Uncle Bonmee Who Can Recall His Past Lives (2010)

I must confess I don't have much of a clue about what Uncle Boonmee Who Can Recall His Past Lives is about. Mortality, yes, but in what way? Apichatpong Weerasethakul's approach to storytelling is idiosyncratic to say the least. Linearity and the quotidian - or even the extra-ordinary! - is not his thing. He invites us into a story about ghosts and people and places. The ghosts never surprise anyone in the movie. They appear, and become a part of life. I've seen one other film by Weerasethakul, and I was thrilled - Uncle Boonmee made me even more convinced that this is a director with his very personal contribution to how to make a film. In fact, this film turned out to be a magnificently eerie and beautiful piece on how we live together. Depicting what is the center or the angle of the film immediately reveals how one understands it. Let's say we are introduced to Uncle Boonmee, a dying man. He lives in a rural area and members of the family along with a nurse take care of him. When these people gather for dinner, they are joined by other family members who appear from the shadows of the jungle. One of them is Boonmee's wife. Nothing of this is silly, or scary. (And don't expect it to be fluffy magical realism: here's a film that suddenly turns political, dealing with xenophobia and Thailand's bloody history.) The film shifts gears several times, and throw us into completely other forms of lives, but I sense Uncle Boonmee is always present in some form or other, as a catfish perhaps. The end of the film is a mix of Kim Ki-Duk and David Lynch - the thing is just that it keeps us close to what somehow still is everyday life. These are elusive scenes, and I am not able to talk about them here. The cinematography of Uncle Boonmee is breathtaking - if you are one of those who have problems with Terrence Malick, but think that there is some potentiality there, you should watch how Weerasethakul immerses the camera in the flows of nature. This director's film all reflect a mix of playfulness and tenderness I rarely see in other films.

Network (1976)

Sidney Lumet's Network is made like a dystopia about the world of TV but it does appear far from contemporary reality. The film explores how a TV network tries to fix their bad stats by letting a deranged TV anchor ramble in prime time. The audience love the guy's "honesty" and now everyone is watching.The point is obviously that the guy's rants (his first outburst came after he was told that he would be laid off in two weeks) are transformed into exploitation, he is a domesticated mascot who can say anything on TV as long as the ratings are good. Network is a parody about how mainstream media takes advantage of radical streams in society and thereby makes them less threatening (on the TV channel in the film, there is a docu-drama with a terrorist sect.) William Holden is impressive as the news division president - a jaded type who finally comes to realize that is precisely what he has become. OK, so Network may not be the most subtle work of art in the world, but as a reflection on the relation between business and what is seen as "acceptable" this is a quite good attempt to mock cynicism, populism and branding. But the film has many flaws as it also tries to delve into some of the characters' personal lives and as the story goes from interesting to far way over the top.