Thai director Apichatpong Weerasethakul (creator of Uncle Boonmee Who Can Recall His Past Lives) crafts his filmography with themes of mother nature, culture-affecting influences, sex, dreams, and folklore. A man who pretty much knows how to portray a story with the most intriguing and subtle amount of detail. If you can tell, I’m a big fan. So when I heard he had created a short entirely composed and shot with the newly modernized 35mm Lomokino, I was weak in the knees. Check out the visionary dreamscape that is Ashes. Official in-depth summary and director’s perspective can be read as follows:
“ASHES contemplates love, pleasure, and the destruction of memory. The surroundings of everyday life are shared with extreme intimacy. For Apichatpong, Thailand, while full of beauty, is slowly collapsing into darkness.
“King Kong rarely barked. She had been with us since she was three months old. Every night she slept and looked around in her dreams.
We thought that our spirits were enriched by the fertile soil and the greenest leaves and the rarest insects and the abundance of humility. But came a day in March we woke up from our dream. The sky wept ashes. The rotten ground trembled as baby worms rose to taste the gray snow. Across the mountains the light of devotion shone and blinded our souls. The darkness was so bright we wept and shouted in silence. And we woke up again, and again.
We united like multiple King Kongs with no sound. Every heartbeat a baby was born with her mouth shut tight like a touch of two stones. With pleasure we lived in hope, and hoped to never wake up. A land of Nothing. We slept. We smiled. We ran.”