Synopsis Rak ti Khon Kaen is a movie starring Jenjira Pongpas, Banlop Lomnoi, and Jarinpattra Rueangram. The social rhythms seem utterly naturalistic, even when the main character, an old, recently handicapped hospital worker, is having a pleasant chat with ancient deities. The memory-filled space becomes a revelatory world for housewife and volunteer Jenjira, as she watches over Itt, a handsome soldier with no family visitors. It's very rich with its themes, though you have to go with the flow on its spirituality, belief in past lives and superstition, but those themes don't necessarily feel like they string together. History, for Weerasthakul, is the haunting of the present and future by past lives and past worlds, spectral- beings that traverse and are traversed by the present. I don't think I have ever seen a movie that didn't once seem to have any desire to invest me in its story.
The memory-filled space becomes a revelatory world for housewife and volunteer Jenjira, as she watches over Itt, a handsome soldier with no family visitors. But that doesn't make destruction, perhaps especially in its contemporary, mechanized form, any less terrifying. Magic, healing, romance and dreams are all part of Jen's tender path to a deeper awareness of herself and the world around her. There may be a connection between the soldiers' enigmatic syndrome and the mythic ancient site that lies beneath the clinic. And it didn't help that most of the dialogue throughout the movie was delivered with a lack of convicting and impact. Prolonged and slow pacing of an almost non-existing story. I am not exaggerating when I say that.
The pacing of the movie was unfathomably slow, as I stated earlier, and prolonged shots of people sleeping, rural landscapes with nothing happening, random people exercising in the park, and other such pointless things didn't really help to improve the movie in any way. Reviewed by Raven-1969 9 A young woman sings to her lover in public, ancient kings use the energy of sleeping soldiers to fight battles and figurine princesses come to life and discuss things like skin-tone and how much they appreciate offerings. There may be a connection between the soldiers' enigmatic syndrome and the mythic ancient site that lies beneath the clinic. Jen discovers Itt's cryptic notebook of strange writings and blueprint sketches. Such characters and scenes are not brought about through computer animation, elaborate costumes or thrilling action sequences, but mundane and leisurely compositions.
I'd go as far as to say that it doesn't really reach any heights of dramatic or narrative tension. Cemetery of Splendour is most definitely a slow burner. Jen discovers Itt's cryptic notebook of strange writings and blueprint sketches. He is, perhaps, the most sincerely and successfully magical-realist artist that cinema has known. Sure, I know that this is how it is done in certain parts of rural Thailand, but come on, this was a scene that was not necessary to show on the screen, and it served absolutely no purpose for the story. Magic, healing, romance and dreams are all part of Jen's tender path to a deeper awareness of herself and the world around her. Most of the shots in the movie would make for very nice-looking stills.
The memory-filled space becomes a revelatory world for housewife and volunteer Jenjira, as she watches over Itt, a handsome soldier with no family visitors. The film is shot beautifully. Jen befriends young medium Keng who uses her psychic powers to help loved ones communicate with the comatose men. And running at two hours, then your will to continue will be challenged to its limits. Doctors explore ways, including colored light therapy, to ease the mens' troubled dreams. But beneath the ebb and flow of life at the hospice, there are other spiritual forces at play; talk of an ancient cemetery, and the spirits of kings and goddesses.
Ostensibly his most personal film, Cemetery of Splendour seemed like a good start. I will say that the actors and actresses in the movie were doing good enough jobs with their roles and characters, despite being so hindered by a lack of thorough script and storyline. She balances humour with empathetic emotion with nuanced ease and anchors the film in her relateability despite her unique situation with her tumurous leg. Our lives, our worlds, can only exist atop the ruins and amid the ghosts of the past. As with early Peter Weir, Weerasthakul's natural landscapes are utterly, well, natural yet they seem to suggest a haunting, an otherworldly force that's face is the world, one which may or may not be benevolent. Virtually nothing of consequence happens to anybody the whole movie. Children play over the new ruins like spirits of the future levitating over a present fading into the past.
But Weerasethakul's first feature since 'Uncle Boonmee' will not be for everyone - it will either send you into deep spiritual contemplation, or send you to sleep. However, the movie holds on most of its shots long past necessary. The characters certainly don't act like it, and the whole experience comes off as disconnected and distant. The performances, despite the actors having extremely minimal demands from the script, were stiff and unconvincing. . The soldiers seem to be under the sway of a spell or perhaps dreams and thoughts of their own making. Magic, healing, romance and dreams are all part of Jen's tender path to a deeper awareness of herself and the world around her.
During Cemetery's last scenes I came to think this may be Weerasthakul's most fully realized work. A group of soldiers in a small town on the Mekong River in northern Thailand are struck with a bizarre sleeping illness. In a story in which dreams can be experienced by others, and in which goddesses can sit casually with mortals, a nurse learns the reason why the patients will never be cured, and forms a telepathic bond with one of them. The film is much more of an experiential, moody piece that lingers and floats like light sleep. Jen discovers Itt's cryptic notebook of strange writings and blueprint sketches.