A headspinning tour de force, beginning with the attack on students in 1976 and turning to the nature of film-making itself

This mesmerising second feature from Thai film-maker Anocha Suwichakornpong, writer/director of 2009’s Mundane History, is a kaleidoscopic meditation on the shifting relationship between past and present, truth and fiction, movies and memory. A self-referential treatise on the impossibility of capturing “real” life on camera, it begins with a single linear narrative that mushrooms into something altogether wider and more weird. Described by its creator as both an “ode to the memory-recording and reconstructing machine that is cinema” and “my attempt to deal with the impossibility of making a historical film in a place where there is no history”, it’s a dizzying, dazzling work – elliptically political, frequently perplexing, yet fluid enough in its possibilities to allow each viewer to divine their own meanings from its quicksilver forms.

It begins with a single linear narrative that mushroom into something altogether wider and weirder

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