Apichatpong Weerasethakul
-
Exclusive Trailer: Film at Lincoln Center’s “The World of Apichatpong Weerasethakul” Series
Filmmaker is pleased to premiere the trailer for Film at Lincoln Center’s “The World of Apichatpong Weerasethakul” series, a complete retrospective of the Thai filmmaker’s career so far. The series will run from May 4-14 in New York City and feature seven feature films, four short film programs and Weerasethakul in attendance for select screenings. The filmmaker also programmed several films to screen alongside his own, including Chantal Ackerman’s La Captive, Russ Meyer’s Faster, Pussycat! Kill! Kill!, Hou Hsiao-hsien’s The Puppetmaster, Guy Maddin’s Careful, Abbas Kiarostami’s Homework and Frederick Wiseman’s Primate (presented in 16mm), among others. Several of the filmmaker’s […]
by Natalia Keogan on May 2, 2023 -
Memoria Officially Begins U.S. Never-Ending Tour April 1
After a week in which there was some social media sniping over NEON’s seemingly stalled “never-ending tour” of Apichatpong Weerasethakul’s Memoria, my personal #1 movie of 2022, the distributor has announced that distribution is not stalled at all. The previously announced tour, in which the film will travel from city to city, formally begins with New York’s IFC Center on April 1 and L.A.’s NuArt on April 8. Multiple cities now open each week, and the website includes dates stretching through October. From the press release: Director, Apichatpong Weerasethakul remarked on the plan, “For Memoria, cinema experience is crucial or maybe the […]
by Scott Macaulay on Mar 10, 2022 -
Echoes
What is a sound if only you can hear it? And if you heard such a sound, would you think it came from outside, somehow bypassing everyone else as it enters your brain? Or would you think it emanated from within, never escaping your own field of perception and thus becoming your own private mystery—or, as Memoria director Apichatpong Weerasethakul writes, your own “sonic companion?” The Cannes-premiering Memoria, starring Tilda Swinton and now in release from NEON, originated from the director’s musings about his own auditory disturbances, a series of enormous bangs that erupted in his sleep and would put […]
by Scott Macaulay on Jan 18, 2022 -
Memoria, on the Collapse of Cinema (a Book Review)
Memoria Giovanni Marchini Camia and Annabel Brady-Brown, editors Fireflies Press, 2021 The book begins with the word “memoria” handwritten in gold on the blue cloth cover. The word appears again on the book’s first page, alone, black type on the white page, suggesting with its flourish of vowels a portmanteau of memory, history and cinema and calling to us from another language. “Memoria” is also the second word on the second page, just before the type slips into description: of glimmers, a window, boats, darkness, the cinema. There is a bang, a snap, and the snap of a picture, and […]
by Holly Willis on Sep 8, 2021 -
Cannes Film Festival 2021 Critic’s Notebook 5: Apichatpong Weerasethakul
Information, context and mystery have been on my mind quite a bit since seeing the two new films that Thai filmmaker Apichatpong Weerasethakul brought to this year’s Cannes: his feature-length, Tilda Swinton-starring, Colombia-set Memoria, and the 13-minute “Night Colonies,” the segment that concludes The Year of the Everlasting Storm omnibus project, which collects seven short films about creativity in the time of COVID-19 from global arthouse heavyweights such as Jafar Panahi, Dominga Sotomayor and David Lowery. This is partly because Weerasethakul’s new films, like the rest of his cinema, negotiate the divide between our sensory and cognitive functions better than […]
by Blake Williams on Jul 18, 2021 -
TIFF 2018 Critic’s Notebook 8: In My Room, Wavelengths
Here’s what I did not expect to see last Monday: Béla Tarr, hunched by a door before the fourth and final screening of the experimental Wavelengths shorts programs so crucial to my annual TIFF experience. I’d missed a trick–news that he’d be with us had been tweeted out that morning, but I’m glad I didn’t know. Dropping in one of the crucial film figures of the last 30 years was a shock to the system; the red-carpet clutter unavoidably inseparable from nearly any festival faded away, and for a few minutes there was just Tarr, as stringent as expected, talking about the young […]
by Vadim Rizov on Sep 19, 2018 -
Dreams of Cinema with Apichatpong Weerasethakul at Qumra
An initiative of the Doha Film Institute, Qumra is a focused event that connects Qatari and international directors who are receiving different stages of DFI-funded support with industry delegates from across the spectrum of the film world as well as a handful of heavy-hitting “Masters” in a mentor-like capacity who meet with emerging talents and engage in public conversations. Far more than a masterclass, attendees at Qumra were treated to a personal journey through history, life and cinema with Thai filmmaker Apichatpong Weerasethakul. It opened in a standard format with Richard Peña moderating, but then Joe went solo and pulled […]
by Adam Cook on Mar 19, 2018 -
TIFF 2015 Critic’s Notebook #5: An Old Dog’s Diary, Cemetery of Splendour and Chevalier
Ghostly echoes fill An Old Dog’s Diary (2015), a highlight of the Wavelengths experimental short programs at the 2015 Toronto International Film Festival. This impressionistic, documentary portrait takes as its subject F. N. Souza (1924-2002), a man anointed by The Guardian “India’s most important and most famous modern artist.” Made by Shumona Goel and Shai Heredia, each an accomplished artist in her own right (Heredia is also the founder of Experimenta, a leading Indian experimental film society), the evocative 11-minute film takes a sidelong approach to cinematic portraiture. Textural glimpses of Goa, Souza’s birthplace, are casually depicted on black-and-white Super 8 and 16mm film: the shimmer of the water in a verdant bayou; […]
by Livia Bloom Ingram on Sep 29, 2015 -
Festen: The New York Film Festival 2015
For the first time in recent memory, it’s extremely difficult to select the top of the crop at this 53rd edition of the New York Film Festival (September 26-October 11), a question of too many contenders. I am not taking into consideration the tentpole films that anchor the festival, or any big studio movies, like Spielberg’s Bridge of Spies. That’s another kettle of fish. Down below I list what I consider the crème de la crème (appropriate phrase, considering the usual Gallic slant) and review those titles briefly. Since they will all have commercial runs, I’ll be reviewing at length […]
by Howard Feinstein on Sep 25, 2015 -
Two New Apichatpong Weerasethakul Gallery Shows, Plus a New Journal About His Work
Though it’s no secret that Uncle Boonmee Who Can Recall His Past Lives director Apichatpong Weerasethakul is probably even more prolific as a gallery artist than as a director, coverage of his non-film work often gets short shrift. Reviews of two recent exhibitions shed light on the latest developments in this arena of his work. From London, Marco Bohr reports on “Double Visions,” a recently closed exhibit held at the Anthony Reynolds Gallery. Bohr is skeptical of the success of this exhibition, which includes Dilbar, a ten-minute video of a Bangladeshi migrant worker in the UAE, and Teem, three mobile […]
by Vadim Rizov on Jun 4, 2014
