Easily one of the best films of the past seven years, by one of the greatest living filmmakers, Apichatapong Weerasethakul.
A funny story: I actually knew him, when I lived in Thailand (2003–5). I was given his cell phone number by a mutual film friend. One day I went to visit him at his studio in northern Bangkok. We sat around for a while, talking movies. Finally I asked what he was working on. [Note that this was in 2004, by which point I had seen only his first feature, the brilliant exquisite corpse Mysterious Object at Noon (2000).] He told me that he was finishing a new film, trying to get it ready in time for Cannes. “If we finish in time, we go,” he said. “If not—mai pen rai” (“no worries”).
That film turned out to be Tropical Malady (2004), which went on to win Cannes’s Jury Prize, effectively launching Apichatapong’s career. I’m glad I didn’t distract him overmuch!
Two years later, Apichatapong followed it up with a film some consider even better. (I myself rank them about the same, which is to say that they are both essential masterpieces of contemporary cinema.)
[You click this link, you go back to the first installment, which found me and Jeremy unable to get service at an Applebee’s, following a screening of Duncan Jones’s Source Code. Increasingly hungry, increasingly desperate, we debated the nutritional value of our napkins and tablecloths, before Jeremy remembered that Applebee’s coats all such textiles in an indigestible plastic (to prevent sullen teenagers from rending or defiling them). Our gazes fell upon the Awesome Blossoms sizzling on our various neighbors’ tables.]
A D: Let’s keep talking about movies; it’ll distract us.
Jeremy: Capital! I liked Source Code better than Thor, I’d say (though not so much as Ang Lee or Bill Bixby’s Hulks). Because Source Code is a nice little movie. Though not as nice or little as Moon, Duncan Jones’s debut.
Jeremy M. Davies, flexing en route to the cineplex
In two days, I’ll be posting the first installment of a new ongoing series at Big Other: conversations I’ve had with my good friend Jeremy M. Davies about movies, new and old, both popular and obscure. It will be called “A D & Jeremy Talk about Movies” (unless we can think of a better title).
This Monday, and on the following two Mondays (the posts will be in clusters of three), we’ll discuss Source Code, Thor, Uncle Boonmee Who Can Recall His Past Lives, and many other films (including Sucker Punch, The Man from London, Tron, Tron Legacy, Willow, and Zardoz). In the weeks after that we plan to talk about Captain America, Green Lantern, X-Men: First Class, as well as movies by lesser-known directors like Jacques Rivette, Eugène Green, Agnès Varda, and Jean-Marie Straub and Danièlle Huillet (Jeremy really likes foreign films). And the new Woody Allen film. We’ll also probably talk endlessly about Scott Pilgrim vs. the World, because we both love it just so much. And throughout we’ll discuss the current state of the film industry. And comic books, which are synonymous with cinema these days.
Seeing that A D recently mentioned seeing Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives (see my first post on Big Other, also partially about Uncle Boonmee and Weerasethakul’s short film Phantoms of Nabua), thought it might be fitting to post the “Delirium” master class with Weerasethakul, which took place on November 12, 2010 in Buenos Aires.
Last week I saw Apichatpong Weerasethakul’s latest magnificent film, Uncle Boonmee Who Can Recall His Past Lives. (It should be assumed by now that all of that man’s films are magnificent.)
Of course the subject of how one pronounces his name came up…