Set in Fenyang, Shanxi Province, the film focuses on a group of amateur theatre troupe performers whose fate mirrors that of the general population in China as massive socio-economic ... See full summary »
When a young street vendor with a grim home life meets a woman on her way to Paris, they forge an instant connection. He changes all the clocks in Taipei to French time; as he watches ... See full summary »
one of the major assets of contemporary cinema, to me, is to smoothly impose a unique stamp and vision; Apichatpong Weerasethakul has evidently honed that particular aspect. The film has a lot of detail, but it lacks, or rather, is free from a prominent structure or form. It is indeed keen to childhood memories in the way they are disconnected and earnest; the memories flow into each other.
The film is peacefully and radically cut into two halves, juxtaposing natural and urban contemporary life, all the while inverting scenes. when trying to find a meaning in that, i think it is indicating the way we perceive memories. the first half might correspond with juvenile perception of memories; more in tune with nature and live at heart, almost childish (think of the guy confessing his love to the doctor). the second half might correlate to our perceptions as adults; pretty much isolated, dull and uninspired. here, the two halves replay more or less the same story: a hospital, a man, a woman, a quest for love, a monk and a few similar patterns.
in absence of total bliss and transcendence experienced in Weerasethakul's later effort Uncle Boonmee, Syndromes and a Century produces a degree of completion and serenity that is mesmerizing at times.
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