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Apitchapatpong

Apichatpong Weerasethakul: “This morning, after breakfast (a plate of fruits, weet-bix cereal, and two boiled eggs), I imagined a scenario. Perhaps this situation will breed a group of people who develop an ability to stay in the present moment longer than others. They can stare at certain things for a long time. They thrive in total awareness. After we defeat the virus, when the cinema industry has woken from its stupor, this group, as moviegoers, wouldn’t want to take the same old cinema journey. They have mastered the art of looking; at the neighbors, at the rooftops, at the computer screens. They have trained through countless video calls with friends, through group dinners captured in one continuous camera angle. They need a cinema that is closer to real life, in real time. They want the cinema of Now which possesses no fillers nor destination. Then they will be introduced to the films of Béla Tarr, Tsai Ming-Liang, Lucrecia Martel, maybe Apichatpong and Pedro Costa. These obscure filmmakers would become millionaires from a surge of ticket sales. They would acquire sunglasses and troops of security guards. They would buy mansions and cars and cigarette factories and stop making films. But soon the audience would accuse this slow cinema of being too fast. Protest signs would appear, reading: ‘We demand zero plots, no camera movement, no cuts, no music, nothing.'”

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