Mysterious Object at Noon

Has a Kiarostamian quality about it, without ever attaining the quality of work created by him. Possibly a critical allegory to how, over time, slight--and sometimes substantial--changes in every retelling of a traumatic history of Thailand left it unrecognizable, leaving only a new, inspriring, happy tale, but the supporting subtext would either be too bare or unimpacted, as are, to a lesser extent, other explorations pertaining for example to the blurring of fact, fiction, and truth.

Dips in and out of interest with its playful, imaginative storytelling and documentary mix, but always returns to form. Zhang Ke also did an interesting twist on this sort of fact/fiction narrative in 24 City while providing a more stable groundwork.

Like other Weerasethakul films, I'm not sure I can accurately explain why I liked it. In some ways it's more coherent and grounded than something like Boonmee, but it still features a similar playfulness when it comes to reality versus fiction and leaps of logic in the narrative.

Kind of a worse Kiarostami film, eh?

This had its moments but I struggled to stay interested.

Perhaps better as an experiment than a movie in its own right, but still with plenty of fun moments and a unique concept and tone.

I'm hoping Boonmee wasn't a fluke because this one was boring.

Huge surprise to find out that the creators of Adventure Time were actually a bunch of Thai school kids at the finale.

An amusing exquisite corpse which blurs the line between documentary and fiction.

how-to: press play. open window. look at phone. kiss a little. make noodles together. smoke a cigarette. what's going on? watch the end of film while your friend falls asleep. nice day

An unshakeable, unique work that mimics the surrealist "Exquisite Corpse" game, in which one participant continues the story told by the previous participant, with limited knowledge of what the story so far entails. Ultimately it amounts to a dense study of storytelling: the real lives, the imagined story, the telling of the story, and the making of the film. It all goes in directions that are unexpected but feel entirely organic, as if the whole thing was both being crafted and crafting itself.

Mysterious Object at Noon estreava há 20 anos no Festival de Vancouver. Primeiro longa de Apichatpong Weerasethakul, embora já tivesse dirigido diversos curtas pela década de 90, possui um conceito narrativo interessantíssimo, um jogo, um brincar com a linguagem cinematográfica tanto documental quanto ficcional que transborda qualquer tipo de classificação. BlurayRip no MakingOff.

Creates a magical tidal sensation of being tossed in and out of the story, sometimes drawn back by the precarious narrative tracks laid down on the spot. It explores creativity, love, and just whatever was the first thing on the mind of a few people.

06 Temmuz 2011 & bir cok film gercek ile kurmacanin cizgisi ile oynamaya calisti. apichatpong da bu amacla yola cikarak, ilginc bir kurgu ile filmini insaa etmis. deneysel tavini filmin geneline yayarak ortaya tayland kulturuna ozgu, cok ilginc bir film cikarmis. filmin bariz eklektik duran yapisinin bir sure sonra organik bir bag duygusu ile tamamlanacagini dusundum ama yanildim. o duygu bana gecmedi. bu nedenle filmin iyi bir deneme oldugunu dusunsem de sevemedim.

A picture of Thailand is painted by the story its inhabitants are encouraged to invent and continue, drawing from their experiences, dreams and imagination. The lack of structural consistency will lose some viewers (as the movie is an unique blend of documentary, fiction and behind the scenes footage collected through the filmmaker's travels), and I'm not sure Weerasethakul's aesthetics work as well in black-and-white, but this is still a fascinating, intriguing and revelatory work of art.

76 (Rated on April 29th, 2016) to 80

While Pasolini's film using a vaguely related device manages sociologically only to highlight somewhat trivial dynamics of region, age, etc., this is much more lyrical and rich, as the narrative coheres and decoheres until the children (amusingly) run it into the ground-- while the visible boom mic snaps you out of it, opposite the way the hynotherapy scene in MIRROR draws you in.