It's flair for magic that the film by Apichatpong Weerasethakul has landed in second place in my ranking of the best films of 2010 . The fascination is immediate when, from the opening scene, the film captures miraculously with a sequence of gentle nocturnal pursuit in the jungle, involving a cow that broke free of his bonds and his master who joined to bring the beast resigned to her home. We do not know why but it is immediately shocked by what is unfolding before our eyes. At this point immediately following this first sequence loses slightly in intensity, because we actually stayed in the pre-generic has flown by and left us flabbergasted, not bewitched as we know definitely the reason for this spell. It must also be said that at one point the film would push almost dreamlike dream - and then sleep - a viewer lulled by the plurality of his stories and his narrative regimes on the one hand, which are however the luxuriance of work, and by its duration and slow pace on the other hand, what some call "contemplative style" and others call torpor. 
The filmmaker gives up so much space to the viewer that he is tempted to exploit this space imagination and thoughts and to indulge his own reveries to an incredibly rich film that, although d a slow pace, seems to pass without having time to remember. Yet the images are fixed. The film has not left me since I've seen the movies. He printed me and come back regularly all kinds of moments, like the unconscious for a spell. So I'm anxious to see him to find those moments subjugated and to better impregnate me yet.
Shortly before the end of the film, a sequence is as striking as the opening, when the characters move through the cave star: it's so easy on paper, yet it Wonderful movie. This miracle is necessarily mysterious. It is perhaps being born of an abiding belief in the power of cinema, a poetry of images and editing, the proliferation of combined influences that affect both the Thai folklore as ancestral beliefs of this amazing culture, but he does in any case a lot of freedom, coupled with audacity and virtuosity.
To frame the central block of the princess and catfish, dressed sequence, dreamlike, fabulaire, which hit their peak, the opening and closing of the film claiming the contrary a more realistic vein, or say more intimate, making the picnic to the reign of a current film speed and sensationalism. Initially, a minimal effect, the director slowly reveals a ghost at the table of his characters, the viewer as the protagonists themselves takes time to discern and whose discovery causes the same reaction at his back and disbelief. In the end, a monk who has just left his campaign to take a shower seen on TV by dressing as her friends watch lying on a bed. At the turn of a reverse-field and without any special effect - if that is the false connection is not one - the monk was split and now seen himself watching the same TV, her double suddenly being also present on the bed. Then the filmmaker has the gift he has to make their power and price to the things most agreed. The effect arises from an extremely simple transition and thus, for example, by upsetting the viewer through use of a false-trivial coupling, because Weerasethakul reminds us all modestly and openly as possible of an art whose most basic techniques are a resource for renewal and inexhaustible delight.
Uncle Boonmee (who remembers his past lives) by Apichatpong Weerasethakul with Thanapat Saisaymar, Jenjira Pongpas and Sakda Kaewbuadee (2010)
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