Showing 1-5 of 5 results

  • News & article

    On the edge of sanity

    Life, Kong Rithdee, Published on 17/01/2020

    » In Robert Eggers' The Lighthouse, Willem Dafoe is a demented Poseidon, or perhaps a crazed, ocean-battered ex-sailor on the run from a Melville novel. Playing one of the two lighthouse keepers on a wind-whipped rocky islet in the Atlantic, circa 1890s, Dafoe turns up his mad-uncle mode, feral hair, chronic farting and drawling speech, plus a possessive relationship with the lantern -- the source of light atop the lighthouse (he refers to it as a "she").

  • News & article

    Colourful journey into Thailand's soul

    Life, Kong Rithdee, Published on 20/01/2017

    » The train clangs ahead, moving people and dreams, as it has done since 1893. In Railway Sleepers, a minutely observed film shot entirely on-board a Thai train, we see kids on school trips, young men travelling north and south, hawkers selling food and horoscope books, families and lovers, vacationers who turn the sleeping car into a party venue. They're passengers, and they're also humans. They are, as director Sompot Chidgasornpongse says, a collection of faces that make up a portrait of Thailand.

  • News & article

    A seaworthy adventure tale

    Life, Kong Rithdee, Published on 04/12/2015

    » There is no one-legged Captain Ahab but there is Herman Melville himself in In The Heart Of The Sea, a high-seas romp about greedy harpooners and a leviathan from the depth that ends with a thought on naturalism. The monomania that drives men to their demise, as in Moby-Dick, is touched upon here though not pursued to its darkest inevitability, and yet that doesn't stop the Ron Howard's film from being a lively, well-oiled seafaring entertainment.

  • News & article

    Poster boy

    Life, Kong Rithdee, Published on 19/02/2016

    » At his home in Pak Chong, Piak Poster sits on a stool before a half-finished painting, the raised platform encircled by stacks of tools, drawers, paintbrushes and all imaginable colours. “I call this ‘my throne’,” he says with a laugh. “This is where I work, and I still work every day.”

  • News & article

    The old(ish) man and the sea

    Life, Kong Rithdee, Published on 07/02/2014

    » JC Chandor's All Is Lost is a taut maritime drama about a man who struggles to survive in the Indian Ocean after his yacht is holed and slowly starts to sink. The entire film has only one character, an unnamed man played by Robert Redford, and we're stuck with him on his vessel and later on a life raft, watching him calmly struggling against the waves, the storm, the disorientation, the hopelessness. We don't know who this man is (he's merely described as "Our Man" in the credits) or why he's there, and the film doesn't have any flashback or any cutaway to, say, his family anxiously waiting for news of him. There are no other external perspectives. We're stranded with him. We are, literally, in the same boat with him and we see everything as he sees it; it's almost an hour into the movie before there's a long shot from above showing him surrounded by a vast body of water. Our Man, his radio inoperative after the yacht gets flooded, speaks only twice during this 105-minute film. The third time he opens his mouth is the only time the film allows him a howl of despair.

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