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Showing 1-9 of 9 results
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Apichatpong's memory of the world
Life, Kong Rithdee, Published on 30/06/2021
» It begins with a bang. Maybe the Big Bang, a culmination of cosmic murmur and subterranean hum that explodes like a burst of revelation, a sonic release of the weight of all human pain. In Apichatpong Weerasethakul's new film Memoria, a woman wakes up one morning in Bogota jolted by a mysterious sound -- a metallic, visceral, bottom-of-the-well bang. The woman, orchid farm owner Jessica (played by Tilda Swinton), wanders the Colombian capital in a daze, haunted by the unshakable aural echo, then leaves the city and heads to the mountains, where the phantom of the bang shadows her.
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Mind over matter
Life, Kong Rithdee, Published on 01/01/2016
» Ronnie Del Carmen never thought he would become an animator.
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At Cannes, humour makes a surprise visit
Life, Kong Rithdee, Published on 01/02/2017
» Humour is hardly ever associated with Cannes competition films -- to win the Palme d'Or, for example, it's assumed a film should possess art house gravitas, serious humanity, or weighty, topical, discourse-stimulating subject matter (last year's winner, Dheepan, is about immigrants in Paris, and before that, the three-hour-long Turkish drama Winter Sleep).
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Excellent exposure
Life, Kong Rithdee, Published on 28/11/2014
» At first, no one could imagine how a town without a cinema would host a film festival. Movies need screens, but where's the screen? And we're not just talking about any town — it's Luang Prabang, the enchanting Unesco World Heritage site by the Mekong, the town known better for its rapt serenity and majestic temples than for its role as a movie junction.
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Best films of 2014
Life, Kong Rithdee, Published on 26/12/2014
» Another year, another December ritual of best-ofs. Is the high worth the pain at the cinemas? Mostly yes, 2014 has yielded a crop of films that excite, touch, baffle, entrance and stun us in many ways.
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Kitschy tease fails to deliver
Life, Kong Rithdee, Published on 07/06/2013
» A bit of B-noir, a lot of high trash, a smattering of lesbian smooching _ oh, and the belated arrival of several Hitchcockian flourishes _ don't succeed in luring us into the booby trap that is Brian De Palma's latest.
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What doesn't kill you makes you stronger
Life, Kong Rithdee, Published on 15/03/2013
» Quentin Tarantino's Django Unchained is a happy whip, drawing as much blood as laughter. It runs on Road Runner humour, fired by cruel comedy, cartoon revenge, cracking you up and making you wince, and that balancing act has always been one of the secrets of Tarantino's brilliance. Still, this is a serious film about history and how cinema appropriates history. In a year that most Oscar-contending titles lay pompous claims to accurate retelling of the past, from Argo, Zero Dark Thirty and Lincoln, the blissful disregard of "history" somehow makes Django the most truthful film of the lot. Or at least it feels truthful in spirit, leaving the grandstanding of other filmmakers looking spurious, frivolous, or simply wrong.
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Cars, crazy cars
Life, Kong Rithdee, Published on 25/05/2012
» He's called Monsieur Oscar, and the name is a cinematic prophecy. He's played by Denis Lavant, the French actor, that compact ball of intense energy who reincarnates from the back of a gigantic limo into a bum, a cybermonster, an assassin, a dying uncle, and other roles in the shades borrowed from other movies and our collective memory of them. In a jaded Cannes Competition this year, Leos Carax's Holy Motors arrived on Wednesday like a humming spaceship, bizarre and irreverent, cheeky and disturbing. Come the awards night on Sunday, pundits are now betting that Carax's first feature film in 13 years will emerge with some wins.
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In the mood for Marilyn
Life, Kong Rithdee, Published on 13/01/2012
» Marilyn Monroe was a real woman, but through the decades she has also existed as an image _ and an imagination. The later generation, appreciating Monroe in iconic, sex pot poses and perky screen persona, associates a wide gamut of ideas, fantasies and conjectures with her and her era, the '50s. A powerful presence on the screen (her movies lose meaning when she's not in the frame), she's also a blank page on which you supply your own surmises and assumptions, theories and conclusions. It says a lot when, in probably her most famous movie from 1955, The Seven Year Itch, Monroe plays a character with no name: it's enough to know her as The Girl.
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