Pen-Ek Ratanaruang
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May 17, 2024 · The Spencer and El Conde director features Apichatpong Weerasethakul’s Cemetery of Splendor and Joshua Oppenheimer’s The Act of Killing on his list, and we’ve exclusively published his thoughts on both below.
- Jordan Raup
1 day ago · We also talked about [Abbas] Kiarostami’s films about children, and my sound designer Paul and I talked a lot about [Apichatpong] Weerasethakul, and went to see “Tropical Malady” together.
May 27, 2024 · Wrapping up to Dhritiman Das’s gorgeous music and a heart-stopping ethereal final shot with a shot at reconciliation, “All We Imagine As Light,” an utterly sublime and irreducible gem, heralds Payal Kapadia as the brightest and the most transfixing star on India’s horizon.
May 26, 2024 · The surreal shift recalls the transcendentalist tendencies embraced, to varying degrees, by other Asian filmmakers such as Apichatpong Weerasethakul or Lav Diaz. These directors are also prone to exploring and magnifying the disjuncture between sound and image, something Kapadia plays with in those opening scenes.
May 29, 2024 · On Saturday, Lattimer will introduce the opening night program, Apichatpong Weerasethakul’s fourteen-minute Night Colonies (2021), a study of insects and lizards skittering across a neon-lit bed in the middle of a jungle, and Govindan Aravindan’s 1979 feature, Kummatty: “Recently restored by Martin Scorsese’s Film Foundation, Govindan ...
May 14, 2024 · In 2008, Apichatpong Weerasethakul travelled around his homeland in northeastern Thailand to research his feature film Uncle Boonmee Who Can Recall His Past Lives (2010). He came across a village called Nabua and discovered its brutal history.
May 19, 2024 · With the help of his (and, un/surprisingly enough, Apichatpong Weerasethakul’s) longtime cinematographer Sayomphu Mukdiphrom, Guadagnino treats the tennis court and the bedroom alike as if Park Chan-wook were standing right behind his chair holding a piano wire; he can’t afford to let anyone else out-stylize him, even if that means off ...
