It was the most awaited film that competition and it was good to wait. Uncle Boonme is indeed the film's most daring and amazing festival. There is in the cinema of Thailand shamanic ability to unheard vary within a single movie theater that different schemes do not leave us tired stunned. Sometimes, the film drags in to subjects under fiction. It is just be there beside the characters, who seem left to their own, busy with their daily life, talk about many different subjects (talk more than usual also: Uncle Boonme is the film most interacted for). Weerasetakul is very hard to install those pure moments of capturing scenes of innocuous: a family gathered around a television, a man taking a shower, a meal you cook ... And while there is love in this purr of life just registered, the machine produces fictionalize suddenly furious blows accelerators: ghosts with red eyes and sharp roam around the house, a dead son returns as well groomed ape (the false airs brown Chubaka of the Star Wars) For twenty minutes we tip in a story where an unrelated tale princess is love with a catfish or in an unexpected tribute to Pier Chris Marker, a futuristic tale describes a totalitarian society reads for ten minutes only still images ... There is something mad in the cinema of Weerasetakul, a conception of hallucinatory film. But quietly hallucinatory. A form of sweetness and happiness prevails, always gets the top even though the story can loosen hard and perching up really crazy extreme highs. The links that weave Weerasetakul between nature and the supernatural, the living and the dead, the daily experience and métampsychose, among contemporary cinema that can provide additional phase-shifting and intense. Who can recall Uncle Boonme Loved Past Lives Apichatpong Weerasethakul (Thailand) Official Competition
It was the most awaited film that competition and it was good to wait. Uncle Boonme is indeed the film's most daring and amazing festival. There is in the cinema of Thailand shamanic ability to unheard vary within a single movie theater that different schemes do not leave us tired stunned.
Sometimes, the film drags in to subjects under fiction. It is just be there beside the characters, who seem left to their own, busy with their daily life, talk about many different subjects (talk more than usual also: Uncle Boonme is the film most interacted for).
Weerasetakul is very hard to install those pure moments of capturing scenes of innocuous: a family gathered around a television, a man taking a shower, a meal you cook ... And while there is love in this purr of life just registered, the machine produces fictionalize suddenly furious blows accelerators: ghosts with red eyes and sharp roam around the house, a dead son returns as well groomed ape (the false airs brown Chubaka of the Star Wars) For twenty minutes we tip in a story where an unrelated tale princess is love with a catfish or in an unexpected tribute to Pier Chris Marker, a futuristic tale describes a totalitarian society reads for ten minutes only still images ...
There is something mad in the cinema of Weerasetakul, a conception of hallucinatory film. But quietly hallucinatory. A form of sweetness and happiness prevails, always gets the top even though the story can loosen hard and perching up really crazy extreme highs.
The links that weave Weerasetakul between nature and the supernatural, the living and the dead, the daily experience and métampsychose, among contemporary cinema that can provide additional phase-shifting and intense.
Edith Piaf - Non, je ne regrette rien (1961) Charles Dumont with Michel Vaucaire 1956 recorded 1960 Édith Piaf - led to more than 30 songs for her: Flonflons du Bal, Mon Dieu and Les Amants which Piaf and Dumont sang 1962
