The Garage Screen and MIEFF.
Early films by Apichatpong Weerasethakul
The 'Garage' Museum of Contemporary Art and the Moscow International Experimental Film Festival (MIEFF) present a mini-retrospective of the early films of Apichatpong Weerasethakul, the winner of the Palme d'Or prize, including his short films and his first full-length film "Mysterious Object at Noon"
Apichatpong Weerasethakul
Apichatpong Weerasethakul (born in 1970 in Bangkok) started creating experimental films and video installations while studying at the School of the Art Institute of Chicago, from which he graduated in 1997, receiving a master's degree in Fine Arts and Filmmaking. His first full-length film, "Mysterious Object at Noon," premiered at the Rotterdam Film Festival in 2000, and his second full-length film, "Blissfully Yours" won the top prize in the 'Un Certain Regard' program at the 55th Cannes Film Festival in 2002.
In 2010, Weerasethakul received the Cannes Festival's highest award – the Palme d'Or prize – for the film "Uncle Boonmee Who Can Recall His Past Lives". The film "Syndromes and a Century", shown at the 63rd Venice Film Festival, was the first Thai film to be included in the contest program of this festival. In 1999-2008, Apichatpong Weerasethakul co-organized the Bangkok Festival of Experimental Cinema. His films were also shown at numerous art exhibitions, including the 7th Istanbul Biennale (2001), the 10th and 11th Sharjah Biennale (UAE, 2011, 2013), dOCUMENTA (13) (Kassel, 2012), the 20th Sydney Biennale (2016), the 14th Lyon Biennale (2017), etc. In 2016, the Tate Gallery held a retrospective of the director's films, and in the autumn of 2017 will be open the "Apichatpong Weerasethakul and Kao Guimaranis" exhibition at the Amsterdam Film Museum EYE.
In 2010, Weerasethakul received the Cannes Festival's highest award – the Palme d'Or prize – for the film "Uncle Boonmee Who Can Recall His Past Lives". The film "Syndromes and a Century", shown at the 63rd Venice Film Festival, was the first Thai film to be included in the contest program of this festival. In 1999-2008, Apichatpong Weerasethakul co-organized the Bangkok Festival of Experimental Cinema. His films were also shown at numerous art exhibitions, including the 7th Istanbul Biennale (2001), the 10th and 11th Sharjah Biennale (UAE, 2011, 2013), dOCUMENTA (13) (Kassel, 2012), the 20th Sydney Biennale (2016), the 14th Lyon Biennale (2017), etc. In 2016, the Tate Gallery held a retrospective of the director's films, and in the autumn of 2017 will be open the "Apichatpong Weerasethakul and Kao Guimaranis" exhibition at the Amsterdam Film Museum EYE.
The Russian premier of the restored version of the experimental documentary "Mysterious Object at Noon".
Mysterious Object at Noon
Thailand | 2000 | 89 min
This film was shot without a script: the film crew, led by the director, went on an expedition from the north to the south of Thailand, offering residents of the villages a chance to continue and supplement a story of twin boys (in fact, the film is conceptually based upon the "exquisite corpse" game invented by surrealists). After returning to Bangkok, the crew re-filmed this story with non-professional actors. Weersethakul characterizes his work as follows: "I'm interested in the possibilities of involving both fact and fiction in one film, but I wasn't thinking much about revolutionizing the narrative method when I started making this film. In some ways, I think the movie turned out to be really rather old-fashioned."
The film was restored in 2013 with the support of the "World Cinema" project of the Cinema Foundation (USA) and the Museum of Cinema of Austria.
This film was shot without a script: the film crew, led by the director, went on an expedition from the north to the south of Thailand, offering residents of the villages a chance to continue and supplement a story of twin boys (in fact, the film is conceptually based upon the "exquisite corpse" game invented by surrealists). After returning to Bangkok, the crew re-filmed this story with non-professional actors. Weersethakul characterizes his work as follows: "I'm interested in the possibilities of involving both fact and fiction in one film, but I wasn't thinking much about revolutionizing the narrative method when I started making this film. In some ways, I think the movie turned out to be really rather old-fashioned."
The film was restored in 2013 with the support of the "World Cinema" project of the Cinema Foundation (USA) and the Museum of Cinema of Austria.
PROGRAMME 2017