A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Tuesday, February 20, 2018

Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010)

Wallapa Mongkolprasert in Uncle Boonmee Who Can Recall His Past Lives
Boonmee: Thanapat Saisaymar
Jen: Jenjira Pongpas
Tong: Sakda Kaewbuadee
Huay: Natthakarn Aphaiwonk
Boonsong: Geerasak Kulhong
Princess: Wallapa Mongkolprasert
Roong: Kanokporn Tongaram
Jaai: Samud Kugasang

Director: Apichatpong Weerasethakul
Screenplay: Apichatpong Weerasethakul
Cinematography: Sayombhu Mukdeeprom
Production design: Akekarat Homlaor
Film editing: Lee Chatametikool

I think I would have to be more familiar with Southeast Asian history and culture to fully appreciate Uncle Boonmee Who Can Recall His Past Lives, especially to understand the relationship between the Thai landowner Boonmee and the Laotians who work on his farm. My ignorance only adds another layer of mystery to an enigmatic film.
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