Loong Boonmee raleuk chat

In order to appreciates the film, you have to understand that this movie is not just a normal film where you can expects classical narrative and plot. the directer not only have Buddhism as a philosophical point of view but he also put a little bit of Thai historical and political aspects in to the film.

In my opinion, the theme of this film is the man's struggle from human condition and transformation.

here are some few points I'd like to make concerning the film:

1. Man and Illusion

Before humankind, there was nature, which is pure and true. there are trees and wind and animals and so on. then there are man, which is basically another living specie. both animal and human have the same drive (sex, food, shelter etc.) the only different between man and animal is the ability to understand "sign" (read semiotic for more understanding) thus, human being created language, painting and symbol and so on. in other word, because our brain can perceived sign, so we can created ART. Art was created by man since the days of the cave man i.e. cave painting in Lascaux, France. (did you noticed that there are also cave paintings in the film?)

Man are proud that we are the only specie that can create and appreciate art, but what we didn't realized is that we are also the only specie that have the ability the created the illusion/lie/falsehood. Because of evolution, our unique brain can store memories and emotion, mix it up, and then created stuffs from it. because of this, the more time pass, the more we are far away from the truth; culture, law, politic, social status etc. are all MAN-MADE ILLUSION

2. Illusion of Dualism

It's seems like our perceived reality of "duality in nature" is embedded in our brain. we separated things into yin/yang mentality: day/night, good/bad, man/woman, live/death. one scene in particular shows how Boonmee kill the worms in his tamarind tree because "it's pest". then the next scene he show his sister the bee hive and seems very protective of it (he explain to his sister to avoid the larvae area on the plate). When he told his sister that his condition is the result of his karma from killing COMMUNIST and PEST, his sister replied "it's alright because you have good intention". When did killing other being can become good intention? Aren't communist human too? Aren't pests and bees are both insects?

3. The role of photography/Film, Memories, and Reality

Roland Barthes, in his book "Camera Lucinda", explained that a picture creates a falseness in the illusion of 'what is', where 'what was' would be a more accurate description. We can see a lot of scene involved photography; from the photos Boonmee shows to his dead wife as a proof of her funeral, the obsession of his son before he became a monkey, the final scene which Boonmee told the story about his dream etc. (this is an important scene, we will talk about it later)

4. In the playground, we created the rules, then we fought each other

In the film, we see peoples who of separated by this so-called man-made illusion, for example, different nationalities and spoken languages (Thai vs Laos), (Laos vs French) (Isan vs. Central Thai) etc. If you know little bit about Thai history, you will understand that the director also talk about the official vs the people / communism vs democracy(?).

in the final scene where Boonmee told the story about his dream, we see people wearing uniform. They are obviously appointed as "Soldier/Army". Then in the next photo we saw these soldiers captured the Monkeys Ghost. If you watch the film until this point, by now you should realized that the Monkey ghost is the allegory of the Communist.

then in the next photo, we saw that the soldier now taking their clothes off and play other kind of war game (throwing rock). The most funny thing is in the last photo, we saw 2 circles draw on the ground. In my opinion, the director suggest that countries, border dispute and war are nothing but a child's game.

5. Jāti: literally birth, but life is understood as starting at conception

the word "ชาติ" in Thai word derived from Sanskrit "Jāti", when translated to English it simply means "live". hence the name of the film "Uncle Boonmee who can recall his past lives" but in fact, the word Jati is the term in Buddhism which is not simply translate as "live" but have a lot more profound meaning.

By the way, I have the same feeling watching this film and Kubrick's 2001: Space Odyssey. Maybe because it also dealt with the theme of human condition and transformation, but this film is from the Eastern Philosophy point of view, of course.

When it comes to art films, there's always been a divide. More casual viewers are more likely to dismiss a lot of them as pretentious and stupid, film buffs are more likely to find them beautiful and above anything you'll spend ten to fifteen to watch in a multiplex today. "Uncle Boonmee Who Can Recall His Past Lives" is one of those films, however, that even divides film buffs amongst themselves. Despite winning Palme D'or, the film has many detractors, and a 6.6 on this site(as of this review). 6.6 isn't bad but far below what you would expect given some of the praise. So, what IS this film exactly?

The title character is a man who is slowly dying, living out with his family for his remaining days. Those days become consumed by flashbacks to past lives (though it's not always clear what that life is or how it relates), being visited by the ghost of his wife, and trying to plan for his after life. The film has a very loose structure. Many people find the pace unbearably slow, I think in part because the film doesn't really build up to anything. To call this film meditative would not be a hyperbole, it's a mellow kind of movie. After watching it, I felt different, like I had been given the world's greatest massage, my muscles loosened up and everything, it's not like anything I've gotten from a movie before. This is helped by the beautiful scenery and cinematography. This is a movie that, if you can't watch it on a big screen with loud speakers, should at least be watched in a dark room with headphones if watching on a laptop/desktop. There's little in way of soundtrack (except for one beautiful song later in the film), but the sounds of nature are beautifully captured.

The actual narrative is composed of many smaller stories, all of which connect with Boonmee. All of them work on their own level, and together do create a low key but very, very touching film. the scene where Boonmee talks to the spirit of his wife about the anxiety he used to have giving speeches may be the highlight there, though the princess story and the final flashback are also up there.

This is a film you have to watch on it's terms. You have to be willing to watch it as a more meditative kind of experience, to simply enjoy it the way one might enjoy a hike in the woods of a car ride. If that's not what you want out of a film, avoid this at all costs.

For me, personally, I was a little hesitant going in, given how divided opinion was, but I'm glad I did, and will certainly watch again. It's a powerful film. It won't necessarily leave you in tears, but it will likely leave an impression on those who gravitate towards things like this.

I just finished watching this movie for the second time. I saw it twice because I was torn between making the decision of whether it was absolute garbage, or a work of genius. It's pretty much garbage. Sorry.

Picture this: you download some pictures of Thai forests and caves from National Geographic. You then download "Forest Sounds Vol. 2". You play a slide-show of these pictures whilst listening to the ominous and atmospheric sounds of the jungle. After about 10 minutes, you stop what you're doing and sit in a corner for an hour and a half. Then, you go back to your slide-show and sound effects for another 10 minutes. This is the movie in a nutshell.

There are some beautiful shots within the movie, and it's obvious there was some talent because they make a point to keep these still shots on the screen for as long as possible. The background sounds add a lot to the movie as well, but everything else was just plain bad. All of the acting was quiet and monotonous, and it didn't make it seem more natural at all.

The dialogue was terrible. Nothing made sense. As much as I would love to be even more pretentious about movies than I already am, and rave about how people don't understand this movie, there actually is really nothing to understand. All of the characters were the same. Any subtleties within them are just projections of the viewer filling in the blanks, and believe me, they are blank.

The majority of the movie was filler.

Garbage.

I'll be frank. Whether or not you enjoy this movie will depend largely on whether or not you are a die hard film buff or a casual movie goer looking for a story. If you are the later, then aside from the eerie sight of the red eyed Monkey Spirits, you will come away disappointed.

That said, there is much in Uncle Boonmee to like, but like the Buddhist aesthetic the film is steeped in, you have to be ready for it. Because this is one film that demands a lot of patience of the viewer.

Set in rural Isan Province, Thailand, the story follows the last days of a well to-do farmer, the titular Boonmee, who is dying of a terminal illness. Like all dying men, Boonmee can't help but wax philosophic, both on the nature of death itself and on his own past mistakes, and one night while eating with his family is suddenly and abruptly joined by two spirits, the first of his dead wife, Huay, the second that of his missing son, Boonsong, who has inexplicably been transformed into a black monkey. Anyone even remotely familiar with the prior work of Director Weerasethakul (try saying that with a mouthful of marbles), particularly Tropical Malady, will know that such surrealism is a common theme in his films, with its signature mix of traditional Thai Buddhism and animist lore. As in Tropical Malady, the day belongs to the living and the mundane, but night brings on ghosts, animal spirits, the shades of ancestors, and the inner musings and anxieties of Weerasethakul's characters.

The film itself feels much like a Buddhist temple; with its long uninterrupted and unadorned shots, and its devotion to capturing trivial moments, it is not so much a vehicle for storytelling as contemplation. The last film to be shot with celluloid as opposed to digital, it is the director's self-admitted funerary ode to a dying medium.

In a spirit haunted primordial jungle a joyful man is quietly, harmlessly dying, though there is never less than a smile on his face.

The phases of his life play out before him. He is a farmer, a soldier, teller of myths, a husband, a father, an uncle. All these things quietly take their place in the narrative until the time when he must enter the underworld and pass on, guided by those who love him, both living and dead.

As Boonmee reflects on his life the arc of Thailand plays out as well. From contemplative agrarian past, through the time of fables, to the war with the communist and on into the disaffected, modernist future where we see ourselves seeing ourselves seeing ourselves.

All told with a minimal amount of fuss and effects, sewn together with threads of human intimacy, small gestures, a little sly humor and an over all meditative, knowing, measured rhythm.

There was another movie out last year that claimed it was about dreams... an American film. It made a lot of money but felt false and boisterous. Nothing about it felt like dreaming to me at all. This movie IS a dream. Everything about it feels like a dream. The difference between the two is the difference between spectacle and ritual. Uncle Boonmee is ritualized cinema in its purest form, ancient in its wisdom and avant-garde in its form.