One never senses judgment from Dano, Kazan, Gyllenhaal, or Mulligan—they recognize that there’s beauty even in the mistakes we make in life. It’s what makes…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with the writer/director of the Sundance hit "Sorry to Bother You."
The great playwright and screen actor leaves behind a legacy of introspective, fascinating work, much of it having to do with America's self-image.
An appreciation of the influential CBS series 25 years after it premiered.
Facing the jungle, the hills and vales, my past lives as an animal and other beings rise up before me. -- inscription at the head of "Uncle Boonmee Who Can Recall His Past Lives"
I am head-over-heels in love with "Uncle Boonmee."
Apichatpong "Joe" Weerasethakul's "Uncle Boonmee Who Can Recall His Past Lives" is the kind of movie that big screens (theatrical and HD) and Blu-ray were made for. I can't think of cinematic worlds more "immersive" (in current 3D parlance) than Apichatpong's last three features, "Tropical Malady" (2004), "Syndromes and a Century" (2006) and "Uncle Boonmee" (2010) -- all of which I have only recently encountered. (They're all on DVD, and "Uncle Boonmee" is now opening in U.S. theaters and is available on Region 2 Blu-ray.)¹
Talk about blissful: Apichatpong's pictures (say that five times real fast) are awake and alive to the joy of existence like few others I've seen. Sorry if that sounds too, you know, giddily "life-affirming," but I feel like Joe's movies sharpen and expand my senses while I'm watching them -- not unlike the peak experiences/memories I've had in the garden, or walking in the woods with my dogs, when I feel I'm living more intensely, soaking up more of the life within and around me. And in the case of these movies, there's the added thrill of Joe framing it all! What can I say? Apichatpong movies make me very happy. (They're really funny, too.)
Few other films or filmmakers have stirred this kind of awe-mixed-with-happiness in me. Seeing "2001: A Space Odyssey" at age 11 was the first time I can recall. (Joe's last three films have reminded me of various sections of that movie, in which you feel you're experiencing something both primally human and alien at the same time.) Wim Wenders' "Kings of the Road" also explores what I called, upon first seeing it in the late 1970s, "the strange familiarity of unfamiliar places" -- that feeling of entering a/the world that's both new and intimately recognizable, uncanny and ordinary. I get it from the Coens sometimes -- in "No Country for Old Men" and "A Serious Man," especially -- and Terrence Malick ("Days of Heaven," "The New World") taps into it occasionally, too. It has something to do with the light, the air, the shapes, the sounds, the extraordinary mythology of the everyday seen with new eyes (yours, through Joe's).
PARK CITY, Utah--The question from the audience was pretty direct: "Did you draw on experiences in your own life in this performance?"
PARK CITY, Utah -- "Girlfight," Karyn Kusama's story of a tough Brooklyn girl who wants to be a boxer, and "You Can Count on Me," Kenneth Lonergan's story of an orphaned brother and sister who uneasily get to know each other as adults, shared the grand jury prize for best dramatic film here Saturday at the Sundance Film Festival. In addition, Lonergan won the Waldo Salt screenwriting award, and Kusama was picked as best director.