At a small town hospital, Mr. Toa spends his morning trying to court Dr. Tei. He is painfully shy, but tries very hard to declare his love.
Venezia 63 in concorso
Syndromes and a Century
Scenografia Set Design
Costumi Costume Designer
Interpreti Main Cast
Kick the Machine
Distribuzione internazionale World Sales
Thailandia Francia Thailand France
35 mm, b/n b/w
History I: At a small town hospital, Mr. Toa spends his morning trying to court Dr. Tei. He is painfully shy, but tries very hard to declare his love. The woman doctor remains unreceptive; she is still questioning her heart about Noom, an orchid expert she recently met on a visit to Noom’s orchid farm.
At the same hospital, Ple, a dentist, develops an unexplained attraction to a young monk.
History II: At a downtown hospital, Mr. Toa spends his morning trying to court Dr. Tei. He is painfully shy, but tries very hard to declare his love. The woman doctor remains unreceptive.
At the same hospital, Dr. Nohng, an intern from a military, starts his first day of working. Dr. Tei, his supervisor, is nowhere to be seen. He visits his friend at a physical therapy ward where he is led underground. There, he has a drink with two elderly women doctors from the Red Cross. Dr. Nohng finishes his day with a meeting with Ms. Joy, his overly beautiful girlfriend.
When I was a child, I lived in hospital environments for twelve years. My parents were doctors who raised us kids in a house provided by the small-town hospital where they worked. My mother often brought me to her office, a dimly lit room overlooking a children’s ward. This room was my playground, my station to look at people. Nearby was a pond where patients and relatives fed the fish. From the room’s window, you could see people having lunch and sleeping in the corridor, out of the sun. In retrospect, everything seemed to move in slow motion.
Recently I went back to the hospital and found myself lost. Everything had changed and the familiar spaces were gone. As a film-maker, I have been fascinated by the spaces of a small town and its landscape. But I had never really looked at the place where my family lived. Now, with my hometown changing rapidly and becoming more like Bangkok, my memories of the lost spaces seem even more distant. With the waves of globalization affecting the way we live and how we make films, my desire to make a real personal recollection has become more intense.
Sang Sattawat (Syndromes and a Century) is a contribution to the New Crowned Hope festival, a project that will explore how we remember, how our sense of happiness can be triggered by seemingly insignificant things. It is an experiment in recreation of my parents’ lives before I was born, which also includes the lives of those who have touched me in the present day. It will be an interpretation of distant lives and of architectures that I remain fond of, along with contemporary ones that I have around me.
Born in 1970 in Bangkok, he grew up in Khon Kaen in north-eastern Thailand. He has a degree in Architecture from Khon Kaen University and a Master of Fine Arts in Filmmaking from The School of the Arts Institute of Chicago. Since he began making films and videos in the early 90s, he has become one of the few film-makers in Thailand who have worked outside the strict Thai studio system. He is also active in promoting experimental and independent films and is currently acting as producer on an experimental feature. He has earned growing international recognition through both his film-making and art projects. He has exhibited his art projects widely internationally, has made a large number of short films and four feature films. With three films of very original vision, Weerasethakul has become one of the major international young film-makers to watch and a key figure in the emerging Thai cinema. Tropical Malady, his last feature, won the jury prize in Cannes in 2004.
2000 Dokfa Nai Meuman / Mysterious Objects At Noon doc.; 2002 Sud Sanaeha / Blisfully Yours; 2003 Huajai Toranong / The Adventure Of Iron Pussy; 2004 Sud Pralad / Tropical Malady.
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