Di certo Last Life in the Universe (2003) rappresenta uno spartiacque nella filmografia di Ratanaruang. Prima di questo film le sue opere avevano un’impalcatura contenutistica più “leggera” che sconfinava spesso nella commedia pur mantenendo un convincente legame con tematiche più seriose (penso all’ottimo 6ixtynin9 , 1999), dopo Ruang rak noi nid mahasan invece, gli interessi di Pen-Ek si fanno più “adulti” virando nettamente verso uno spiritualismo di matrice tipicamente orientale. Dalle storie di mafiosetti e loschi traffici si passa ad una radiografia dei corpi umani, intima, interna, senza But leaving aside a taste of first-rate film ever. If with Invisible Waves (2006) said that the path of this film director had a remarkable internal consistency, Ploy (2007) reinforces this concept gave rise to a flow of art that might not be the levels of Tsai Ming-liang but who defends himself with honor.
Analyzing the synopsis, you can immediately see that the arrival in Thailand by the couple is due to the death of his grandfather. Death penekkiana always involves a shift, whether immigration or emigration is not important, what we see are the souls that leave (or are about to do so) and arrive, with eerie ghosts on his conscience. In the past the director had made the iconography of death in imprisoning tomb chests or tables, we are seeing here is not no murder, there are no bullets that explode and even blood running away, but Ploy is probably the most dramatic film Ratanaruang because it is within the limits, lying close to the reality of our time.
will not be represented, but not the end of a life, but something else came to an end there, and is nothing more than love. The couple lived there a report that immortalized limps, the two do not sleep together anymore and you see just because the man is overwhelmed by work, she also has most likely given up acting career to follow in America and what did it sink into alcoholism. Despite the icy technical author thai drama that slowly slips on the screen is a reworking of the elements as powerful as it is convincing.
The straw that breaks a vase overflow already poised peperino this in itself is named Ploy, girl that you do not know anything, but Pasolini and miikiana salsa moves in the moral and literally ripping off the fake patina emotional glue that holds permododidire two people who love each other more. Once separated, however, aware of how to be just is always worse than pretending to be together, he cries in the shower, she is raped by a stranger. The final reconciliation is more like a performance, an adaptation, an addiction, man says he loves her when she tells her little girl was quite pretty.
But parallel to the flow of the story there is a fragmentary passionate encounter between the maid of the hotel where the players stay the same and the bartender.
While we are seeing a relationship frayed the other two bodies are tied voraciously that maybe there will be love with a capital A, but at least attraction, warmth, zeal. This other couple is the antithesis of the protagonist, they are the ghosts of a feeling now lost, Ploy tell them dreamed, and it will remain an unattainable chimera.
Eyes Wide Shut miniaturized key thai, beautiful.
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