In my opinion, "Syndromes and a Century" remains to this day what Weerasethakul has made more convincing, and it's the little say. This leads me even to seriously reassess the rising talent of the young Thai filmmaker, as the film may find its legitimate place among the most exciting films of the past 10 years. Despite the unexpected directions that always follows the story (there has been much commented on the film's central caesura), "Syndromes and a Century" is a film that exudes great clarity, it could be said of purity, in its unfolding drama. Some would say rightly that this is the film for mature Weerasethakul. I prefer the word serenity. "Syndromes and a Century" wise is a movie, listening to the meaning of the wisdom of Eastern philosophies, and not like a movie taking no risk. Quite the opposite, there are few films as surprising as that may bifurcate at any time according to what interests, the moment the camera. We can then also say that "Syndromes and a Century" is a free film, as it seems autonomy of the camera and narrative. The conventions have not ordinary course here: the idea of primary or secondary characters have no place, no narrative chronology, Weerasethakul designing the time did not as linear, but circular. Nothing is also used to maintain the illusion of reality any film: the first sequence, while the camera slowly venturing into a natural green space, leaving the characters discuss overs (again this sense of empowerment ), Weerasethakul finds it unnecessary to cut off the microphones of the actors who comment on the scene so they just turn ... Then in the middle, the story goes away from the beginning, but in reverse, as if the film is looking into a mirror: the field is cons-field and vice versa. Only the scenery has changed, we went a small field hospital, surrounded by nature, a large modern hospital. Then it is feared the trap of mere formal game (remonstrate things from a different angle), or Lynchian puzzle, but soon the story out again on a different basis, focusing on neglected figures in the first part (the comparisons with Lynch seem very unfair on this point, the poetry of Weerasethakul flies to smaller games deconstruction of American filmmaker). The end of the film by in complete abstraction Weerasethakul letting the camera wander into the basement of the hospital (a long shot of a mouth aeration takes on a poetic density unexpected). A much more accurate reference would be the final sequence of "Eclipse" by Antonioni. Obviously, after such a comparison, the critic can dispense with the conclusions ... [4 / 4]
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