Jawni Han on Anocha Suwichakornpong’s protean use of cinema to express the unstable confluence of the personal and political, the past and the present.
Review: ‘Come Here’ (2021) dir. by Anocha Suwichakornpong
“Inherent in the conditions under which it was made, and in it’s strange skirting and shifts there’s an artist testing out several ideas in purposeful denial of a thesis and in a game of constant, formal and spiritual incipience.”
Forever the Geography: National Mutability in ‘Krabi, 2562’ (2019) + Nazar’s ‘Guerrilla’ (2020)
Looking over what I have seen and heard in this mess of a release year so far, I realized that two of my favourite works of art – one a movie, another an album – are tied together by their decision to depict a particular place, or identity, with an intentional formal wooliness.