Dying of kidney disease, a man spends his last, somber days with family, including the ghost of his wife and a forest spirit who used to be his son, on a rural northern Thailand farm.
Shifting between fact and fiction in a hotel situated along the Mekong River, a film-maker rehearses a movie expressing the bonds between a vampiric mother and daughter.
After hitting something with her car, a bourgeois Argentine woman's life slowly descends into paranoia and isolation, as she fears she may have killed someone.
A restless retired woman teams up with her deceased neighbor's maid to seek out a man who has a secret connection to her past life as a farm owner at the foothill of Mount Tabu in Africa.
Director:
Miguel Gomes
Stars:
Telmo Churro,
Miguel Gomes,
Hortêncílio Aquina
Amidst turmoil and racial conflict in a Francophone African state, a white French woman fights for her coffee crop, her family and ultimately for her life.
Director:
Claire Denis
Stars:
Isabelle Huppert,
Christopher Lambert,
Isaach De Bankolé
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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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.