Apichatpong Weerasethakul is a unique filmmaker with only a few films under his belt, but each of them garnering widespread acclaim, probably most notably with 2010s Uncle Boonmee Who Can Recall His Past Lives, for which he won the Palme d’Or at the Cannes Film Festival. Memoria is the first film he has made outside of his native Thailand, and the first time he has worked with an international cast. While the film is beautifully shot and singular in its vision, it’s also overlong, incredibly indulgent, and will reach into your soul and pull out… something.
A story about a girl and her giant pig friend from the director of Snowpiercer. Where do I sign?
Speaking of Snowpiercer and Netflix, the latest from the director of Snowpiercer is headed to Netflix.
I haven’t had a lot of time this weekend but here are some quick thoughts on two movies you can see this week. There’ll be more detailed analysis in the next episode of the podcast.
Chris Evans leads a revolution on the train holding the last of humanity on a world ruined by a new ice age. Yup, I’m on board (SEE WHAT I DID THERE?)
Wes Anderson is a film maker with a distinct voice. He tells stories with emotional cores and often tells them using characters that don’t always seen to want to, or even know how to, express those emotions and sets them in a world that is just over the border into absurdity and littered with all kinds of fine detail, interesting colour palettes, and now stop motion.
Basically he crafts a whimsical world and then populates it with non-whimsical people.
In any event, The Grand Budapest Hotel may be his best film yet by virtue of the fact that it’s probably the most Wes-Anderson-y film he’s made to date, but in the best way possible.
Wes Anderson makes a certain flavour of film. I like to call it “Wes Andersony” because he’s the only guy that makes that particular flavour. The Grand Budapest Hotel appears to be the most Wes Andersony film yet. Let’s watch!