Pae arak amornsupasiri biography of rory
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Catalogue 46th IFFR
Catalogue
46th
25 January – 5 February 2017
Contents 2 Foreword 4 Sections & Programmes IFFR 2017 6 Juries & Awards 11 Bright Future 13 Hivos Tiger Competition 21 Tiger Competition for Short Films 29 Bright Future Main Programme 56 Bright Future Mid-length 61 Bright Future Short
89 Voices 91 Big Screen Competition 95 Voices Main Programme 111 Limelight 129 IFFR Live 132 Scopitone 137 Voices Short
147 Deep Focus 149 Signatures 156 Signatures: Frameworks 160 Jan Němec 176 Joost Rekveld 181 Regained 198 Nuts & Bolts 212 Deep Focus Short
217 Perspectives 219 Parallax Views 221 Black Rebels 236 A Band Apart 243 Criss-Cross 252 Picture Palestine
259 And More‌ 265 About the Festival 266 The Supportive Festival 270 Catalogue Crew & Festival Staff 272 Thanks to 274 Partners & Sponsors
277 Search Tools 279 Index Films & Compilation Programmes 284 Index Directors 286 Film List by Country
Foreword
Foreword Bero Beyer
photo: Jan de Groen
There is something very special about the movie-going experience. We take our seats with a diverse group of
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By the Time It Gets Dark review: The perils of putting history on film
By the Time It Gets Dark
Director:Anocha Suwichakornpong
Cert:Club
Genre:Drama
Starring:Visra Vichit-Vadakan, Arak Amornsupasiri, Rassami Paoluengton, Apinya Sakuljaroensuk, Achtara Suwan
Running Time:1 hr 45 mins
Visitors take photographs of a rural house and pray. Soldiers bark at dozens of young men and women hog-tied in a warehouse, which turns out to be movie set. Engaged students discuss political activism.
Anocha Suwichakornpong's formally-daring second feature begins as a film about making a film about the 1976 Thammasat University Massacre. Young film-maker Ann (Visra Vichit-Vadakan), presumably a surrogate for the director, interviews Taew (Rassami Paoluengton), a middle-aged writer who was involved in these ill-fated student demonstrations. The encounter is excruciating: "I read books about 1976 and I think of you in the midst of it all and you're still here: You're living history," gushes Ann. "I appropriate someone's life and make it into a film, maybe because my life is mundane," she continues: tellingly, director Anocha Suwichakornpong's last film was called Mundane History. The elderly interviewee shrugs off the compliments: "I'm not living history, I'm j