- There is a quote in the opening about how we’re all wild animals and then the images of the soldiers smiling and posing over a kill
- background making shorts works here combining works
- 10 minutes in before the credits and song
- Medicine is one of Weerasethakul’s obsessions- we have a dog (of one of the protagonists) dying. There’s discussions about how one of the two lovers will “never die a natural death”
- It’s a slow-moving neo-realist like (and rather toothless) love story first half
- Pop music again 53 minutes in and we go into a full break back out into country and the entire jungle stalking sequence- about half way in
- Is this love? Jealously? A dream?
- Seas of green in the mise-en-scene. 20 minutes of stalking, lost in night landscapes but Weerasethakul hasn’t fully learned to frame like he would in 2006’s Syndromes and a Century
- Tribal drawings intercut with jungle stalking second half
- The monkey speaks to one of the characters about how the tiger is his “prey and companion”
- Won the Jury prize at Cannes- #251 all-time on TSPDT
- Sensory experience
- Duality is a motif for Weerasethakul for sure- two worlds, two halves- film breaks about half way through
- The musical cues are embellished and dissident—off—Godard in Contempt almost mocking conventional cinema
- Greens in the mise-en-scene — trees
- Western medicine- sterile- white
- You’re baffled 30 minutes in by the top 250 TSPDT status- again, I think it’s a ruse and a set-up for mystic naturalism finale like Blissfully Yours
- New credits half way in- tiger drawing
- Medication on repression- how we all hide
- Very much admire the formal construct and ingenuity but it’s tough viewing- excited for a future bluray release
- Final half is largely silent-
- Malick shot through trees up to the sun
- Dream/reincarnation/afterlife/ghost of cow
- HR
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