The first time I had reservations. The film seemed to me made. I missed the stream carrying the sequences. I had seen juxtaposition that he was indeed stratification. Review this film was an immense pleasure. Here is the chronicle made for the webzine Kinok. We retain Uncle Boonmee his room open on the jungle, where someone is sleeping in the light, under a pink mosquito net and translucent, while a ghost disappears. In a bedroom, Apichatpong Weerasethakul has made a landscape. An action almost zero, an event. In stillness, a movement. On time, another. The light comes back the ghost, and the night is over. The ghost has ensured the sleeper, sitting on the other side of the net. For in this film, you take good care of each other.
attention to the other: perhaps the only thing that the players play. A visit, an apparition, a dog - it records the presence of the other, it is considered. The rest is a matter of being there. When Boonmee rises and announces he's leaving that night in the forest to die, a man and a woman watching television. Their two heads then rotate at the same time to him, and returned together to TV. There is never a tragedy. If there are events, there has no alarm. A ghost and an ape-man are around the dinner table with Boonmee, yet it all that worries him is knowing that her sister will make his hives when he dies. Of course, first there was the surprise Boonmee to see his dead wife and son disappeared again, but gradually the conversation slipped. The time now responsible figures of the past, is already considering the future. 
These slips are many in the film. Orchestrated without emphasis, they allow the story of a dying man to collect other stories, other possible lives, without canceling it. Uncle Boonmee is not a collection of disjoint segments or short films, but rather a cluster, a layered rock formation at its side revealing anything that crosses. Intertwined, each of these segments follows a path nine continuing the outline of a character of memories, dreams and distant incarnations, drawing and even after his death. 
Slips, leaks before. Boonmee left home to go through the jungle and die in a cave. A buffalo takes off the rope that attaches to a tree and escaped. A young monk, unable to sleep escapes and joins the sister-Boonmee in a hotel room where he takes a shower and dress in civilian clothes to dine with her. The film has the tone of the fugue. Fugue that also killed in the cave. Boonmee, after the long procession family in the jungle, followed by the ape-men with red eyes that observe it as we see the old lion die, remove the dialysis keeps him alive and empty, liquid on the stones: end an incarnation. 
A place, therefore: the home of Uncle Boonmee. Everything converges. A man of Siam crossed the Mekong to work here, where we drink tea from China. The monkeys roam and the ghost of a woman he loved reappears. Insects swarm. And even the director's previous films meet there (Cave uterine Iron Pussy , the jungle through the windows of the hospital and the young monk Syndromes and a Century , a reference to a capsule as seen in Primitive or in the short film A letter to Uncle Boonmee , processing of animal Tropical Malady ...). 
Apichatpong Weerasethakul is concerned about the transmigration of souls, Memory beings and illegal migration. This is porous. It is a time that contains all time, like this house, not very big and isolated, but when the world comes to talk to him. The son of Uncle Boonmee, now monkey, thus emerged as a revelation. He took photographs, started walking around the house, returning at night to develop films, and the microscope observing the strange shapes of these monkeys, which were an omen of what it should be. The photographs have an important role in this film. When the ghost of the wife of Uncle Boonmee returns, it is shown that of his burial. When one or the other dreams of the future, he sees as still images, which are inserted into the temporality of the film with the power of images of The Pier Chris Marker. The future appears as something recorded - the past as well - the concept of this is relative. 
The film glides from one story to another. Yet central to the Uncle Boonmee continues to escape, unstable, the linear narrative. In fact, it is not center, but it is skin - that is to say that it contains. Just a shot of someone asleep on a hammock in the evening which is seen to arise that another story, a dream, a fairy, a life form. We will see such a princess face pockmarked make love with a catfish, like we saw the buffalo escape. These stories are not isolated, do not act secretly or metaphor: they create, instead, rather than accuracy, scope. Beings extend, cover the spaces left vacant. It is said that ghosts are not attached to places but to beings. And it appears that people themselves know to disperse, to project beyond the places they inhabit and the body that keeps them alive. 
The final sequence, in this sense is admirable: the young monk escapes, finds the sister-Boonmee and offered him to go eat. On leaving, they realize that part of themselves will remain here in this room, watching television. This duplication is simply dazzling glimpse of a multiplicity of possible lives. Attempts. We try to confine, to compartmentalize, to partition. We set nets around the bed. This overcomes the cities. But suddenly we see a passage, and we borrow and we leave this time and this place. But one never really leaves them. This time, instead, persist, and we in it. But we do it is not exempt - it has, instead, increased.
Chronicle is readable here too.
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