Abstract
In Uncle Boonmee Who Can Recall His Past Lives we found two main sequences where the photographs [keyword] remembering the mists of his own History [keyword] and project their own future: The son’s photos, Boongsong; and the father’s pictures, Boonmee. Between these pictures, the reflects of the Nabua’s History (the village where Thai military government, killed the farm people who protested against the dictators returns. This village was occupied between 1960 and 1980 by the dictator’s army in order to exterminate the communist resistance formed by the villagers) beat his own past and future, overlapped in the film’s story. Between the son’s picture (something unexpected from the past: Blow Up), and the father’s Pictures (something unattended from the future: La Jetée), there is a possible proustian [keyword] bridge: the footprints of the History where impressed over the stories of these strange family pictures.
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Copyright (c) 2012 Santiago Fillol