Cemetery of Splendour (Apichatpong Weerasethakul, 2015)
Japan has Kiyoshi Kurosawa and Shinya Tsukamoto. America has Julian Schnabel and Elias Merhige. France has Claire Denis. Australia has Jane Campion. Iran has Abbas Kiarostami. Norway has Tomas Alferdson. The UK has Peter Strickland. Czechoslovakia has Jan Svankmajer. Thailand has Apichatpong Weerasethakul. They are, arguably, the world’s ten greatest currently-working directors, and a new film from any of them is worth celebration. While most of the directors named above have in common that their films are often dreamlike (or nightmarish), Weerasethakul has always struck me as the one who works in the waking-dream vein most natively; everything about his films seems to be deeply connected straight back to the Brothers Lumiere and other fin de siecle avant-garde filmmakers. To experience a Weerasethakul film is to wander through a landscape that is at once entirely alien and constantly familiar.