It’s the dog days of summer and the perfect time of the year to hibernate in the cave of air conditioning and explore the stranger side of Netflix. Two weird films deserve special notice.
What is there to say about Thai director Apichatpong Weerasethakul’s Cemetery of Splendor? I would say you don’t want to go into a Weerasethakul film cold, but one of his somnambulist odes needs to be your first, so why not this? In a rural hospital for injured and comatose soldiers, an elder nurse (Jenjira Pongpas, also from the director’s masterpiece, Uncle Boonmee Who Can Recall His Past Lives) muses on nationalism and the world both seen and unseen. There she befriends a psychic who claims to speak to the comatose soldiers and delivers messages to loved ones (a wife calmly demands to know the whereabouts of her husband’s alleged mistress). Meanwhile, long dead kings wage battles with the soldiers in their dreams…a story told by two young women claiming to be the physical manifestations of the goddesses to whom the nurse delivers offerings. All of this might sound a bit fantastic, but it’s all presented matter-of-factly as mundane discussions about relationships and everyday life intertwine effortlessly with talk of spooky splendors. Continue reading →
A piece of human scoria (Billy Burke) with strong ties to the Bangkok criminal underworld murders an underage prostitute and is then justly dispensed of by the avenging angel ex-cop, Chang (Vithaya Pansringarm), which sets off a sequence of violent events as Billy’s brother, Julian (a practically speechless Ryan Gosling), is ordered against his will by his evil wicked-witch of a mother, Crystal (Kristen Scott Thomas – so brilliant at going against type and positively oozing with diabolical dirt-baggery), to mete out Chang. Suffice it say…(am I spoiling anything here?)…wrong move, brother. Only God Forgives is a film about the scum of the earth…ahhhh…but it’s an art film!
If Nicolas Winding Refn’s Drive was the best neo-noir “love story in the city of dreams” since David Lynch’s Mulholland Drive, then Only God Forgives is a despicable neo-noir “hate story in the city of sin.” Continue reading →
Director J. A. Bayona brings the tsunami to horrifying life on the big screen in THE IMPOSSIBLE.
In December of 2004, Maria Belon and her family were among the many who experienced first-hand one of the worst natural disasters in the history of the world when a tsunami overwhelmed large swaths of Southeast Asia including the coastal resort area of Thailand where Belon and her family were spending the holidays. Director Juan Antonio Bayona (who previously put viewers through tear-soaked thrills in the Catholic ghost story, The Orphanage) has adapted Belon’s harrowing tale for the silver screen. Here Maria Belon becomes Maria Bennet (the incomparable Naomi Watts) and her husband is played by Ewan McGregor and three boys by newcomers Tom Holland, Samuel Joslin and Oaklee Pendergast. They’re a picture perfect beautiful British family living abroad, and Bayona, in ways both Spielbergian and Hitchcockian, puts them through the wringer in this tsunami horror-show tear-jerk thriller that pulls all the right strings.
The Impossible is worth the price of a ticket just for the ten minute tsunami sequence, frighteningly realized without CGI and done all with scale models and a giant water tank. Bayona in the sequences building up to the disaster uses sound effects for foreshadowing, and by replaying the tsunami through the eyes of Maria and her eldest son Lucas (Tom Holland in a riveting star-making performance), he totally immerses the viewer in the chaos of the event tossing the two actors around like rag dolls in the deluge of water and menacing debris that tears and rips at human flesh relentlessly. Continue reading →
Writer/Director Apichatpong Weerasethakul (say that five times fast) has created Uncle Boonmee Who Can Recall His Past Lives to be even more ponderous than his name or the film’s title. In Thailand, an ailing farmer named Boonmee (Thanapat Saisaymar) is cared for in his final days by his sister-in-law Jen (Jenjira Pongpas) and nephew Tong (Sakda Kaewbuadee) while restless spirits lurk in the jungle around them.
The film’s central conceit is that as one approaches death, memories flood the mind, and loved ones living and dead pay a visit and watch over us. As a Buddhist, Unlce Boonmee recalls not just his current life, but also past lives. What was done for Christianity in films like Dreyer’s Ordet or Reygadas’ Silent Light is done here for Buddhism. The spiritual lives of the characters are presented as if programmed in their DNA. It is not questioned; it just is. But whereas the other films presented a linear, “We live, We die, We rise,” narrative, here there is cosmic fluidity where one life or one being flows into the next for all eternity. This inner knowing is translated onto screen in a mesmerizing cacophony of sound design and imagery that evokes that cyclical flow…the stirring…of all beings great and small…past and present and future…in the night (symbolic of death).
The recollections are presented in a quasi-Faulknerian stream-of-consciousness. Continue reading →