Standing up for
cinema

>>Celebrated filmmaker Apichatpong Weerasethakul on censorship, chaos
and his native Thailand

ART FOR ALL: Syndromes and a Century

by MARK SLUTSKY

Syndromes and a Century is that rare type of art film you can imagine just about anybody enjoying. The film starts in the Thai countryside, at a medical clinic, and then halfway through, suddenly restarts in the city with some of the same characters and situations, before transforming into a subtle and strange series of abstract images.

But that cursory description doesn’t do this gorgeous and funny film justice. It’s a movie that seems to create its own rules as it goes along: gentle, funny and entirely winning, and, according to director Apichatpong Weerasethakul, a tribute to his parents, both doctors.

Which is why it was strange when the film was effectively banned in Weerasethakul’s native Thailand. The country’s board of censors demanded that four scenes—which apparently portrayed doctors and monks in a disrespectful light—be cut from the film, and Weerasethakul refused, which meant that the film could not legally be shown.

Luckily for us, at least, you can now see Syndromes on the big screen here in Montreal. Though the film is not seeing a commercial release, the Cinémathèque québécoise is presenting a series of the director’s works this month, which is a rare and valuable opportunity that you should jump on, especially as Weerasethakul’s short works, which you can rarely see anywhere else, will be part of the program.

Speaking to the Mirror via e-mail, the director reflects on the nature of the Syndromes controversy: “I submitted this film to the police independently. Normally, all Thai films are made by studios, and my previous films were also presented by studios. So I think it has to do with this ‘no connection’ issue.

“Thailand might look peaceful to outsiders, however it is a very closed country where there are certain rules. It is an ultra-conservative country on the surface. You cannot present doctors or monks doing something out of the code of conduct. But at the same time we have, like in other places, monks and doctors who are murderers. When I was presented at the censorship board, they asked me ‘Why don’t you do something good for the country?’ I think you get the picture.”

BANNED IN HIS NATIVE LAND: Weerasethakul

Film andfreedom

He seems in no way embittered by the experience, though—even though he acknowledges it may be harder to make films in Thailand in the future. “It will in a positive way,” Weerasethakul says. “I have learned a lot, trying to understand in a historical perspective why we are what we are. Being Thai has its own unique set of difficulties for anyone who wants to express him/herself differently. The country is polluted with so much corruption and government propaganda. However, this is why the place is fascinating. When I am out of the country for a while, I miss the disorder, the chaos, the fake smiles.”

Weerasethakul’s latest, Anthem, will be shown before screenings of Syndromes. It’s a take on a ritual particular to Thai movie-going: “When we go to see movies in Thai cinemas, we have to stand up to pay respect to the king. People stand up because that’s what we do as long as we can remember. Last year there’s a guy who refused to stand up and now he’s charged with lèse majesté, which can land him in jail for some years. So this law is very broad, unpredictable and problematic in many cases. Maybe that’s why people stand up. Now I imagine it is practical to have a sign in front of every theatre’s entrance to warn people.

“It is sad that we do not or dare not discuss this issue more openly. And really I cannot say more, because of the existence of this law. I still stand up in cinemas. I think this reflects how we Thais operate in life, whether you respect the king or not. Anyway, for Anthem, I simply would like to make an anthem to honour cinema where you are free.”

Weerasethakul’s films show at the
Cinémathèque québécoise through June 18;
see Repertory listings for showtimes.

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