In 2004, it was two years before Thaksin, who was of Chinese descent, was ousted by the army commander in a coup d’etat. I heard that Palme d’Or in 2010 had given a director in Asia “Uncle Boonmee Who Can Recall His Past Lives” and went to Abi. Chabang's films are also 7 years old. It is not clear what Thailand is like now and whether the political situation is stable, but Abi Chabang's films have left a big mark on their civilization in the world.
The four-minute piece of music sounded again at fifty-three minutes. The speeding locomotive, the soft and chaotic road night lights, and the man who had harvested love had a healthy and intoxicating smile on his face.
I was reminded of The Jesus and Mary Chain's score for "Lost in Translation", but it was too fine, the ambiguous vitality of the Thai song, the details that were not fully trimmed, made me feel like it came from the country and the jungle strength, not purely post-punk compared to a somewhat petty bourgeoisie. Just like the paragraph not long ago in the film, the old woman took out the phallus she believed in at home and boasted about its effectiveness, and in a blink of an eye, she took the young man to the store to check the mobile phone. This is not the same way to communicate and act with the world, although they seem to have been inseparable from each other.
Food stalls on the street, people running in the middle of the night, young people who gathered in Europe in groups of three or five to knock down young people on the ground, they even ran over in a chaotic step, followed the car and threw the sundries in an angry way, and then it was dazzling and freshly washed. Like a clean uniform.
When the music stops, the male protagonist on the bed seems to know nothing, and you come back to your senses. This is actually a very alienating film. TONG speaks very little, laughs at the crowd, and also faces flirting girls. He can only laugh shyly and teach others to shoot shooting games in Internet cafes, but he almost leaves the life of the crowd. Without a job, he will go on stage in semi-open-air restaurants at night to sing to everyone. This kindness is "shoes? What? It's easy to understand" and then scolded "I'm joking", it was such a kind of well-meaning distance that he couldn't remember the name of his friend.
"Same-sex" seems so calm and gentle here, like KENG resting on TONG's lap, and TONG's smile makes me feel that it is not suitable to use such a gimmicky label to describe a movie like "Tropical Disease".
I don't know if you will think of "Long Live Love", Cai Mingliang captured things more sharply, the coldness and alienation in his bones, which he handled better than Abi Chabang.
In "Tropical Diseases", what I see is not the disease of the times, but the appearance of strength, just like when the three people worship Buddha in the cave, the music of the simple electronic lighting sounds like it is Chinese, Zhang Shaohan's "Fable", I laughed.
Abi Chabang extols this power, the new ignorant power and masculine desires that make people into tigers after the superstition from the Thai jungle has been impacted by the commodity society.
This new impact is not what we expect from the movie.
But although I like it very much, I have to say that the content of Abi Chabang is the elements of violent imagination and original legends and superstitions in the tropical jungles of Asia. However, the film language he uses is all Westernized. , the rhythm of the narrative to the arrangement and cutting of the story structure.
Even including the choice of the subject word, in "Tropical Diseases" you will see people talking about the conflict between the soul and death of others, and the spirit and desire of one's own. The conflict between half-animal nature and soul and flesh is inherent in the West; and you must know that although the understanding of soul and death is very different between the East and the West, the Easterners are by no means talking about this difference in this way and density. Yes, unless you just want to present it so that a specific audience can recognize the intent of the image.
As for the legend of two people meeting a monk, it is a simple utilitarian heart, and the desire is hard to satisfy. It is very similar to some unpopular Buddhist secular admonition stories in China. However, as soon as we get to the core, what we see is the way of thinking that is all piled up by Western concepts, nouns, and patterns. We see two souls that are separated from their own bodies because of fatal desires, and two different bodies want to break this kind of thinking. Gap, constantly tempting each other, devouring each other, killing each other or becoming the same kind.
This is not a big problem in "Tropical Diseases", but when it comes to "Uncle Boonmee Who Can Recall His Past Lives", the somewhat artificial Eastern mysticism has already made me, an audience from "Eastern countries" as well. , I feel more or less uncomfortable with the usual pandering and flattering smells of films participating in Western film festivals.
I later learned that Abi Chabang had a master's degree in film from the Art Institute of Chicago.
When Tim Burton gave him the Palme d'Or in 2010, it was fulfilling his previous promise to award the award to a different film. But to what extent Uncle Boonmee Who Can Recall His Past Lives is different, perhaps in the same way that Tim Burton's own films are different from mainstream Hollywood films. At least in my opinion, there isn't much of an essential difference.
Anyway, I still strongly recommend this "Tropical Disease", one of Abi Chabang's best films, which won the Jury Prize at the 57th Cannes Film Festival in 2004.
In fact, you might look at it this way. Cannes owes Abi Chabang a Palme d'Or - that year, most of us remember Fahrenheit 911 defeating the King of Sunglasses in "2046" - and then in 2010, when the overall decline was gave him.
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