IncaWelCar In truth, any opportunity to see the film on the big screen is welcome.

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

Celia A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Vonia Uncle Boonmee Who Can Recall His Past Lives (Thai:Loong Boonmee raleuk chat) (2010) Afterlife visits A dying man in Thailand In his final days. His late wife, a missing son. Ever so casual, The two materialize At dinner's table. Mystifying glowing red eyes, Floating see-through shapes Inexplicably troubling. Reincarnation, He has lived many past lives. Once he was an ox, A catfish in a cave has Sex with a princess. Philosophical musings, Cultural concepts, Spiritual reflections, Communist concerns, Metaphysical ideas, Cosmological. Buddhism, Dualism, Eroticism, Illusions and memories, Confused? So was I. Excruciatingly slow, The beautiful shots, Intellectual ponderings, Few and far between. I like knowing characters. Abstract and distant, I could not connect nor care. I tried, really tried, Uncle who I won't recall. A dream? More like a nightmare. (Choka (長歌 long poem)) was a storytelling form of poetry from the 1st to the 13th century, known as the Waka period. The choka is an unrhymed poem with the 5-7-5-7-5-7-5-7...7 syllable format (any odd number line length with alternating five and seven syllable lines that ends with an extra seven syllable line).

Takeshi-K This film won the 2010 Cannes Palme d'Or (best film award). Its incredible cinematography and excellent use of color combine to create an eerily beautiful atmosphere that is supremely transformative, but in terms of storytelling won't suit the palate of mainstream tastes.Director Apichatpong Weerasethakul has a wonderful eye for human tragedy and a brilliant way of weaving Thai spirituality throughout the mundanity and at times absurdity of every day life. This film focuses on Uncle Boonmee. While he is dying he is beset by the ghosts of dead relatives; A terminally familiar Thai plot. With the scary appearance of Boonmee's dead son in the form of a red-eyed monkey spirit, its a movie that explores the scattered connection between the living and the dead, and the emotional resonance that bolsters it.Given only days to live, he demands that he be allowed to die at home where he becomes saturated by images of his past lives and their respective humor, tragedy and totality. If you liked this, I suggest you also like watching Tropical Malady another great film from my native country Thailand.

garcalej I'll be frank. Whether or not you enjoy this movie will depend largely on whether or not you are a die hard film buff or a casual movie goer looking for a story. If you are the later, then aside from the eerie sight of the red eyed Monkey Spirits, you will come away disappointed.That said, there is much in Uncle Boonmee to like, but like the Buddhist aesthetic the film is steeped in, you have to be ready for it. Because this is one film that demands a lot of patience of the viewer.Set in rural Isan Province, Thailand, the story follows the last days of a well to-do farmer, the titular Boonmee, who is dying of a terminal illness. Like all dying men, Boonmee can't help but wax philosophic, both on the nature of death itself and on his own past mistakes, and one night while eating with his family is suddenly and abruptly joined by two spirits, the first of his dead wife, Huay, the second that of his missing son, Boonsong, who has inexplicably been transformed into a black monkey. Anyone even remotely familiar with the prior work of Director Weerasethakul (try saying that with a mouthful of marbles), particularly Tropical Malady, will know that such surrealism is a common theme in his films, with its signature mix of traditional Thai Buddhism and animist lore. As in Tropical Malady, the day belongs to the living and the mundane, but night brings on ghosts, animal spirits, the shades of ancestors, and the inner musings and anxieties of Weerasethakul's characters.The film itself feels much like a Buddhist temple; with its long uninterrupted and unadorned shots, and its devotion to capturing trivial moments, it is not so much a vehicle for storytelling as contemplation. The last film to be shot with celluloid as opposed to digital, it is the director's self-admitted funerary ode to a dying medium.

Red_Identity I really do wish I could like this. As it is, I think it has some dazzling sequences, and some really atmospheric and hypnotizing scenes. For the most part though, it didn't amount to much for me, and that's because I was just really bored by a lot of it. This really just comes down to whether one is hypnotized or bored by it, and unfortunately for me it was the latter. That doesn't mean that it's an awful film, it has way too much originality in what I saw to label it as such (and whether it has anything to really say is anyone's guess). Still, I wouldn't recommend this to most people, simply because it's so hard to get into. Not recommended.