Showing 1-10 of 162 results
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The afterlife of Mitr Chaibancha
Life, Kong Rithdee, Published on 06/10/2023
» In an abrupt moment of life's brutal script, Mitr Chaibancha fell to his death from a helicopter ladder on Oct 8, 1970. He was filming Insee Thong (Golden Eagle), playing an anti-communist masked hero, when he slipped from the rung and plunged to the ground in Pattaya. That same evening, his body was transported to Wat Kae Nang Loeng. Thousands of people, unable to believe that Thailand's most famous actor was really, tragically dead, amassed impromptu at the temple and demanded that his corpse be raised from the coffin and shown to the public.
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Pita and the 'Myth of Sisyphus'
Oped, Kong Rithdee, Published on 15/07/2023
» 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight."
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Will gentrification respect city's people?
Oped, Kong Rithdee, Published on 28/06/2023
» We've lived for over a century in the shadow of grandeur: near the Customs House, known to Thais as rongpasi. "We" means my maternal family and the community of Haroon Mosque. Each day before sunrise, the muezzin's sing-song call rings through the neighbourhood, carried on the river wind towards the Mandarin Oriental Hotel, the French Embassy and Assumption Cathedral.
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Hear her roar
Life, Kong Rithdee, Published on 26/05/2023
» The image of a girl taking off her hijab is wrought with cinematic symbolism. Kamila Andini shows it in her Indonesian film Yuni (2021); Hesome Chemamah in his Thai short I'm Not Your F*cking Stereotype (2019); Ana Lily Amirpour in the Iranian vampire film A Girl Walks Home Alone At Night (2014). Subversion? Provocation? Liberation? At this year's Cannes Film Festival, we see that image in Amanda Nell Eu's Tiger Stripes, a work as playful as it is potent in its portrayal of adolescence and what it entails for a young woman's body.
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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.
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The Year of Great Reckoning
Life, Kong Rithdee, Published on 16/12/2020
» For filmgoers, it was a year of mortal dread. The screen went dark, like a coffin nailed shut, and is still like that in many places. Faith in cinema as we've known it was rattled, challenged, and endangered with a Biblical overtone; it's a plague we're dealing with, after all. It was a year unlike any other we had seen before in the 125 years since cinema was invented. And while that sounds dispiriting, 2020 has also been a "Year of Great Reckoning" during which the equilibrium was recalibrated and the idea of moving images continues, as it should, to evolve.
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Eyes wide open
Life, Kong Rithdee, Published on 08/05/2020
» The literature about modern Thai politics is not abundant, and by this I mean a narrative that grounds its characters in the double-whammy of coup d'etat and street protest that characterised the mid-2000s to mid-2010s. The period, plus a few years earlier when Thaksin Shinawatra rose to power, contains some of the most convulsive and era-defining moments that continue to shape the visible and invisible dimensions of Thai society in the present time, and it's astonishing that not more writers find it a rich wellspring of artistic expression (on the contrary, visual artists and theatre artists seem more responsive to the political currents of the same period).
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Corona and the death of cinema (again)
Life, Kong Rithdee, Published on 30/03/2020
» "Cinema is an invention without a future," said Louis Lumiere who, along with his brother Auguste, invented the Cinematographe in 1895. From its birth, cinema was convinced of its own death. From the very beginning, cinema predicted its own eventual demise. And that was before the two world wars, the advent of home video, laser disc, DVDs, Blu-rays, terrorism, mass shootings, Netflix, and now the coronavirus, the latest scourge that has sealed shut cinema houses around the world.
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Underwater folly
Life, Kong Rithdee, Published on 12/06/2019
» In the aquatic chamber, the tank looms. Encrusted and barnacled, the mighty war machine has become a home of fish and corals. It seems incapacitated, abandoned, useless. Such is an illusion: if the tank is submerged, we're down there with it, drowned in that inexorable aquarium. Look, its gun still points at us, and its shadow all-consuming.
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An imperfect world
Life, Kong Rithdee, Published on 21/05/2019
» Even on the ground at the Cannes Film Festival, what people seemed to be anticipating most on Monday was, well, the final episode of Game Of Thrones. No, it wasn't being shown at the festival (how unbecoming that would be), but isn't it a sign of our times that a TV episode has the Valyrian-steel nerve to dominate global discussion and upstage the world's biggest film showcase?
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