Showing 1 - 10 of 120
Love, beauty, violence
Life, Kong Rithdee, Published on 24/05/2024
» Last year, the world embraced Barbie and Poor Things, two outstanding films that tapped into the state of female consciousness in the 21st century. At the 77th Cannes Film Festival, which ends tomorrow, women-driven stories of all stripes are pushed further up (or down) the emotional spectrum. A noticeable number of titles premiering at the influential festival feature female protagonists in varying states of joy and distress -- and to varying results. Powerful acting by female talent also injects life and spirit into those stories, hailing from all corners of the Earth.
Cannes 2024 highlights
Life, Kong Rithdee, Published on 14/05/2024
» From Francis Ford Coppola's new epic to a Taiwanese drama starring a Thai actor and a Pol Pot drama, we pick hot titles from the French film festival that kicks off today.
Ripley strikes quite exquisitely, again
Life, Kong Rithdee, Published on 12/04/2024
» Just when you thought the original book was bled dry, its last drop of smouldering homoerotic blood squeezed and sucked by multilple movie adaptations, from Rene Clement (French) and Anthony Minghella (American) to Liliana Cavani (Italian), here comes Steven Zaillian's seven-episode Netflix series bluntly titled Ripley. Dusky and exquisitely coldblooded, the latest reworking proves that the Patricia Highsmith's 1955 novel The Talented Mr. Ripley is a living gift that continues giving after 69 years.
Poor Barbie... Oppenheimer's the bomb
Life, Kong Rithdee, Published on 08/03/2024
» The annual guessing game to read the minds of inscrutable Oscars voters is here.
If it was up to me...
Life, Kong Rithdee, Published on 10/03/2023
» The Oscars are once again upon us and Life goes out on a limb to pick the peaches.
Of zombies and fairy tales
Life, Kong Rithdee, Published on 20/05/2022
» The opening films across the three programmes at the 75th Cannes Film Festival speak of disparate destinies of contemporary cinema, from the poetic to the political and the pointless. Let's start with the latter.
The way I see it...
Life, Kong Rithdee, Published on 25/03/2022
» Ahead of the Academy Awards on Monday, our film critic shares his thoughts on the big runners.
Time for Asean films to shine
Life, Kong Rithdee, Published on 08/12/2021
» The pandemic notwithstanding, it has been a stimulating year for Southeast Asian cinema. Reflective, heartfelt and oddball new titles from Indonesia, Cambodia, Malaysia, Singapore and Thailand have won major prizes or become critical favourites at international film festivals throughout 2021. Now, many of these films are coming to the big screen in Thailand as the Bangkok Asean Film Festival 2021 (BAFF) is set to open tonight.
Into the devil's lair
Life, Kong Rithdee, Published on 05/11/2021
» Like a session of cinematic séance, Rang Zong (The Medium) channels a cemetery-sized roll call of classic horror elements. The film, recently picked as Thailand's representative for the Oscar's International Feature, is proudly possessed by the ghosts of The Exorcist, The Blair Witch Project, the Paranormal Activity franchise, and Ari Aster's Midsommar, but with Southeast Asia's earthy voodooism, plus a serving of Korean-style blood-and-viscera gore as well as an icing of zombie scare-aesthetics. It's a full-course buffet of fright tricks, complete with an apocalyptic, 30-minute-long exorcism orgy that leaves no spell unuttered and no human unpossessed. All of this is couched in a faux-documentary setup, with handheld shots, grainy CCTV footage and characters speaking directly to the camera.
A sick man, on a tour of hospital hell
Life, Kong Rithdee, Published on 07/05/2021
» The Death Of Mr. Lazarescu came out in 2005 and cemented the cinematic potency of the Romanian New Wave and their brand of droll, deadpan and relentlessly realistic movies about life in the ex-socialist state. The film premiered at the Cannes Film Festival 2005 and now, 16 years later, The Death Of Mr. Lazarescu is buried deep in the algorithm of Netflix. But it's there if you look, and I'm bringing it up today because its story of public healthcare apocalypse and accumulated absurdities experienced by a patient trying to find a hospital bed seems more timely, more wickedly serendipitous, than ever.