Showing 1 - 10 of 46
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.
A long crusade against healthcare woes
Life, Kong Rithdee, Published on 16/04/2021
» Colectiv, a Romanian documentary film nominated for two Oscars, watches in terror as the Romanian healthcare system practically collapses before the camera. The film elicits a series of gasps, as one shocking revelation leads to another, and another: procurement frauds, bureaucratic incompetence, corruption, nepotism, murder, mass bribery, healthcare mafia, maggots crawling on the head of a patient -- a living patient -- and finally, an election whose preposterous results ring too many familiar bells.
Piyabutr plays House role by the book
News, Kong Rithdee, Published on 23/09/2019
» How thick does a book need to be to stop a bullet? Perhaps, I imagine, Piyabutr Saengkanokkul is asking himself that same question.
Saint and sensibility
Life, Kong Rithdee, Published on 16/05/2019
» A Christian fable or a Marxist allegory? A magical-realist myth or a political cry against neoliberalism (or feudalism, which produces the same catastrophe anyway)?
House RCA retrospective honours Japanese Palme d'Or winner
Life, Kong Rithdee, Published on 27/07/2018
» Hirokazu Kore-eda's Shoplifters will open in Thailand on Aug 2, two months after the film won the Palme d'Or at Cannes Film Festival. Among modern Japanese filmmakers, Kore-eda has amassed the strongest following in Thailand, largely due to the fortunate fact that most of his films -- not all, mind you -- have opened commercially here since 2004. To pave the mood for Shoplifters, a gem of a family drama that finally brought the 56-year-old director one of the highest honours in international cinema, the Thai distribution Mongkol Major brings back seven films by the master in a Kore-eda Retrospective programme at House RCA, starting today.
Time to let Wild Boars roam freely
News, Kong Rithdee, Published on 14/07/2018
» If nature was mother, the cave the womb, the divers the midwives, then the 12 boys and their football coach have experienced a rebirth -- the strangest rebirth because, held captive inside the wet catacomb for 18 days, they were reborn after escaping death by the skin of their teeth.
A one-man 'loveable rogues' gallery
B Magazine, Kong Rithdee, Published on 06/05/2018
» Sunny Suwanmethanont raises his thick eyebrows and chuckles. He forks a piece of mango into his mouth while he considers something -- an existential query of sorts.
The theory of Hawking as a parallel Thai
News, Kong Rithdee, Published on 17/03/2018
» Had Stephen Hawking been born here, the fate of astrophysics would likely have been different: no Theory of Everything, just a Hypothesis of Nothing. Had he been born here, the starburst of his extraordinary life would have been sucked into a black hole, a metaphorical black hole, and the proof that the universe can be so unkind to some people would have been concluded.
Toon and Pai, the tale of our two Jesuses
News, Kong Rithdee, Published on 23/12/2017
» Let's say, modestly, that Toon Bodyslam is Jesus Christ.
A failure of humanity
Life, Kong Rithdee, Published on 01/12/2017
» In The Killing Of A Sacred Deer, Colin Farrell and Nicole Kidman play parents -- both doctors -- ensnared by a nightmarish curse that threatens to undo their wealthy existence. The story is in the mould of a Greek tragedy, or a Cannes-worthy arthouse drama, or maybe it's just a self-conscious updating of pulpy material about gruesome death and voodoo hexes. The director is Yorgos Lanthimos, whose darkly satirical, unclassifiable Dogtooth and The Lobster slap humanism around in giggly delight. Here he's going down the path of psychological thriller, or karmic revenge, and while the tension is there, the whole thing feels like an empty, meaningless exercise.