A scene from Thai film Agrarian Utopia, which screened at the Toronto Reel Asian Film Festival Nov. 14.
Two recent Thai films that I’ve seen, Nymph and Agrarian Utopia, really played with my head. I’ve been sitting here at home in Canada for seven months now hearing nothing but Big City noises: Trains, car horns, heavy gravel trucks, unmufflered heavy cruiser motorbikes, drunken voices, car alarms, clank of streetcars, diesel buses and the sounds to really tell me I’m in a western consumerist society, the waste-picking pigeons and gulls. Almost no natural sounds. In the theatres, when I was immersed in the soundscape of these two films, I was transported back to my home away from home. It was almost relaxing and comforting to hear the multi-layered bird, insect, animal and plant noises.
The Nymph soundtrack was brilliant, but it was peppered with some synthetic music and creature-like sounds. Agrarian Utopia, which screened at the Toronto Reel Asian Film Festival this weekend, was a non-stop symphony of the beauty of nature. I could ride on that rhythm all day.
Those sounds were a natural foreground as well as background to the story of two families of rice farmers in what only could be Isaan. One family is the hired labour of the other family. Both families are bending under the weight of insurmountable farm loans, the kind that could only be paid back if they win a lottery. The financial burden is the driving force behind the political angles of the story. We get a peak at some political rallies and round-the-night-time campfire talk about how greedy (now former premier) Thaksin politicians and bureaucracies are. There’s even anti-Thaksin speeches. And a few kicks at (current premier) Aphisit in opposition.
The rest is the beauty of human endeavour.
As a counterpoint to the farmers’ burden is a side story (really?) of a neighbour, working his farm all alone, who doesn’t use chemicals, fertilizer, loans, or anything else that could harm the land or his future. He’s a good humoured character so don’t expect to get teacherish lecture from an earnest, new-wave Thai environmentalist. He is a former professor, and he works his farm in the most natural, albeit slower, way possible. His neighbours call him a fool. But the labourer goes to him in a last ditch effort to stay in farm country to ask him a few questions. The last scene of the movie tells you what he chose.
It’s interesting to note, I think, that there’s not a single girl or young woman in the film. In Thai country culture, typically, young women from the farms are often the ones who go to the big city (namely Bangkok) to get a job and help support the family. That could be in a shop, factory or go go bar. The lack of young women kind of highlights that condition so the lack of same may be deliberate. Another reflection of the male-dominated culture is the fact that the wifely women in the film hardly say a word. In male dominated Thai society, the men have important discussions and make the decisions. Deliberate? Don’t know.
When you watch the film, ask yourself this: is it a documentary or drama?
A scene from Taiwanese film Yang-Yang, which was shown at the Toronto Reel Asian Film Festival.
I also watched the Taiwanese film Yang-Yang. If it weren’t for the electrifying actress Sandrine Pinna (French-Chinese actress), director Cheng Yu-Chieh would have empty reels. The story is about teenager Yang-Yang whose mother ends up marrying Yang-Yang’s track coach. In the deal, Yang-Yang’s friend and track rival ends up being her sister. The sister’s boyfriend takes a liking to Yang-Yang, and, well you know the rest. The boyfriend, coach, Yang-Yang’s mom and sis are pretty much empty puppets. It seems director Cheng forgot to write a story. The camera almost swallows Yang-Yang in every scene. It’s not surprising that Pinna’s exotic looks, easy nature and formidable acting talent inspire Cheng. But that’s not enough. About 80 minutes into the film and I was thinking about leaving. Moments later, during a pointless scene, a fellow got up near me and left, as did three others. In the space of four or five minutes, I was the fifth to leave.
I also saw the insane but likeable Malaysian film When the Full Moon Rises by Mamat Khalid. Will get around to this soon.





