In case you missed it, Dev Patel's directorial debut Monkey Man is now available to rent or purchase at home, and following its launch, we were able to sit down with production designer Pawas Sawatchaiyamet to talk about his incredible work on the film, where he worked closely with Patel to craft the film's stunning sets and distinct visual style.
He was kind enough to join us for a lengthy nearly thirty-minute conversation about the film, so we implore everyone to check out our full video interview, embedded below, for all of the amazing details on how he helped bring this film to life.
While Monkey Man is now available at home, it's also still playing in theaters and, to date, has grossed over $32.7 million globally on a modest $10 million production budget, which makes it one of this year's most welcome box office success stories.
The film's synopsis reads,...
He was kind enough to join us for a lengthy nearly thirty-minute conversation about the film, so we implore everyone to check out our full video interview, embedded below, for all of the amazing details on how he helped bring this film to life.
While Monkey Man is now available at home, it's also still playing in theaters and, to date, has grossed over $32.7 million globally on a modest $10 million production budget, which makes it one of this year's most welcome box office success stories.
The film's synopsis reads,...
- 5/3/2024
- ComicBookMovie.com
History may not look more favorably upon many directorial debuts than Dev Patel’s inaugural feature Monkey Man. The film is both a wholly entertaining action film and an emotional, rewarding tale of revenge and dramatic character growth and development.
The story of Monkey Man concerns itself with the legend of something called Hanuman – which is the embodiment of strength and courage – that is supposed to serve as a vessel of retribution for those unable to achieve so themselves. At this point, the character of Kid (Patel) is introduced as a young man trying to earn a living participating in an illegal fight club wearing a gorilla mask. Through a series of flashbacks, it is revealed that Kid has been scarred by some rather brutal childhood traumas. The result of these incidents initiates and fuels his methodical quest for revenge against the men who destroyed the idyllic life he once enjoyed.
The story of Monkey Man concerns itself with the legend of something called Hanuman – which is the embodiment of strength and courage – that is supposed to serve as a vessel of retribution for those unable to achieve so themselves. At this point, the character of Kid (Patel) is introduced as a young man trying to earn a living participating in an illegal fight club wearing a gorilla mask. Through a series of flashbacks, it is revealed that Kid has been scarred by some rather brutal childhood traumas. The result of these incidents initiates and fuels his methodical quest for revenge against the men who destroyed the idyllic life he once enjoyed.
- 4/6/2024
- by Mike Tyrkus
- CinemaNerdz
With a premise that is as simple or as complex as you’d like it to be, Monkey Man anoints Dev Patel as a new action director and star. Filmed on location in Mumbai and Indonesia in the height of the Covid pandemic and saved from a Netflix direct-to-streaming deal by Jordan Peele and Universal, this film about reinvention bursts with the same frenetic energy of a Danny Boyle or John Woo picture, with Patel––co-writer, director, star, and sometimes camera operator––throwing everything he has at the screen, and then some.
The plot, on one level, is a simple revenge tale unfolding for reasons revealed at the narrative’s midpoint. Inspired by the Hindu myth of Hanuman Patel’s unnamed Kid embraces this persona in wrestling matches that have left him battle-tested before he undergoes a profound spiritual awakening. The training comes in handy when he plots his big...
The plot, on one level, is a simple revenge tale unfolding for reasons revealed at the narrative’s midpoint. Inspired by the Hindu myth of Hanuman Patel’s unnamed Kid embraces this persona in wrestling matches that have left him battle-tested before he undergoes a profound spiritual awakening. The training comes in handy when he plots his big...
- 3/12/2024
- by John Fink
- The Film Stage
In one of the latest tendencies in Asian cinema, production companies from S. Korea and Japan have begun penetrating the Indonesian market, financing local filmmakers to shoot big budget productions (for the country’s standards that is). Cj Entertainment financed Joko Anwar’s “Satan Slaves” for example, while in this case, Nikkatsu funded Mike Wiluan, producer of films like “Headshot” and “Macabre”, to shoot a Western with an Indonesian flavor. The result was this particular movie.
“Buffalo Boys” is screening at the 17th New York Asian Film Festival
In 1860, Arana, Jamar and Suwo return to Indonesia after fleeing to America decades ago, following the massacre of sultan Hamza by Captain Van Trach, during an Indonesian uprising against the Dutch. The sole purpose of the three is to exact revenge from Van Trach. During their search, they stumble upon a group attacking Kiona and her grandfather, and proceed on saving the two.
“Buffalo Boys” is screening at the 17th New York Asian Film Festival
In 1860, Arana, Jamar and Suwo return to Indonesia after fleeing to America decades ago, following the massacre of sultan Hamza by Captain Van Trach, during an Indonesian uprising against the Dutch. The sole purpose of the three is to exact revenge from Van Trach. During their search, they stumble upon a group attacking Kiona and her grandfather, and proceed on saving the two.
- 7/16/2018
- by Panos Kotzathanasis
- AsianMoviePulse
Hawaii International Film Festival
HONOLULU -- Romantic jealousy leads to vicious suspicion in Ploy, Thai director Pen-ek Ratanaruang's follow-up to Invisible Waves, as a couple attempt to come to terms with the remnants of their faltering relationship.
Factoring in critical support and Ratanaruang's Asian auteur cachet, this 2007 Cannes Directors' Fortnight selection should be assured a healthy fest run and with savvy marketing could see modest success in niche markets.
Wit (Pornwut Sarasin) and his wife Dang (Lalita Panyopas) return to Bangkok after seven years in the U.S. to attend a funeral, taking a hotel room to rest up after their red-eye flight. Wit goes down to the lobby bar to buy a pack of cigarettes, where he encounters Ploy (Apinya Sakuljaroensuk), a waif-like young woman waiting to meet her mother later that day at the hotel. Their casual conversation reveals they share the same hometown, prompting Wit to offer Ploy the use of his room to shower and relax.
Dang, trying to get some sleep, is none too happy to meet Wit's new friend. Although she acts polite to Ploy, Dang quietly tells Wit to get rid of the girl. Their tense conversation indicates that all is not well after Wit refuses to ask Ploy to leave. Later, when Dang tries to discuss their deteriorating relationship, Wit avoids divulging too much about his feelings, prompting her to accuse him of infidelity.
In a parallel story line, hotel bartender Nut (Ananda Everingham) engages housekeeping maid Tum (Phornthip Papanai) in a steamy erotic encounter, setting up a telling contrast to the aridity of Wit and Dang's marriage.
Dang clearly feels threatened by the possibility that Wit might be attracted to Ploy, prompting a violent dream about smothering the girl to death. Upset by her disturbing fantasies and argument with Wit, Dang retreats to the hotel lobby, leaving Wit and Ploy alone as she embarks on a questionable assignation of her own.
Ratanaruang's unhurried pace gradually ratchets up the tension in this charged scenario by obscuring his characters' motivations and manipulating the narrative with telling dream sequences that reveal their ulterior intentions. Chankit Chamnivikaipong returns as cinematographer, conjuring a twilit lighting design that evocatively infers the early morning time frame and the characters' sleep-deprived state, while Ratanaruang's carefully plotted camera moves and deliberate framing emphasize their isolation and disconnectedness.
PLOY
Five Star Production Co. and Fortissimo Films in association with the Film Factory
Credits:
Screenwriter-director: Pen-ek Ratanaruang
Producer: Rewat Vorarat
Executive producer: Charoen Iamphungporn
Cinematographer: Chankit Chamnivikaipong
Production designers: Saksiri Chantarangsri, Wittaya Chaimongkol
Music: Hualampong Riddim, Koichi Shimizu
Editor: Patamanadda Yukol
Cast:
Dang: Lalita Panyopas
Wit: Pornwut Sarasin
Ploy: Apinya Sakuljaroensuk
Tum: Phornthip Papanai
Nut: Ananda Everingham
Running time --107 minutes
No MPAA rating...
HONOLULU -- Romantic jealousy leads to vicious suspicion in Ploy, Thai director Pen-ek Ratanaruang's follow-up to Invisible Waves, as a couple attempt to come to terms with the remnants of their faltering relationship.
Factoring in critical support and Ratanaruang's Asian auteur cachet, this 2007 Cannes Directors' Fortnight selection should be assured a healthy fest run and with savvy marketing could see modest success in niche markets.
Wit (Pornwut Sarasin) and his wife Dang (Lalita Panyopas) return to Bangkok after seven years in the U.S. to attend a funeral, taking a hotel room to rest up after their red-eye flight. Wit goes down to the lobby bar to buy a pack of cigarettes, where he encounters Ploy (Apinya Sakuljaroensuk), a waif-like young woman waiting to meet her mother later that day at the hotel. Their casual conversation reveals they share the same hometown, prompting Wit to offer Ploy the use of his room to shower and relax.
Dang, trying to get some sleep, is none too happy to meet Wit's new friend. Although she acts polite to Ploy, Dang quietly tells Wit to get rid of the girl. Their tense conversation indicates that all is not well after Wit refuses to ask Ploy to leave. Later, when Dang tries to discuss their deteriorating relationship, Wit avoids divulging too much about his feelings, prompting her to accuse him of infidelity.
In a parallel story line, hotel bartender Nut (Ananda Everingham) engages housekeeping maid Tum (Phornthip Papanai) in a steamy erotic encounter, setting up a telling contrast to the aridity of Wit and Dang's marriage.
Dang clearly feels threatened by the possibility that Wit might be attracted to Ploy, prompting a violent dream about smothering the girl to death. Upset by her disturbing fantasies and argument with Wit, Dang retreats to the hotel lobby, leaving Wit and Ploy alone as she embarks on a questionable assignation of her own.
Ratanaruang's unhurried pace gradually ratchets up the tension in this charged scenario by obscuring his characters' motivations and manipulating the narrative with telling dream sequences that reveal their ulterior intentions. Chankit Chamnivikaipong returns as cinematographer, conjuring a twilit lighting design that evocatively infers the early morning time frame and the characters' sleep-deprived state, while Ratanaruang's carefully plotted camera moves and deliberate framing emphasize their isolation and disconnectedness.
PLOY
Five Star Production Co. and Fortissimo Films in association with the Film Factory
Credits:
Screenwriter-director: Pen-ek Ratanaruang
Producer: Rewat Vorarat
Executive producer: Charoen Iamphungporn
Cinematographer: Chankit Chamnivikaipong
Production designers: Saksiri Chantarangsri, Wittaya Chaimongkol
Music: Hualampong Riddim, Koichi Shimizu
Editor: Patamanadda Yukol
Cast:
Dang: Lalita Panyopas
Wit: Pornwut Sarasin
Ploy: Apinya Sakuljaroensuk
Tum: Phornthip Papanai
Nut: Ananda Everingham
Running time --107 minutes
No MPAA rating...
- 12/18/2007
- The Hollywood Reporter - Movie News
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