)

26.THE MOSQUITO PROBLEM AND OTHER STORIES (2007, Andrey Paounov, Bulgaria, A-)

27.POSSIBLE LIVES (2006, Sandra Gugliotta, Argentina, A-)

28.SIAO YU (1995, Sylvia Chang, Taiwan, A-)

29.MOTHER OF MINE (2005, Klaus Haro, Finland, A-)

30.DALLAS AMONG US (2005, Robert Adrian Pejo, Hungary, A-/B+)

31.881 (2007, Royston Tan, Singapore, B+)

32.FOREVER AND EVER (2001, Raymond To, B+)

33.THE PLANET (2006, Linus Torell + Michael Stenberg + Johan Soderberg, Sweden, B+)

34.THE QUEEN OF SHEBA’S PEARLS (2004, Colin Nutley, Sweden, B+)

35.THE LAST KING OF SCOTLAND (2006, Kevin Macdonald, B+)

36.AND IF TOMORROW (2005, Giovanni La Parola, Italy, B)

37.MISS PHYLLIS (2004, Clemens M. Schonborn, Austria, B)

38.IT WILL STAY BETWEEN US (2004, Miro Sindelka, C-)


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


DESIRABLE ACTOR
1.Nuno Lopes (1978) -- ALICE
http://european-films.net/component/option,com_rsgallery2/Itemid,117/catid,22/

2.Filipe Duarte (1973) – THE MURMURING COAST
http://www.imdb.com/name/nm1379813/

3.Radivoje Bukvic (1979) – THE CALIFORNIA
http://www.imdb.com/name/nm1366568/

4.Pascal Cervo – DEMENTED



FAVORITE ACTRESS
1.Jowita Budnik (Beata) – SAVIOR’S SQUARE
2.Nathalie Baye – THE CALIFORNIA
3.Anamaria Marinca – 4 MONTHS, 3 WEEKS AND 2 DAYS
4.Eva Mattes – CELESTE
5.Sarah Adler – Jellyfish
6.Ekaterina Rak – IMPORT/EXPORT



FAVORITE ACTOR
1.Daniel J. Travanti – SIAO YU
2.Nejat Isler (Yusuf) – EGG
3.Nuno Lopes -- ALICE
4.Severin Blanchet (Vincent The Minister) – GARDENS IN AUTUMN
5.Miroslav Krobot – THE MAN FROM LONDON
6.Paul Hofmann – IMPORT/EXPORT



FAVORITE SUPPORTING ACTRESS

1.Monica Calle (Helena) – THE MURMURING COAST
http://www.imdb.com/name/nm0130385/
She also played in HERE ON EARTH (1993, Joao Botelho), CASA DE LAVA (1994, Pedro Costa), FADO MAJOR AND MINOR (1995, Raul Ruiz)

2.Ewa Wencel (Teresa) – SAVIOR’S SQUARE
She also played in WEISER (2001, Wojciech Marczewski, A-).

3.Mylene Demongeot (Katia) – THE CALIFORNIA

4.Agi Szirtes (Mrs. Brown) – THE MAN FROM LONDON
http://www.imdb.com/name/nm0844142/
She also played in A VERY MORAL NIGHT (1977, Karoly Makk), WE NEVER DIE (1993, Robert Koltai, C+), and THIS I WISH AND NOTHING MORE (2000, Kornel Mundruczo).

5.Dominique Reymond – DEMENTED

6.Florence Giorgetti – DEMENTED
She also played in THE LACEMAKER (1977, Claude Goretta, A+), VIVA ALGERIA (2004, Nadir Mokneche, A+), STAIRCASE C (1985, Jean Charles Tacchela)

7.Maria Hofstatter – IMPORT/EXPORT



FAVORITE SUPPORTING ACTOR
1.Nikolai Korobov (Alexei) -- FALLEN
2.Vlad Ivanov (Bebe) – 4 MONTHS, 3 WEEKS AND 2 DAYS
3.Istvan Lenart (Inspector Morrison) – THE MAN FROM LONDON
4.Michael Thomas (Stepdad) – IMPORT/EXPORT
5.Michel Piccoli – GARDENS IN AUTUMN


FAVORITE ENSEMBLE ACTING
1.GARDENS IN AUTUMN
2.THE CALIFORNIA
3.ANTONIA’S LINE
4.JELLYFISH



FAVORITE CINEMATOGRAPHY
1.Fred Kelemen – THE MAN FROM LONDON
2.Christopher Soos – PHANTOM LOVE
3.Ozgur Eken – EGG
4.Carlos Lopes-- ALICE
5.Georges Diane + Philippe Van Leeuw -- DEMENTED
http://www.imdb.com/name/nm0224782/
http://www.imdb.com/name/nm0887375/

MY FEELINGS FOR FRED KELEMEN'S FILMS (1)

MY FEELINGS FOR FRED KELEMEN’S FILMS (1)

I have seen five films directed by Fred Kelemen. They are:

1.KALYI (1993, A+)

2.FATE (1994, A+)

3.FROST (1997, A+)

4.NIGHTFALL (1999, A+)

5.FALLEN (2005, A+)

And I also saw some parts of DESIRE (2001, Fred Kelemen, A+), which seems to be a hybrid between stage performance and cinema. DESIRE is adapted from DESIRE UNDER THE ELMS by Eugene O’Neill.

It’s too difficult for me to write about Kelemen’s films. As for now, I think I should just begin to note down my feelings and what I remember in the films and in the discussion after the films.

--I like the crazy dancing scenes in Kelemen’s films very much. They are like the release of frustration, the madness, the free expression of someone who was not free. These scenes include the one with electronic music in FROST, and the two scenes in DESIRE—one is when Abbie (Kathrin Angerer) danced in the kitchen while throwing dishes around, the other is when the party in the guest danced together after the father left the party.

--I’m very impressed with the singing scene in NIGHTFALL, in which we see the singer with blonde wig sings from the beginning of the song until the end, and her face seems to be emotionless (or seems to express some kinds of indescribable emotion) all through the song. I like this singer as much as I like Julee Cruise in TWIN PEAKS and Labina Mitevska in I WANT YOU (1998, Michael Winterbottom).

FAVORITE RECENT GERMAN FILMS

This is my comment in Girish Shambu’s blog, with some links added:
http://www.girishshambu.com/blog/2007/11/links.html

I also like PINGPONG, GESPENSTER and REQUIEM very much.

Unfortunately the Goethe Institute in Bangkok has stopped showing films regularly since early 2000’s, so I have little knowledge about German films nowadays.

Some of my favorite recent German films may not be available as DVDs yet, but I hope they will be in the near future.

My favorite ones include:

1.THE CHAMPIONS (2003, Christoph Huebner, Documentary)

2.COLD HOMELAND (1995, Volker Koepp, Documentary)
http://www.imdb.com/title/tt0113519/

3.FORGIVENESS (1994, Andreas Hoentsch)
http://www.imdb.com/title/tt0383977/

4.GETTING MY BROTHER LAID (2001, Sven Taddicken)

5.THE HOUSEWIFE’S FLOWERS (1999, Dominik Wessely, Documentary, DVD available)
http://ecx.images-amazon.com/images/I/51NKHRM9NJL._SS500_.jpg

6.NIGHTFALL (ABENDLAND) (1999, Fred Kelemen)
Tony McKibbin wrote about this film in an article in Sense of Cinema’s website. The article is called “Cinema of Damnation: Negative Capabilities in Central and Eastern European Film”
http://www.sensesofcinema.com/contents/05/34/cinema_of_damnation.html

7.NO PLACE TO GO (2000, Oskar Roehler, DVD available)
http://ecx.images-amazon.com/images/I/51446TT0XHL._SS500_.jpg

8.OUT OF TIME (1995, Andreas Kleinert)
http://www.imdb.com/title/tt0383977/

9.SCHULTZE GETS THE BLUES (2003, Michael Schorr, DVD available)
http://ecx.images-amazon.com/images/I/412Y111WFHL._SS500_.jpg

10.TIRED COMPANIONS (1997, Zoran Solomun)
http://www.imdb.com/title/tt0119749/

I also would like to add that I love recent German short films and animations very much. My favorite ones include:

1.BASE OF REALITY (1998, Olaf Boehme)

2.CHICAGO (1996, Juergen Reble)
http://www.sensesofcinema.com/contents/cteq/04/32/jurgen_reble.html

3.THE DAY THE MILKMAN DIDN’T COME (1998, Anja Langenbacher)
http://www.interfilm.de/verleih/filme.php?film=8

4.LIVING A BEAUTIFUL LIFE (2003, Corinna Schnitt)
http://195.30.253.130/app/nextgeneration/film_view.php?film_id=1266

5.THE NUCLEAR FOOTBALL (2004, Korpys/Loeffler)
http://www.nytimes.com/2004/12/19/arts/design/19alle.html

6.THE PATCHWORK QUEEN (2001, Lars Henkel)
http://www.ifa.de/kunst/animationsfilm/ekoenigin.htm

7.PERSUADERS (2003, Peter Simon)
http://www.p3c7.de/index13.html

8.SUBURBS OF EMPTINESS (2003, Thomas Koener)
http://www.koener.de/bdv.html

9.THE THIRD WINDOW (1998, Hanna Nordholt + Fritz Steingrobe)
http://asifa.net/festival/reports/99/leipzig99thomas.htm

10.VACANCY (1998, Matthias Mueller)
http://www.mfj-online.org/journalPages/MFJ30,31/MHoolboomScattering.html

FILM PROGRAM AT THAMMASAT UNIVERSITY

สำนักหอสมุด มหาวิทยาลัยธรรมศาสตร์ ท่าพระจันทร์ ร่วมกับ ดวงกมลฟิล์มเฮ้าส์ (ฟิล์มไวรัส) เสนอ . . .

ฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯฯ
โปรแกรมภาพยนตร์ ชุด
INDIAN MELODIE: THE BEST OF HINDI CINEMA
อมตะหนังฮินดูของสี่ผู้กำกับอินเดีย
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ทุกวันอาทิตย์ ตั้งแต่วันที่ 18 พฤศจิกายน – 16 ธันวาคม พ.ศ. 2550
ณ ห้องกิจกรรมเรวัต พุทธินันท์ ชั้นใต้ดิน U2 หอสมุด ปรีดี พนมยงค์มหาวิทยาลัยธรรมศาสตร์ ท่าพระจันทร์
โทร 0-2613-3529 และ 0-2613-3530

ชมฟรี! (โปรดแจ้งเจ้าหน้าที่ห้องสมุดว่ามาชมภาพยนตร์)



อาทิตย์ที่ 18 พฤศจิกายน 2550
12.30 น. The Vagabond (1951) กำกับโดย Raj Kapoor


อาทิตย์ที่ 25 พฤศจิกายน 2550
12.30 น. Two Acres of Land (1953) กำกับโดย Bimal Roy
15.00 น. Sujata (1959) กำกับโดย Bimal Roy


อาทิตย์ที่ 2 ธันวาคม 2550
12.30 น. Thirst (1957) กำกับโดย Guru Dutt
15.00 น. Paper Flowers (1959) กำกับโดย Guru Dutt


อาทิตย์ที่ 9 ธันวาคม 2550
12.30 น. The Seedling (1974) กำกับโดย Shyam Benegal
15.00 น. Night’s End (1975) กำกับโดย Shyam Benegal


อาทิตย์ที่ 16 ธันวาคม 2550
12.30 น. Bhumika: the Role (1977) กำกับโดย Shyam Benegal
15.00 น. The Obsession (1975) กำกับโดย Shyam Benegal


หมายเหตุ 1) ภาพยนตร์ทุกเรื่องฉายด้วยเสียงต้นฉบับพร้อมคำบรรยายภาษาอังกฤษ
2) โปรแกรมอาจมีการเปลี่ยนแปลงได้โดยไม่แจ้งล่วงหน้า

KALYI (1993, FRED KELEMEN, A++++++++++)

FILMS SEEN ON 4-6 NOVEMBER 2007

IN PREFERENTIAL ORDER

1.KALYI – AGE OF DARKNESS (1993, Fred Kelemen, 75 min, A+++++++++++)

I saw this film at the Goethe Institute. This expressionist film is surely one of my most favorite films of this year. It’s as surrealistically sublime as INAUGURATION OF THE PLEASURE DOME (1954, Kenneth Anger) and THE GRANDMOTHER (1970, David Lynch). And the beautiful voiceovers in this film remind me of Marguerite Duras.


2.FATE (1994, Fred Kelemen, 80 min, A++++++++++)
I saw this film at the Goethe Institute.
http://www.imdb.com/title/tt0111607/


3.NIGHTFALL (1999, Fred Kelemen, 141 min, A++++++++++)
I saw this film at the Goethe Institute.
http://www.imdb.com/title/tt0124811/


4.GARDENS IN AUTUMN (2006, Otar Iosseliani, A+++++)
http://www.imdb.com/title/tt0494239/


5.ALICE (2005, Marco Martins, Portugal, A+++++)


6.4 MONTHS, 3 WEEKS, AND 2 DAYS (2007, Cristian Mungiu, Romania, A+)


7.CAPTIVITY (2007, Roland Joffe, A+)
Larry Cohen wrote the screenplay of this film.


--I also saw MUANG NAI MORK (1978, Permpol Choei-arun, A+) for the third time from a DVD of Filmsick.

--I think on Wednesday the Thammasat University’s library will show FROST (1997, Fred Kelemen, 200 min).
http://www.villagevoice.com/film/0302,halter,41014,20.html

MY FRIENDS' THOUGHS ON PHANTOM LOVE

This is my reply to Nina Menkes in my English blog:
http://celinejulie.wordpress.com/2007/10/31/phantom-love-2007-nina-menkes-a/

I truly love your film, but your film gives me such indescribable feelings that I can’t find words for them. So I think as for now I had better translate what my friends wrote in Thai about your film.

The comment below is what my Thai friend, Filmsick, wrote in his blog :

http://filmsick.exteen.com/20071101/my-world-film-fest-2007-2

“This film tells a story about a woman who has a boring life, a boring job, a boring lover, and watches boring news on TV. She has a sick sister and a crazy mother who keeps calling her on the telephone all the time. Her mother also tries to kill her in her dream.

The film makes me feel very excited, because it abandons the narrative and becomes a journal of never-ending nightmares of someone who was born as a female. The film has no chronological order and doesn’t specify where each scene takes place. Many scenes in the film have no indication whether they happen in reality or not. The story becomes confusing with the repetition of daily chores and supernatural events.

The film is full of animals. (I have heard that the director may believe that human spirits are connected to animals) So in this film we can see animals such as octopus, snake, dogs, cat, bee, and butterfly. Some of them exist in reality, while some of them may not. Maybe they are symbols of some kinds of power, maybe not.

In my personal opinion, I think this film is a special kind of feminist film, because even though the film may portray women in a patriarchal world, the film doesn’t tell women to unite and fight, but portraying women who hate each other. Even the mother-daughter relationship is unusual, because in the heroine’s dream, the mother tries to rape and kill her (before the heroine uses a mirror to make the mother see the motherhood in herself).

The film is full of many interesting topic, including illusion, dreams and strange places (the heroine wears a Chinese dress and works in a casino which seems to be in China, but some parts of the story take place in USA and her sister’s house, while the bridge on which the heroine walks many times is in India, and the TV always shows news about Iraq.)

Some audience may think this film is made by someone who has no ability to make film, while other audience may think this film is made by someone who is brave enough to tell a story in every possible way.”

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

--Merveillesxx, who is another Thai friend of mine, also wrote about your film in English in a webboard as following:

“In my opinion, Phantom Love concerned about the woman who trapped in both physical and psychological way. The first one was shown by her job (she has only said the same sentence “No more bet, Thank you”), her boyfriend (their intercourse is something like a vicious cycle and the disgusting octopus is the explanation of her feeling), and her family. The second one was presented in abstract and surreal approach. I think her younger sister’s character didn’t really exist. It was a symbol that portrayed her long-termed painful mentality. Anyway, I feel that the woman can release herself from something at the end of the film.”

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

--As for my personal feelings, the scene in which the heroine’s sister walks with a lamp gives me such a strongly surreal feeling. I felt as if the sister could step out of the screen at that moment. I felt as if I was not watching a movie. I felt as if the screen which showed this film became a door to another world or a door connecting the real world to a twilight zone.

--In my first viewing of this film, I felt the octopus was very ugly and disgusting. In my second viewing of this film, I felt the octopus had its own kind of beauty.

--Nearly each scene in this film gives me very strong feelings, especially the scene of someone running and evading bombs in TV, which appears after the levitation-explosion scene. I think the scene of a person trying to evade bombs might look very ordinary if it appears in other films. But when it appears after the levitation-explosion scene, this TV news scene becomes something truly extraordinary.

--One of my friend said that he felt very tortured when he watched the nail filing scene.

--I really agree with my friend that if one has to find a film to screen together with PHANTOM LOVE, that film might be THE SLEEP OF REASON (1984, Ula Stoeckl), which is a very surreal film about a woman who kills her daughters, her rival, and herself. These two films are not alike, but both are great surreal films about women.

http://www.ula-stoeckl.com/Film-Seiten/17_Der_Schlaf_E.html

MURMURING COAST (2004, MARGARIDA CARDOSO, A+++++)

--I just want to add that Supamok Silarak also directed VIOLET BASIL (2004, A+), which is a very great film about ethnic minority in Thailand.

FILMS SEEN ON 2-3 NOVEMBER 2007

1.THE MURMURING COAST (2004, Margarida Cardoso, Portugal, A+)

2.THE MAN FROM LONDON (2007, Bela Tarr, Hungary, A+)

3.DRIVING WITH MY WIFE’S LOVER (2006, Kim Tai-sik, South Korea, A+)

4.CELESTE (1981, Percy Adlon, Germany, A+/A)

5.POSSIBLE LIVES (2006, Sandra Gugliotta, Argentina, A-)

6.SIAO YU (1995, Sylvia Chang, Taiwan, A-)

7.THE PLANET (2006, Linus Torell + Michael Stenberg + Johan Soderberg, Sweden, B+)

8.THE LAST KING OF SCOTLAND (2006, Kevin Macdonald, B+)

THINGS WE DO WHEN WE FALL IN LOVE (2007, JAMES LEE, A+)

This is my comment in Bioscope Webboard:
http://www.bioscopemagazine.com/smf/index.php?topic=678.30


FILMS SEEN ON THURSDAY 1 NOVEMBER 2007

1.PHANTOM LOVE (2007, Nina Menkes, A+)

I decided to watch this film for the second time, and it never makes me feel bored.


2.THINGS WE DO WHEN WE FALL IN LOVE (2007, James Lee, Malaysia, A+)

I like the naturalness in this film, though I prefer the unnaturalness in BEFORE WE FALL IN LOVE AGAIN (James Lee, A+)


3.THE SONGS OF EH DOH SHI (2007, Supamok Silarak, Thailand, A)

This film portrays the refugees’ plight very powerfully, and without sentimentality.


4.881 (2007, Royston Tan, Singapore, B+)

I like some ideas in this film very much, though I feel detached from the overall feelings in this film.


MY FEELINGS:

--One funny coincidence in VILLAGE PEOPLE RADIO SHOW is that the names of some main characters resemble the names of the important people in the Thai arthouse film circuit—Chalida, Pimpaka, Uruphong, Panu.



ตอบคุณ FILMSICK

สัตว์อีกตัวที่ปรากฏกายใน PHANTOM LOVE คือม้าสีขาวค่ะ

VILLAGE PEOPLE RADIO SHOW (2007, AMIR MUHAMMAD, A+++++)

THIS IS MY COMMENT IN BIOSCOPE WEBBOARD:
http://www.bioscopemagazine.com/smf/index.php?topic=678.0


--This is the schedule for the Bangkok Theatre Festival 2007
http://www.lakorn.org/download/scheduleBTF2007.pdf


FILMS SEEN ON WEDNESDAY 31 OCT 2007

1.VILLAGE PEOPLE RADIO SHOW (2007, Amir Muhammad, Malaysia, A+)

What I like very much in this film include:

1.1 The “ordinary life” images which are never boring to me but never capture too much attention. I’m glad that this film never inserts any historical footage into the film.

1.2 The images and the voiceover don’t usually match each other, and that what keeps me awake. I think I would fall asleep or half asleep if the images and the voiceover always match each other.

1.3 The story about the detached son of one of the communists.

1.4 Somehow this film reminds me of what happened frequently in the history of the world and some fighters who lost their fight. This film also reminds me of BERTOLT BRECHT’S LAST SUMMER (2000, Jan Schutte, Germany, A++++++++++), because both films don’t talk only about politics, but also about “life” and the what’s left in life after the political turmoil.
http://ecx.images-amazon.com/images/I/51D6SF2VBTL._SS500_.jpg

Leslie Camhi wrote a great review of BERTOLT BRECHT’S LAST SUMMER in http://www.villagevoice.com/ and I think that some sentences in the review can be applied to VILLAGE PEOPLE RADIO SHOW, too.
http://www.villagevoice.com/film/0203,camhi,31484,20.html

“Now that the very state whose existence he toiled for has itself become a phantom, Schutte's film (aided by John Cale's pensive score) focuses on the small moments punctuating a lazy summer afternoon: a lover's embrace, a passing cloud, a poem recited by a schoolchild. They are what remains, it seems to suggest, in a life's final hours, when all ideals and bitterness are gone.”




2.WHO CAN KILL A CHILD? (1976, Narciso Ibanez Serrador, Spain, A+)
http://www.imdb.com/title/tt0075462/

I saw it from DVD. One of the most interesting things in the film is that the story of this film happened in the imaginary world in which Thailand was successfully invaded by communists and the fall of Thailand would lead to all of Asia being controlled by communists. I had never imagined that a filmmaker in Spain would be so interested in the communist invasion in Thailand that he put this topic into his film.


3.HELP ME EROS (2007, Lee Kang-sheng, Taiwan, A)

I think this film is never boring, but it seems to leave no lasting effect on me.


4.THE BAND’S VISIT (2007, Eran Kolirin, Israel, A)

I think this film is very nice. But it doesn’t affect me extremely strongly.


5.MOTHER OF MINE (2005, Klaus Haro, Finland, A-)

At first I would like to give this film “A”, but when I saw the scene in which Signe ran after the car of her foster son, I decided to give it
“A-“.


LIST OF FILMS I SAW IN THE FIRST SIX DAYS IN THE WORLD FILM FESTIVAL OF BANGKOK 2007

IN PREFERENTIAL ORDER

1.PHANTOM LOVE (2007, Nina Menkes, A+)


2.EGG (YUMURTA) (2007, Semih Kaplanoglu, Turkey, A+)


3.FALLEN (2005, Fred Kelemen, Latvia, A+)


4.VILLAGE PEOPLE RADIO SHOW (2007, Amir Muhammad, Malaysia, A+)


5.THE CALIFORNIA (2006, Jacques Fieschi, A+)


6.SAVIOUR’S SQUARE (2006, Joanna Kos + Krzysztof Krauze, Poland, A+)


7.DEMENTED (2006, Laurent Achard, France, A+)


8.BAMAKO (2006, Abderrahmane Sissako, Mali, A+)


9.ANTONIA’S LINE (1995, Marleen Gorris, A+)


10.IMPORT EXPORT (2007, Ulrich Seidl, Austria, A+)


11.JELLYFISH (2007, Israel, Shira Geffen + Etgar Keret, A+/A)


12.HELP ME EROS (2007, Lee Kang-sheng, Taiwan, A)


13.STEVE + SKY (2004, Felix Van Groeningen, Belgium, A)


14.SALMONBERRIES (1991, Percy Adlon, A)


15.THE BAND’S VISIT (2007, Eran Kolirin, Israel, A)


16.FLOWER IN THE POCKET (2007, Liew Seng Tat, Malaysia, A/A-)


17.THE MOSQUITO PROBLEM AND OTHER STORIES (2007, Andrey Paounov, Bulgaria, A-)


18.MOTHER OF MINE (2005, Klaus Haro, Finland, A-)


19.DALLAS AMONG US (2005, Robert Adrian Pejo, Hungary, A-/B+)


20.FOREVER AND EVER (2001, Raymond To, B+)


21.THE QUEEN OF SHEBA’S PEARLS (2004, Colin Nutley, Sweden, B+)


22.AND IF TOMORROW (2005, Giovanni La Parola, Italy, B)


23.MISS PHYLLIS (2004, Clemens M. Schonborn, Austria, B)


24.IT WILL STAY BETWEEN US (2004, Miro Sindelka, C-)


ตอบน้อง NANOGUY

สิ่งที่พี่รู้สึกว่าไม่จำเป็นมากที่สุดใน VILLAGE PEOPLE RADIO SHOW ก็คือภาพอะไรไหวๆ เหมือนกัน อย่างไรก็ดี เทคนิคการคั่นจังหวะหนังเป็นช่วงๆด้วยภาพอะไรบางอย่างที่ดูเหมือนไม่จำเป็นแบบนี้ ทำให้นึกถึงหนังสองเรื่องของ ALAIN RESNAIS ซึ่งก็คือเรื่อง SAME OLD SONG (1997, A+) กับ LOVE UNTO DEATH (1984) ที่หนังจะถูกคั่นจังหวะด้วยภาพสัตว์ทะเลหรืออะไรสักอย่าง ซึ่งพี่ก็ดูไม่ออกเหมือนกันว่าเป็นตัวอะไร


ตอบคุณ YUTTIPUNG

ถ้าหากชอบหนังที่มีการถ่ายภาพบุคคลต่างๆอย่างเลือดเย็นอย่าง IMPORT EXPORT ก็ขอแนะนำว่าไม่ควรพลาดดีวีดีภาพยนตร์สารคดีรัสเซียเรื่อง PALMS (1993, Artur Aristakisyan, A++++++++++) ด้วยประการทั้งปวงค่ะ หนังสารคดีเรื่อง PALMS นำเสนอชีวิตคนจนในอดีตสหภาพโซเวียตได้อย่างทรงพลังมากๆ

หรือถ้าหากชอบหนังที่นำเสนอภาพชีวิตบัดซบของคนแก่ในโรงพยาบาล ก็ขอแนะนำให้ดูเรื่อง A PROMISE (1986, Yoshishige Yoshida, A++++++++++) ค่ะ หนังญี่ปุ่นเรื่องนี้มาฉายที่ JAPAN FOUNDATION ถ.อโศกเป็นประจำ


ตอบน้อง merveillesxx

เราชอบ DEMENTED มากเลยนะ แต่จุดนึงที่อาจจะทำให้ DEMENTED ไม่ติด TOP 5 ของเราในเทศกาลนี้ เป็นเพราะเรารู้สึกว่าแต่ละฉากมันผ่านการคำนวณมาเป็นอย่างดีแล้วว่าต้องการให้ผู้ชมรู้สึกรุนแรงอะไรบางอย่างกับฉากนั้นน่ะ ซึ่งจุดนี้แตกต่างกับ EGG หรือ VILLAGE PEOPLE RADIO SHOW ที่มันทำให้เรารู้สึกว่า ผู้กำกับเขาไม่ได้พยายามบีบคั้นให้เรารู้สึกรุนแรงกับแต่ละฉากในหนัง