Tailandés | Subs: Castellano/EN/PT/IT/FR (muxed)
114 min | x264 712x570 ~> 1013x570 | 2900 kb/s | 256 kb/s AC3 6 c. | 25 fps
1,97 GB
Tropical Malady
La historia de un floreciente
romance entre un soldado y un chico de campo, cruzada con una leyenda
popular tailandesa sobre un chamán con habilidades para cambiar de
forma.
Proveniente del campo del cine y el video experimental, Apichatpong Weerasethakul logra en Tropical Malady un film de una originalidad
absoluta, que parte del realismo más puro y duro para convertirse de
pronto en una extraña fábula, tan bella como inquietante.
Los personajes son apenas dos, un soldado y su joven amigo campesino.
En la ciudad, comparten los momentos libres de la manera más casual
–una partida de billar, una función de cine, una sesión de karaoke, un
partido de fútbol, la visita a un templo budista–, pero cuando vuelven a
la jungla el muchacho campesino desaparece, sin dejar rastros. La gente
del lugar habla de un monstruo elusivo, que acecha en la espesura, y el
soldado sale en su búsqueda, para encontrarse finalmente con un
hombre–tigre, fantasma surgido de un bestiario, que refleja los rasgos
de su compañero. Es sencillamente notable lo que consigue Weerasethakul
con los recursos más simples del cine: la luz, el sonido, el
tiempo. La naturaleza parece hablar a través de su film, que sugiere un
mundo interior de una riqueza y un misterio insondables. --
Texto tomado de un artículo de Luciano MonteagudoThe story of a blossoming romance between a soldier and a country boy,
crossed with a Thai folk legend about a shaman with shapeshifting
abilities.
Love is the drug, a game for two and, in the otherworldly new Thai film
''Tropical Malady,'' unabashedly strange. A fractured love story about
the mystery and impossibility of desire, the film was directed by
Apichatpong Weerasethakul, whose earlier feature ''Blissfully Yours''
opened recently in New York. Perched between two worlds, two
consciousnesses and two radically different storytelling traditions,
this new feature, which will be screened today as part of the New York
Film Festival, shows a young filmmaker pushing at the limits of
cinematic narrative with grace and a certain amount of puckish
willfulness.
Set in contemporary Thailand, ''Tropical Malady'' opens with soldiers
taking photographs of one another in a field. Shot in the loose,
hand-held style of much contemporary documentary, the scene seems
perfectly ordinary until you realize that there's a dead body on the
ground and the soldiers are actually snapping trophy shots. The full
import of this tableau doesn't become clear until much later when Mr.
Weerasethakul returns us to a similar looking field (it may be the same
one) as if to the scene of a crime. By then, the story's two principal
characters, the shy country boy Tong (Sakda Kaewbuadee) and a beautiful
soldier named Keng (Banlop Lamnoi), will have been stricken by the
tropical malady of the film's title and fallen in love.
In May when ''Tropical Malady'' had its premiere at the Cannes
International Film Festival the critical consensus was that the movie
was difficult to the point of inscrutability. But the story is,
notwithstanding a surprising rupture midway through, nothing if not
simple. Most of the first half of the film involves the tentative
blossoming of Tong and Keng's romance. In street scenes and country
interludes, again shot in the intimate style of hand-held documentary,
the men giggle and flirt, share confidences, meals, music (the Clash)
and adventures. As the days slip by imperceptibly, they take Tong's dog
to a veterinarian's office, play games in the dark and descend into an
underground temple where a small Buddhist icon sits draped in twinkling
lights, a tinny recording chirping out Christmas music. Love blooms,
however chastely.
Mr. Weerasethakul, who lives in Thailand and studied painting at the Art
Institute of Chicago, has an appreciation of the more humorous
dislocations of globalization, like a thoroughly modern aerobics class
in the middle of a dusty town. ''Tropical Malady'' is filled with such
minor disruptions (including a woman who talks about ghosts in one
breath and ''Who Wants to Be a Millionaire'' in the next), but the
biggest disruption takes place when the storytelling shifts from realism
to allegory.
Set in the deepest, darkest heart of the jungle, this part of the film
finds Keng tracking a ghostly figure who periodically assumes the shape
of a tiger. That the figure should turn out to be the soldier's elusive
lover, the object of his desire, should come as no surprise. Frankly, I
was more taken aback by the talking baboon.
Manohla Dargis (The New York Times)
DVD rip y capturas de LittleAfterAll
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