can not find consistency in this movie. At least not as narrative coherence is defined in the usual canons of film. Perhaps if you can find a coherent, underlying beneath the haze of a plot diffuse, diluted on an amalgam of symbols and metaphors willing to provoke a sensory or emotional suggestion dodge at all times any hint of rationality. film by Apichatpong Weerasethakul open play and not closing any roads, and that is what breaks the logic, which apparently dissolves consistency.
The film is, as the author has defined an exercise 'Open Cinema' , open cinema, without limits or boundaries of convention. The content evokes unexplained, and the viewer interprets and assimilates without inferring arguments. Here is what I regard as the essence of experimental cinema: Beyond the idea of \u200b\u200bfilm as an "experiment" in which the filmmaker explores and reinvents new artistic standards, the basis of the genre is the concept of a product that the viewer must prove , review and complete. In short, the public también debe "experimentar" la película, darle un sentido propio y construirla desde lo abstracto y emocional.
Y a partir de estas premisas, ¿vale todo?. No. Para que haya cine debe existir narración, de una u otra forma. La materia conceptual debe estar unida siempre a una historia. De lo contrario, estaríamos hablando de videoarte u otros formatos de creación audiovisual. La forma de darle la vuelta a esa gran regla de oro es, como en el caso de Uncle Boonmee recuerda sus vidas pasadas , una de las grandes motivaciones para este tipo de cine. A partir de aquí todo vale.
This is the game proposed Weerasethakul, an exercise that rides between the surreal and fantastic film in search of consciousness between the real and the mystical. The union between these two worlds is the illness of its protagonist Boonmee, which is on the verge of death sufir kidney problems. This is the necessary link that justifies the barrage of symbolic theater for 113 minutes. A mere pretext, a MacGuffin that contextualizes the content that can transcend beyond. Here the plot is generated and begins to build.
Its slow, its almost lyrical incoherence or tie in with an apotheosis excessive visual and conceptual goes in search of the sensible limit, wherever this border clashes with the reflexive. And at that point, the viewer's mind chewed and savored each frame. Here's where the "experience." Or maybe it's where it ends. No idea, because every person experiences in their own way.
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