“In a calmly realist, non-mystic movie language, Weerasethakul” — a.k.a. Joe Weisenheimer — “really can convince you that the living and the dead, the past and the present, the terrestrial and the other, do exist side by side.
“All admirers of this director, with his enigmatic realist-mystic masterpieces such as Tropical Malady and Uncle Boonmee Who Can Recall His Past Lives will know broadly what to expect. But he is still capable of astonishing you, all over again. I’m not being facetious when I say that watching this film reminded me of when I was 17, hearing ‘Revolution 9’ on The White Album for the first time. It left a residue of happiness in my heart.”
A few years ago I wrote that spelling and pronouncing the name of the celebrated Thailand director (Mekong Hotel, Cemetery of Splendor) has always been a challenge for me. His Wiki bio says that “cinephiles affectionately refer to him as ‘Joe’ Weerasethakul — a nickname that he, like many with similarly long Thai names, has adopted out of convenience.”
The last name, of course, is much more difficult to handle than the first. In my mind he’s always been Apichatpong J. Weisenheimer or, more simply, “Joe Weisenheimer.”
The film is basically about hearing or at least believing that you’re hearing (or vaguely sensing) sound vibrations that may be connected to something more meaningful than mere ound vibrations. I know all about that.
Friendo: “I heard it was a total joke. Unwatchable, except for the minimalist crowd. I would NEVER sit thru another of this guy’s movies ever again.”
From Todd McCarthy’s Deadline review: