Bad, inconsequential thoughts gather in our brain.
I never had a dentist sing to me while he worked. It's just as well as I usually fall asleep. It is just one of the strange things that happen in this rural hospital. But the stories and the characters seem tangential. They focus is on the sets. Whether the hospital, the farmer's market, or the orchid farm; the sets seem to be what Apichatpong Weerasethakul is emphasizing.
People may be talking or singing, but the camera is on a window with the sun shining through, and it stays there for a long time.
There is no continuity. Scenes shift aimlessly with no apparent purpose. You almost feel like you are watching a Godfrey Reggio film with some dialog.
The film suddenly shifts to a city hospital, and we see some of the same scenes repeated. Where the first half was very feminine, the second half takes on a masculine tone.
The dentist doesn't sing, he has an assistant, and everything is sterile. The doctors seem more matter-of-fact, almost uncaring.
One thing is consistent, and that is a large white Buddha. It sits on the ground of both stories.
After a long shot of a hallway, the screen goes black leaving you wondering. It is a true art film for those who appreciate what a filmmaker can do and who are not upset by the lack of story.
A Zen kōan.
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