but what if I’m dead?
13:54 | 23-06-2011 | Cinematograph | No Comments
а еще посмотрел “Uncle Boonmee Who Can Recall His Past Lives”, который очень хороший. эдакий таиландский “Солярис” Тарковского? быть может. по-крайней мере, оба автора разными голосами показывают одно и то же — не поверите, говорит Вирасетакун, но за все в жизни приходится платить:
Boonmee: You know, this is a result of my karma.
Jen: What is?
Boonmee: This illness. I’ve killed too many communists.
Jen: But you killed with good intentions.
Boonmee: And I’ve killed a lot of bugs on my farm.
а еще было бы очень хорошо, если и в самом деле где-нибудь в Таиланде граница между живыми и мертвыми вдруг исчезала в ничто, и, свободные, мы могли бы напропалую разгуливать из одного мира в другой — да, в самом деле хотел бы.
но вообще там[1] много хорошего, не верьте моей иронии:
Uncle Boonmee Who Can Recall His Past Lives is the final installment in a multi-platform art project called Primitive. The project deals with the region Isan in Thailand’s northeast, and in particular the village Nabua in Nakhon Phanom, just by the border to Laos. Previous installments include a seven-part video installation and the two short films A Letter to Uncle Boonmee and Phantoms of Nabua, all of which premiered in 2009.
вот, что говорит сам Вирасетакун:
When you watch a film, it’s something that’s already happened. It already has a past life. <...> Uncle Boonmee is really about cinema to me. [I was inspired] by old television shows that were shot on 16mm camera, as well as by one-baht Thai graphic novels that show a different landscape of ghosts. I’m fascinated by that and try to put it in the movie.
Uncle Boonmee has six reels [that are combined to become a 115-minute movie]. Each reel has a different acting style, lighting and reference on cinema. When you make a film about recollection and death, you realise that cinema is also facing death. Uncle Boonmee is one of the last pictures shot on film _ now everybody shoots digital. It’s my own little lamentation, this thing about dividing the six reels into six styles. In the first reel, it’s my kind of film when you see long takes of animals and people driving. The second reel is like old cinema with stiff acting and classical staging, then it’s a documentary style in the third reel. The fourth reel is a costume drama… [and so on].
и еще:
It echoes other works in the ‘Primitive’ installation, which is about this land in Isaan with a brutal history. But I’m not making a political film – it’s more like a personal diary.
мне часто кажется, что именно таким и должен быть кинематограф — где-то на грани между личным дневником и подслушанной историей, которую обязательно — и с этим ничего не сделать — обязательно надо показать всем другим:
The film is about a dying uncle, Boonmee. It’s also about a lovelorn princess and her encounter with an erotic catfish. Then it’s about a lost buffalo, monkey ghosts, a swarm of bees and their sweet honeycombs, dead communism, photography, immigrants of the land and of the soul, and of course, it’s about the possibility of past and future lives. With your eyes wide open it’s also a dream alchemy that fuses into the memory of a place where time and space fold into each other like the soft petals of an eccentric flower, or like proof of quantum physics, or – why not? – both.
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[1] — там.