Celebrity Life

Award-winning filmmaker and director Apichatpong Weerasethakul on his latest film Memoria, working with Tilda Swinton, his art and more.

During Thai filmmaker Apichatpong Weerasethakul's busy summer, he found time to talk to us about his latest film Memoria, which won the Jury Prize at this year's Cannes Film Festival, as well as his current art installation at Bangkok's 100 Tonson Foundation.

In conversation with Thai filmmaker Apichatpong Weerasethakul

When his film Uncle Boonmee Who Can Recall His Past Lives received the Palme d’​Or at the 2010 Cannes Film Festival, Thai filmmaker Apichatpong Weerasethakul became the first Southeast Asian director ever to win this top award. Of course, he'd already shown several times at Cannes, beginning in 2002 with Blissfully Yours (which won the Un Certain Regard prize), but his 2010 victory catapulted the soft-spoken director to new heights of stardom on the international art-house cinema circuit.

For Oscar-winning actress and noted cinephile Tilda Swinton, a long-time admirer of Weerasethakul’s work, Uncle Boonmee ranks as one of her all-time favourite films. On the British Film Institute (BFI) website she describes it as, “Slow cinema at its most immersive, lateral and resonant. It’s possible to believe you dreamed Apichatpong’s films after you see them… they certainly take you somewhere you’ve never been before on this Earth.”

Now, more than a decade since the release of that landmark film, the acclaimed British-born film star has the lead role in the enigmatic director’s latest movie, titled Memoria, which had its world premiere on July 15 at this year’s Cannes Film Festival (coincidentally the eve of director Weerasethakul’s 51st birthday). 

In the film, Swinton plays Jessica Holland, a Scottish orchid farmer in Columbia who finds herself unable to sleep after being startled at daybreak by a loud and inexplicable bang only she can hear (this idea stems from an experience the director had during his own first visit to Columbia). She later befriends an archaeologist studying some newly unearthed human remains, and becomes fixated on a 6,000-year-old skull with a hole drilled into it – in order to “release bad spirits”, the archaeologist tells her. Together, the pair visit the excavation site, and then in a small town nearby Jessica encounters a man by the river with whom she begins to share memories. 

In retrospect, it seems almost cosmically inevitable that Swinton and Weerasethakul would one day collaborate on a film. When I spoke to the director, shortly before the Cannes festival, he discussed how he and Swinton have become friends over the years, and how they’d long been searching for the right project to work on. In fact, he wrote the script for Memoria specifically with her in mind.

“It’s not a typical work for her,” Weerasethakul said. “That’s why it took time for us to find the right moment, so that she could be totally committed, for a long stretch of time. It’s quite unusual.” Also unusual is the fact that this is the director’s first film not set in his native Thailand, or with Thai dialogue (it's a mix of English and Spanish). It seems like quite a daring artistic leap to take all at once.

“I know,” he chuckled, “but that’s the beauty. I think that I should have done this a long time ago. I've been working with my own team in Thailand for almost 20 years. So to suddenly shift and go somewhere else with a new team is a bit scary, but it definitely opened up the senses.”

So does this combination of star power and a primarily English script hint that Memoria might be a step in a more commercial direction?

“I have no idea!” he said gleefully. “That’s why I’m excited about Cannes, to find out, because I can never judge my movies, really. But I wouldn't say it’s commercial. That’s why we need so many partners, to contribute little by little,” he adds, listing the countries of production as Colombia, Thailand, UK, Mexico, France, Germany and Qatar, while the movie itself is a Kick the Machine Films and Burning production, in association with Illuminations Films (Past Lives). As for critical reception, the film went on to win a Jury Prize at Cannes – one of the festival’s top honours.

“The film is about the vibration of memories that connect us,” the director said during his acceptance speech, in which he also thanked Swinton for her grace, humour, and heart. “We talked many times about this dream,” he told her from the stage, “and here we are. Our ship has landed.”

In addition to Memoria, Weerasethakul was also part of another Cannes 2021 premiere, having contributed a segment to the anthology film The Year of the Everlasting Storm, alongside such renowned international directors as Jafar Panahi, Anthony Chen, Laura Poitras, and Malik Vitthal.

“I contributed a short film to this omnibus project. All the films reflect the situation we’re in… the pandemic. It was made last year actually, when the situation was quite intense. In my case, I just shot [it in] my bedroom.”

After Cannes wrapped up, Weerasethakul returned to Bangkok, where he put the finishing touches to his art installation, A Minor History, at the 100 Tonson Foundation art space, which runs until January 2022. To some, it seems curious that with all his success in cinema he’s still interested in smaller-scale art exhibitions, but he doesn’t see the two disciplines as mutually exclusive.

“They feed on each other,” he explained. “But, of course, making a movie involves a lot of people and financing, so art installations allow me more freedom to experiment.” Coming from someone whose feature films are most often described as bewildering, inscrutable and hallucinatory, with a marked preference for unconventional narrative structures, this seems an interesting and even amusing statement.

For his exhibit at 100 Tonson, which combines photography and three video channels, Weerasethakul relates how he returned to Thailand’s rural Isaan region, the setting for many of his previous films, for inspiration.

“After the lockdown [last summer] I travelled to the northeast, where I grew up, to see and be inspired by the landscape and the people there. It started from just having no direction at all. I spent a month and a half on the road, mainly along the edge of the Mekong River, passing through my hometown of Khon Kaen, as well as Nong Khai, Nakhon Phanom and Ubon Ratchathani,” he says, adding that the stories he unearthed in the region were mostly about situations that were quite oppressive. 

“In Kalasin, I discovered the ruins of an old cinema that reminded me of those big cinemas I grew up with, so I kind of juxtaposed these ruins – like the skeleton of a dead animal – with the current situation around there, most importantly the disappearance of people,” he says solemnly, alluding to the incident in January 2019 when the bodies of two high-profile Thai political activists, who had fled to Laos seeking sanctuary, were discovered in the Mekong River; very much the victims of foul play. 

In its entirety, A Minor History comprises two halves, which change midway through the scheduled six-month run. Helping with the show’s evolving concept is Manuporn “Air” Luengaram, a well-known Thai curator with whom the director has worked closely in the past.

“The first part is mainly a kind of reminiscing,” Weerasethakul remarks. “A fictionalised story about a person strolling along the Mekong and talking about the floating corpse, and how the Naga [the mythical river serpent] accidentally swallows the corpse and then has to throw up.”

Such pointed political jabs seem destined to stir up controversy, but the director is well-known for ruffling feathers in his homeland. For the Thailand release of his internationally acclaimed 2006 feature film Syndromes and a Century, which had its premiere at the Venice Film Festival that year, the Thai Censorship Board demanded the removal of four scenes (a request the director denied, although he later agreed to a limited release where the cut scenes were replaced by a black screen). As for his award-winning 2015 film Cemetery of Splendour, he never gave it a theatrical release in Thailand for fear that it would also be censored, though it has been screened privately at special film events. 

As for the future, the director reveals a small glimpse of what he’s working on. “It’s another strange project, combining film and performance, but I cannot tell you much about it yet,” he said. However, he did indicate it's influenced by the ongoing pandemic and also touches on his continuing interest in exploring the theme of sleep. 

“At the same time I’m developing local works where I really want to focus on the political situation in Thailand,” he continues. “We are living in a very ‘crossroads’ moment. The new generation has a totally different attitude from my generation. There’s been such a shift in the past 10 to 20 years in this country.”

And while he’s probably too humble to say it outright, outspoken artists such as Weerasethakul have played a major role in keeping the spirit and momentum of that shift alive.

(Image credits: All stills used from the film Memoria are courtesy of ©Kick the Machine Films, Burning, Anna Sanders Films, Match Factory Productions, ZDF/arte and Piano, 2021)

This story was first published in the August 2021 issue of Prestige Thailand and online on Prestige Thailand here.

The post Director Mike Figgis on Story Narratives and Filming in Hong Kong appeared first on Prestige Online - Hong Kong.

Anthony Wong Chau-sang cuts a curious figure. The Hong Kong star has arrived for his Prestige cover shoot looking relaxed and ready for action but his attention has been taken by the full-to-overflowing assortment of collectibles that surround us.

They are distinctly “Hong Kong”, ranging from an aluminium-sided drinks fridge of the kind still used in crusty village corner stores to posters of film stars whose names have long faded into history. They’re used for such purposes as the backdrops for vintage-style wedding photos, or for fashion shoots (like ours), and Wong has for the moment been taken by a set of drinks glasses that seem to have transported him elsewhere.

[caption id="attachment_151262" align="alignnone" width="5906"] Jacket by Cerruti 1881 and Shirt by Ermenegildo Zegna[/caption]

“I can remember seeing these sorts of things many times but I’m not sure they were actually in my own home,” says the 57-year-old, smiling. “You know this is a bit like looking at my own history.”

Such reflections have been common for Wong over the past few months. He reveals he has spent a lot of time lately – “Really, a lot!” – thinking back over his life.

Word started to spread about his most recent film -- the drama Still Human from first-time local director Oliver Chan Siu-kuen -- at this year’s Hong Kong Filmart industry gathering in March and about how Wong’s role in it would provide a timely reminder to Hong Kong of his talent.

Arguably, Hong Kong has never really had an actor so able to master the range of roles Wong has taken on, and been acclaimed for, across more than 200 films. Three times a Best Actor winner at the Hong Kong Film Awards, Wong has tried his hand at everything from an utterly psychotic serial killer (Ebola Syndrome, 1996) to a social activist (Ordinary Heroes, 1999), to a simmering triad thug (Vengeance, 2009). His oeuvre makes for a line-up best described as enigmatic, a phrase quite often used when people are trying to pigeon-hole the man himself.

We’re here today as a direct result of that latest star turn from Wong, as the curmudgeonly, wheelchair-bound man who forms a bond with the caregiver played -- to equal acclaim -- by first-timer Crisel Consunji.

[caption id="attachment_151260" align="alignnone" width="6192"] Coat by Alexander McQueen[/caption]

Both actors are being shot, separately and together, and their ease at interplay reflects an obvious closeness the past year has brought, as the journey has taken them from pre-production, to the filming, to the release and on to the reaction to Still Human as it swept the 2019 Hong Kong Film Awards, garnering the Best Actor Award for Wong, Best New Performer for Consunji, and Best New Director for Chan.

“I never really expected it, to be honest,” Wong says, as he waits for his turn in front of today’s cameras to begin. “I didn’t have much on with work. It’s been that way for a while. But I read the script and I just liked it. I didn’t really ask for any money. I thought it would be a small film, nothing more. Now look.”

Still Human has exceeded all expectations since its April release. It was made on a next-to-nothing budget but has returned a few million dollars for investors, giving a beleaguered local film industry a welcome boost of confidence as small Hong Kong filmmakers increasingly find their work buried under a flood of foreign blockbusters.

Back at the start of May, Wong and Consunji, along with director Chan, arrived in Udine, Italy, for the Far East Film Festival unsure of how their film might be accepted by an international audience. They walked away with the festival’s top prize.

Wong also picked up the festival’s Golden Mulberry Award for outstanding achievement, later posting on social media that the Udine experience had been the greatest of his life.

[caption id="attachment_151256" align="alignnone" width="4961"] On Crisel: Top by Celine, Dress  by Bottega Veneta | On Anthony: Coat by Cerruti 1881, Shirt and Trousers by Ermenegildo Zegna[/caption]

“This has really been out of all my imagination and all my expectation,” Wong says. “I’ve really been able to feel a truth in the applause, a respect, and that has been really touching.”

Local media have claimed 2019 to be the year that marks Wong’s triumphant return, but if he was hiding anywhere it was in plain sight. There’s been a procession of supporting roles, as well as parts on TV and in theatre, the medium that gave Wong his start.

What has made Wong relatively anonymous, at least in media terms, has been the lack of fanfare surrounding his recent work, ever since an apparent ban was placed on him by Chinese authorities for his support of the 2014 Occupy Central protests.

“I don’t really know,” is Wong’s explanation. “You know, I’ve never officially been told anything. Nothing. So I’ve just been carrying on, you know, living my life.”

Little wonder Wong came out in support of the local community, as it’s one that has always returned the love, ever since he first appeared on the big screen in the Angie Chan-directed My Name Ain’t Suzy back in 1985.

Wong grew up in Wan Chai with his mum, his English father having left when he was a small boy. He worked his way through classes at the Hong Kong Academy for Performing Arts before training at the TVB Studios -- as has been the case for so many Hong Kong actors -- turned him into a ready-made star. Roles in such seminal local hits as John Woo’s Hard Boiled (1992) and the multiple award-winning Infernal Affairs (2002) saw the city take him to heart.

Those hearts were touched with the story of Wong reuniting with his father’s side of his family last year, brought together via social media. His father had passed away but Wong found he had brothers, and a new sense of his own identity.

“So much has happened to me lately,” he says. “I’ve found a new family that I didn’t know I had. It’s like a new chapter for me now, like I’ve turned a page.”

[caption id="attachment_151263" align="alignnone" width="5551"] Jacket by Cerruti 1881 and Shirt by Ermenegildo Zegna[/caption]

Crisel Consunji’s story is almost as old as cinema itself. “It’s sometimes hard to believe it has happened, and all so quickly,” she says. But Tinseltown was built on the belief that dreams can come true, that people can be plucked from obscurity and turned into stars. Just look to the classic 1937 drama A Star is Born, with a young Janet Gaynor playing the actress who appears out of nowhere to become an overnight sensation. There have been three repeat performances, starring Judy Garland, Barbra Streisand and, most recently, Lady Gaga as the unknown hopeful who rises to the top.

Those films, it must be noted, were all about pure fantasy. What lifts the story of Consunji out of mere fiction and into modern reality -- and what gives it a distinctly Hong Kong flavour -- is how she landed her first film role and how the 34-year-old Philippine actress has reacted to the commotion that’s swirled around her debut.

In Still Human, Consunji plays a domestic helper coming to terms with an often difficult relationship with the man she’s employed to care for. But before she won the role -- and before she was named Best New Performer at the Hong Kong Film Awards and was nominated for Best Actress -- Consunji had given the entertainment industry away. Her life for years had become focused instead on the early learning centres she’d opened in Hong Kong with her husband. But then Consunji was discovered, famously now, via Facebook.

[caption id="attachment_151255" align="alignnone" width="4961"] Jacket by Miu Miu, Top and Trousers by Dior[/caption]

“A callout was being sent around the Philippine community in Hong Kong and one particular friend said, ‘I think this has your name on it,’” says Consunji. “It was the nth time that I had received it so I thought, ‘Whatever, let’s go and see what happens.’”

Consunji’s talent won her the part but it sounds as though fierce determination was among the deciding factors. Once she’d read for the role, Consunji realised it was one that would help build on the conversation -- both in Hong Kong and across the world -- about the role domestic helpers and caregivers play in modern society. Then, there was no saying no.

“I really felt, after speaking to [director Oliver Chan] Siu-kuen, that here was a director who wanted to produce a narrative that was fair, that was empowering,” she says. “It wasn’t going to portray my people as people who didn’t have the opportunity to take hold of their lives on their own. Part of the push factor was thinking: what if someone took on the role and didn’t have an understanding? How would the story be portrayed? When the discourse began, who would be responsible to actually give a bit more of an accurate description of the topic? After reading the script I felt like I wanted to be involved, even if I didn’t get the part.”

Consunji’s own narrative begins with a stage career during childhood that took root with Manila’s Repertory Philippines theatre group. Film, back then, was never a factor.

“Those days, there wasn’t a lot of mobility from one medium to another,” she says. “Now, across the world, it’s more fluid. Before, if you worked in the theatre you were labelled, and there weren’t many independent films. My family always told me to remember that this might not be my life or my livelihood. There just weren’t the opportunities.”

At 23, Consunji moved to Hong Kong to take up a role at Disneyland and she would perform there for around three years in such productions as High School Musical.

[caption id="attachment_151258" align="alignnone" width="4843"] On Anthony: Jacket by Cerruti 1881, Shirt and Trousers by Ermenegildo Zegna, Shoes Anthony's own | On Crisel: Outfit by Fendi[/caption]

It’s the type of all-round grounding -- acting, singing, lead roles and support -- that directors cherish. Someone able to fill any vacancy, and with a passion for their craft. It was that emotion -- passion -- that drove Consunji towards the next chapter in her life when she decided her life was ready for a new challenge, and when she talks about working with children it’s impossible not to be swept up in the thrill she finds in helping shape young lives.

“As an artist you live and breathe wanting to bring a little more empathy into the world -- and that’s why I got into teaching,” she says. “That’s how we can make a difference. At our centres every day is a new day and every day is special. Entrepreneurship in Hong Kong is really tough. It really is sleepless nights. Hopefully now I can find a happy medium as I want to do both -- work at our centres and be an actress again. This whole new world has opened up so it’s made me wonder if there’s something here that will allow me to stay true to my values. Now that I’m here I want to learn more.”

Sit with Consunji for any length of time and you’ll walk away convinced that’s how, despite all the acclaim that has followed her debut film role, she seems to have remained so grounded. Over a break during our cover shoot, she recounts how, on returning home to Hong Kong after travelling to Italy for the Far East Film Festival, the mother of one of her students rushed up to her, super excited.

“She said to me, ‘You must be so proud!’,” recounts Consunji. “And I’d been so swept up in the film that I thought she must have been talking about that. But she was talking about the opening of our new school. She didn’t know about Italy or the awards, she was more concerned with real life. So, you know, in terms of getting carried away, I think I’ll be fine. The other side of my life keeps my feet on the ground.”

Photography Ricky Lo | Creative Direction and Styling Anson Lau | Hair Jean Tong for Crisel, Taky Chung for Anthony | Make-up Angel Mok for Crisel | Grooming Jolinn Ng for Anthony

The post ‘Still Human’ Stars Anthony Wong and Crisel Consunji on Their Roles of a Lifetime appeared first on Prestige Online - Hong Kong.