Blissfully Yours

An earlier film by Apichatpong Weerasethakul. To pause for a second, it is amazing how relatively easy it is these days to watch cinema from all over the world. That alone constitutes something akin to bliss for me at least.

I would say seek out other films by Weerasethakul first, and then proceed to this one if you wish. There is an enchanted Thai forest here as well as in "Uncle Boonme." His admiration (not quite the right word) for middle-age women seems to be frequent, here it is juxtaposed with an almost Romeo and Juliet, or Adam and Eve, love story. Roong seems so young, and Min is clearly a visitor in her heart, and her country.

There is some sentiment for the director on the "illegal alien" (always a bit strange phrase), Min is minimally communicative in the scenes with the two dominating women, is given voice-over monologues and over-layed sketchings.

Min's skin is featured in the film, don't let it trouble you. But it seems his skin is rejecting Thailand. I guess if this film says anything it's that bliss is fleeting if not even misunderstood. The lovers try to find a place remove from the Orn-ery every day grind, a place between two countries, a sweet safe place off the map.

However, every picnic has ants waiting for it.

The hype surrounding Apichatpong seems to me unwarranted. I am reminded of Roger Ebert's comments on Abbas Kiarostami and being utterly unconvinced of the value of his films.

First, there is no story. As soon as a story might be emerging, "Joe" (as he likes to be called these days) moves to something utterly unrelated. He has said that he conceives of nature as an opportunity for the characters to do some self-reflection. This sounds good, but there are no characters to speak of, and except for Orn, no acting whatsoever. No information is given about what they might be reflecting about, and story elements are allowed to vanish (like the distant gunshot).

The slowness itself didn't bother me, but the much-heralded Apichatpong can learn something from Tony Bui, whose first feature film "Three Seasons" is FAR better at the languid development than this. Or look at any of Ousman Sembene's films for the skillful use of dreadfully unskillful non-actors. There is just no excuse, in my mind, for such a self-important and ultimately inept use of non-actors.

User federovsky's comments are to me particularly perceptive. I give it 3; at least he is giving this some thought.

Blissfully Yours as the film is being called in the U.S. is not a perfect film. That said, my initial reaction fades as I re-examine the film in my mind's eye. It has an ethereal quality, especially the second two-thirds of the film (after the credits finally roll). The film plays with the whole idea of what is film. When does a film begin?

Initially you feel as if you have just walked in on the personal lives of the characters. You are quietly viewing their life, or maybe you're just along for the ride. This is especially driven home while in the car with two of the main characters, Roong and Min, as they drive around. At times you are viewing them from the outside, at others inside the car watching them, and at still others, just looking behind at where they have come from. In a way it is in these sequences that the director gives you clues about how to view the overall film. The first third, prior to the credits, is showing you as a viewer where these three characters come from.

Once the credits roll we only see one other person (ok, we do see the back of another person on a scooter) besides the three main characters. At this point it becomes their film. Their afternoon in the sun. In the jungle, away from all of life's troubles, it is a moment of bliss. It allows Min to forget for a moment his skin problem, and his life left behind in Burma. It allows Roong to forget for a moment her regimented life as a factory girl, laboriously painting the same mass produced items, over, and over again. And it allows Orn the opportunity to finally let go and relax; to come to terms with her own past; wherein, she may have had a child that drowned, and has been unable to forgive herself.

The film is deliberately slow paced, and yet I never once felt bored, or disinterested in what I was watching. It is not filled with action, but with feeling. It is a film about release. The letting go of our worldly cares for a blissful moment in the sun. I recommend you take a lazy afternoon and see Blissfully Yours. Let it help you escape into the jungle of your own mind.

This is a film-school level concept with film-school level execution. Some of the scenes are so long and static I half expected a screensaver would kick in. Some people in this website have been trying to make sense of some of the scenes in this film, but I think those conclusions are illusory or wishful thinking, as is much modern art criticism. The real fact is, the film is objectively very poor.

Yes, this is certainly an art film, that is, it's meant to make us think about life rather than simply to entertain. The problem is, it is way too self-consciously an art film, the story is drearily paced (as if trying to be the most artsy film ever made by dint of its sheer slowness) and the execution is quite undistinguished (as if to say it is so artsy that it doesn't even have to try). Nothing is revealed by the film, no deep or hidden meanings - possibly no meaning at all except to show a few odd people having a rather odd sort of afternoon in the forest. Happy for some, sad for others. Nothing to make us think, except try to figure out what was the point of it all. OK it's art, but let's be straight about this: it's extremely poor art.

All of the characters are unendearing, and as we must assume that the director is not trying to disengage us from the movie completely, it must only be because the most basic elements of film-making are being eschewed (this may be done consciously, but for the most part I fear not). The acting is wooden (witness - oh deary me - the factory manager, who may well be a real factory manager, but who has obviously never been in front of a camera in his life), the dialogue is mumbled, and almost every scene is amazingly dislikeable. There is a voice-over at times from the Burmese character that adds nothing but confusion as to who (or what), the film is about. I felt nothing at all for the characters, but very sorry at times for the actors.

The whole thing finally grinds to a virtual standstill in horribly overlong scenes towards the end in which the characters emotions are summed up. The intention here seems to be to impress the images upon us by burning them physically onto our retinas, but basically, artlessness does not make good art, and these scenes just unimpress and leave us cold, as does the whole thing. I live in Thailand and watched this film with my Thai girlfriend and she can confirm that the movie did not provide any insights into the Thai character or Thai way of life. It is just a stick thrown into the air.

This cannot be what the director intended. No offense to him for having a go, but we can all do just as well with a camcorder and a few friends. The real laughing stocks are the film festival organisers who, like the modern art collectors who pay a fortune for bits of trash, were duped into thinking that this, being a slow film from an exotic country, was absolutely just the thing for us to sit and ponder over at their film festival.

Please do not feel sorry for anyone associated with trying to make something beautiful. A film does not need to have a beginning or an ending, or an elaborate story, it can simply contain moments in time, it can be a visual sensation, this art form, like all, needs not be strictly defined. If you found Blissfully Yours boring, fair game. But this magnificent film put a smile on my face for much of the second half, because I felt what it meant for me to feel, this film is 1000% feeling, so it's great for those who can feel. When we step into nature we can truly suspend time. "Roong, what time is it?", "Wait, I'm still having fun."