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Showing 1-4 of 4 results
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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.
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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.
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Slow-burning terror
Life, Kong Rithdee, Published on 31/10/2018
» Gearing up for Paramount's remake of Pet Sematary next year, let's take a look at Stephen King's classic work from 1983 and one of the scariest horror stories ever told. Dr Louis Creed gets a new job and moves his family to the small town of Ludlow, Maine.
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In Three Billboards, pain and grief seek a visual expression
Life, Kong Rithdee, Published on 09/03/2018
» Frances McDormand is an embodiment of maternal anger and defiance, of the weight of grief and guilt, which often comes in tandem. In Three Billboards Outside Ebbing, Missouri, her sorrow, festered into rage, is the emotional epicentre of the film that strives to quake all the American fault lines, moral, racial and political, and she gives a gut-punching performance in a classic feminist register that, as we have seen, eventually won her an Oscar.
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