Cemetery of Splendor

no filmmaker is less beholden to the structures we impose on and assume of existence, broadening and liberating perceptions through effortless audiovisual suggestion. here, he cribs his own body of work as an extension of the cultural worldview; the line between 'past' and 'present' is dissolved along with the boundaries between his films; dinosaurs and skeletons watch from the margins; death is in the air. a gentle, compassionate sadness permeates, but equally the experience is therapeutic.

Kind of impossible to put it into words. There were moments where the actions (or lack thereof) on screen led me to think of things happening in my own life. It was like a form of meditation. Then Joe said in the Q&A (at TIFF) that this was his intention. That's the power of cinema. When it hits, it's a form of telepathic connection. This one burrowed inside and stirred something introspective inside me.

A poetic meditation on deep-rooted affliction, merging past, persent and future into a solemnly intimate symbiosis. Weerasethakul's cinema has the uncanny ability of sneaking up on you, deceptively mundane at first glance, yet strangely revelatory as each new layer is carefully peeled back. A fascinating film to ponder.

Cemetery of Splendor won't surprise anyone who has seen even one of Weerasethakul's films since Tropical Malady, and indeed, it feels like a synthesis of everything he's done since then (features anyway). Having enjoyed all of his films to varying degrees, I naturally enjoyed this, but it's not one of the best.

I don't know. Weerasethakul just seems to be daring you to be bored, and I have so far taken that dare. I don't mind a slower pace and don't need a bunch of explosions to hold my interest, but Weerasethakul really takes that to the extreme in the movies I've seen from him so far. There's a scene where a woman picks up a book, puts on glasses, and starts reading that takes over a minute, for instance. He's just not for me, I don't think. Some interesting/pretty lighting.

beautifully shot, hypnotic and sort of a meditation, but the pace is still way too slow.

This film contains a joke where a medium and the mother of a comatose soldier have an in depth conversation about what he wants for dinner down to how many chilies he wants and whether or not he wants ice in his coke. Actually, that might have been serious.

I don't generally mind slow movies, but it's hard not to fall asleep yourself watching this one. It could have been edited down to 45 minutes and told the same story at a slow pacing.

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Gorgeous, mystifying, humane

The scene near the end with the medium and the woman with unequal legs was very moving.

I believe that Weerasethakul is slowly becoming my favorite director, for his movies help me to consciously acknowledge how I process the act of watching and interpreting cinematic narrative, and the pluralism that can be achieved when linear sensibility yields to a more metonymic chain of displaced story-telling. Much has been said about both the political symbolism in this film and its surreal qualities, but the act of watching it is something else. It's haunting, queer, and breath-taking.

Mesmerising and relaxing, but too difficult to get a grasp on. I feel like I need to be on a different spiritual plane to fully engage with this one (or just half-asleep). At moments, it's an extraordinary film that differs from its contemporaries for good reasons, and may need a more solid rewatch from me.

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Beautiful imagery throughout (esp. the color tubes and the shot of the sky that's surprisingly invaded), and certainly covering similar thematic ground from his earlier work. I love his interaction with the spiritual realm, the way it weaves its way in and through the tangible world.

A political fable infused with Joe's usual mix of desire, dreams and fantasy. Gods talk with the volunteer and tell her why the sick soldiers keep sleeping. One of the nurses read minds and see people's past. And it all feels so natural as a walk in the park. There is dancing, great music, but I noticed that second half is pretty much more dialogue-driven than the first one -- an immense take on war and its deep relationship to death.

Very impressionistic, meandering and occasionally intriguing, but ultimately I found it too abstract to be of much interest. Weerasethakul strikes me as a director who is becoming mesmerised by his own images. It seems like he's focusing on aesthetically pleasing colours and shapes at the expense of almost everything else one can normally appreciate in a film.

Sorry to say, but i found more tedium than splendor here, to be honest. Maybe this style of Asian minimalism just doesn't do it for me anymore, but this felt like Weerasethakul on autopilot (to call it a "spiritual sequel" to Syndromes and a Century would be putting it kindly, i mean he even reuses the aerobics scene). It isn't terrible, and the traces of humor were appreciated, but it all feels so low-stakes and inconsequential, not to mention more visually drab than i would normally expect.

Western cinema, and in the same sense philosophy, put as most important question to human existence the (in)ability to escape, to have true understanding of the self and, supposedly, hence, be free to live an 'authentic life', etc.. Weerasethakul argues there is no self to escape from, and that systems of our being similarly inhere in others, as if narratives, fading in and out of existence depending whether the multiple people needed to give rise in it take part in it.

Undeniably gorgeous (a trait that his movies all share), but it's pretty demanding of the audience. Blissfully Yours was boring but this approached tedium, where it really stretched my limits as I waited for something to happen. He brought his A game right at the end but by then it was a little too late. With that said, the talent and filmmaking prowess that he possesses allowed this to be relatively entertaining, albeit incredibly slow. Still a little weird, still the Joe we know, but not great

Beautiful and hypnotic but sooooooooooooo sloooooooooow

Might be the easiest Joe film to digest, a subtle interrogation of Thailand's militarist history through modern and natural spaces with extended metaphors of sleeping & dreams, death & burials, and the past beneath your feet. Also, boners and poop.

Cemetery of Splendor spielt in der ländlichen Heimatstadt des Regisseurs (den Freunde einfach Joe nennen - was wir auch tun sollten, um uns nicht mit der Aussprache seines vollen Namens zu quälen). Dort wurde eine ehemalige Schule in ein Krankenhaus verwandelt. Eine Gruppe von Soldaten liegt nebeneinander in Betten, befallen von einer mysteriösen Schlaf-Krankheit... mehr auf cinegeek.de

My introduction into the world of Apichatpong Weerasethakul, and while it wasn't totally my thing, this is a film that really appreciates the the beauty and tragedy of the simple moments....

Filmekimi - Atlas Sineması.

I could not get into this film because i was sleeping. Let's agree it was boring movie but really boring.

I think that Jo gave up his late ultra-subjective boutique fantasy style and returned to his auteurish homeland, but with some influences of the former. This one seems like a mixture of "Syndromes", "Uncle Boonmee" and "Tropical Malady" with more psychedelia. Brilliant cinematigraphy and meditative visuals but I must admit that the second half was a bit boring as it got more and more personal and detached.