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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.
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Truth and lies
Life, Kong Rithdee, Published on 11/05/2018
» By some description, this is one of the most political editions of Cannes Film Festival in recent memory, both on screen and off. After three days, the brouhaha over #MeToo (the festival has a dedicated hotline for sexual harassment report, which begs the question: why here and now?), the comment by Jury President Cate Blanchett on the small percentage of female filmmakers in the programme, and the fact that two of the directors whose films are in the competition are under house arrest in their respective countries (Iran and Russia) -- all of this cast a mixed shadow over the 71st edition of the world's largest film festival that still boasts influence and glamour while struggling to maintain its relevance.
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Judging the judges at Cannes
Life, Kong Rithdee, Published on 01/02/2017
» There was a chorus of surprise when the 69th Cannes Film Festival last Sunday awarded its top prize to Ken Loach's welfare drama I, Daniel Blake -- because the film was largely absent from the critical radar during the 12-day festival. A bigger surprise (not to say disappointment) was when the second prize went to Xavier Dolan's melodrama It's Only The End Of The World, because the film was nearly unanimously disliked for its histrionics and theatrical conceits. When the jury, led by Mad Max director George Miller, gave the prize to Dolan's film, a joke sprang up and quickly caught on, inspired by the film's title: yes, for this film to be honoured by Cannes it is the end of the world, or the end of cinema. Apocalypse now!
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Openness is not a pretext for exclusivity
News, Kong Rithdee, Published on 02/07/2016
» A few years ago in my neighbourhood there was a Kurdish migrant. Not Iranian, not Iraqi, not Turkish, he would tell you, but Kurdish, the stateless ethnic group wedged between unsympathetic nations. His name was Abbas.
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Cannes report: 'A Touch of Sin' an early favourite
Kong Rithdee, Published on 04/01/2015
» Good year? Bad year? Average year? The question is common, extraneous, and yet on everyone’s lips after three days into the 66th Cannes Film Festival.
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A glittering showcase of film
Life, Kong Rithdee, Published on 04/01/2015
» Cannes Film Festival opens today with Baz Luhrmann's The Great Gatsby, and for the next 12 days the Mediterranean resort town on the French Riviera plays host to the 66th edition of the world's most respected, most influential and most circus-like cine-jamboree. Stars, filmmakers, industry bigwigs and journalists congregate for the annual pilgrimage that celebrates, sanctifies and commercialises cinema to an extent that's both astounding and puzzling.
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Cannes and misdemeanours
Life, Kong Rithdee, Published on 04/01/2015
» At the 66th Cannes film Festival, off-screen drama attempts to steal the limelight from on-screen offerings. Last Friday, the news of a diamond robbery at a hotel room from which a burglar made off with US$1 million (about 30 million baht) worth of Chopard jewellery astonished (and amused) festival-goers; the crime took pace hours after the screening of Sofia Coppola's The Bling Ring, about brazen heists of celebrity homes.
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A post-love story
Life, Kong Rithdee, Published on 07/02/2014
» Spike Jonze's feature-film career concerns pretty much about burrowing in, and messing up, his characters' heads. The human hard-drive the cerebrum is where all the secrets in the world, which is actually the secrets about ourselves, are stored: Being John Malkovich (1999) is a literal response to that perennial itch about being someone else; Adaptation (2002) brilliantly simulates the way a writer agonises over his thought process; Where The Wild Things Are (2009) takes place inside a boy's head. All of these films have a giddy, nebulous, childish quality, and they throw surreally hard questions at us with straight-faced frivolity.
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Wishing upon a bullet train
Life, Kong Rithdee, Published on 09/03/2012
» Hirokazu Kore-eda's I Wish is a film about small happiness hidden under earth-shaking woes. An unexpected hand clasp on the shoulder, a swimming trunk in a wash basin, the sound of a clinking bell, the volcanic ash that falls like confetti _ the random joy of life slowly works its way into the heart of a young boy at the centre of this family drama, on limited release starting yesterday. Sweet but thankfully not saccharine, observant without being obsessive, I Wish has the delicate lightness and calm lucidity of all Kore-eda's films. And although this one won't move you to ponder the painful disintegration of family values the way the director's near-masterpiece Nobody Knows did in 2004, the uncoiling of revelations here is as gentle as it is refreshing.
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