[Moved from Asian Arena thread - OP 08/24/05]

MYSTERIOUS OBJECT AT NOON (Thailand / 2000)



An abstract title such as Mysterious Object at Noon is perhaps an apt one for a film that is one of the most unique and innovative to come out in recent years. It is neither a documentary nor a fictional account of a tale draped in local pop and mythological surrealism. (According to critic Chuck Stephens, the Thai title of the film, Dokfa nai meuman, translates as "Dogfar in Devils Hand," with the name Dogfar breeding a certain familiarity to the Thai audiences aware of their melodramas of the past.) Made by a then twentysomething Apichatpong after graduating with a masters degree in Film from the School of the Art Institute of Chicago, this 16mm black-and-white effort employs a storytelling technique known as "exquisite corpse." That requires various writers to add their ideas to the main story in small doses without knowing what has come prior. Therefore, with that in mind, Apichatpong traveled through Thailand, visiting various small villages collecting anecdotes for his "main" idea. And this idea -- involving a disabled young boy and his "alien" female teacher (Dogfar) who is responsible for the mysterious object of the title -- stems from a woman we witness early on when shes asked to tell a fictional story. When its all said and done, we get to watch a theatrical rendition from adults, end up listening to some wildly imaginative kids, not to mention the version from an eccentric old granny, among others. However, its not all fun and games. The woman who created the idea also tells the camera her true story about how she was sold into slavery by her parents. We also hear another account of a couple of young boys who met the same fate. Apichatpongs film is like a local travelogue even though the focus isnt on anything in particular. But this experiment is neither self-sufficient nor some sort of a calling card for higher acclaim. The fact that Mysterious Object has by now played at hundreds of festivals around the world is a true testament to Apichatpong's vision, which has remained quintessentially Thai.