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Uncle Boonmee Who Can Recall His Past Lives (2010) Poster

Trivia

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Shot on 16mm film rather than digital. Director Apichatpong Weerasethakul wanted to film in this format as the film is all about dying traditions.
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The first Thai film to win the Palme d'Or at Cannes. It was the first Asian film to win the award since 1997.
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Audience members at the Cannes Film Festival are notorious for their visceral reactions to films. Booing is commonplace as are walkouts. People started walking out of this film after the first 6 minutes
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The film is part autobiographical as, like Uncle Boonmee, Apichatpong Weerasethakul's father also died of kidney failure.
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Inspired by the book "A Man Who Can Recall Past Lives" by Phra Sripariyattiweti of Sang Arun Forest Monastery, Khon Kaen. Published in August 23, 1983.
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A central theme of the film is the transformation and possible extinction of cinema itself. The film consists of six reels each shot in a different cinematic style. The styles include, by the words of the director, "old cinema with stiff acting and classical staging", "documentary style", "costume drama" and "my kind of film when you see long takes of animals and people driving". Weerasethakul further explained in an interview with Bangkok Post: "When you make a film about recollection and death, you realize that cinema is also facing death. Uncle Boonmee is one of the last pictures shot on film - now everybody shoots digital. It's my own little lamentation".
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Winner of the 2010 Palme D'Or at the Cannes Film Festival.
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Selected as the Thai submission to the Academy Awards Foreign Language Film category though it didn't make the final five.
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Uncle Boonmee Who Can Recall His Past Lives is the final installment in a multi-platform art project "Primitive". The project deals with the Isan region in Thailand's northeast, and in particular the village of Nabua in Nakhon Phanom, near the Laos border. Previous installments include a seven-part video installation and the two short films A Letter to Uncle Boonmee and Phantoms of Nabua, both of which premiered in 2009. The project deals with themes of memories, transformation and extinction, and touches on a violent 1965 crackdown on communist sympathizers in Nabua by the Thai army. Regarding the feature film's place within the overarching project, Apichatpong has said that it "echoes other works in the 'Primitive' installation, which is about this land in Isan with a brutal history. But I'm not making a political film - it's more like a personal diary."
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According to Weerasethakul, the film is primarily about "objects and people that transform or hybridize".
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Les Cahiers du cinéma featured Uncle Boonmee Who Can Recall His Past Lives on the cover of the June 2010 issue and listed it first on their famous annual Top Ten of 2010.
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Apichatpong Weerasethakul says that a man named Boonmee approached Phra Sripariyattiweti, the abbot of a Buddhist temple in his home town, claiming he could clearly remember his own previous lives while meditating. The abbot was so impressed with Boonmee's ability that he published a book called A Man Who Can Recall His Past Lives in 1983. By the time Apichatpong read the book, Boonmee had died. The original idea was to adapt the book into a biographical film about Boonmee. However, that was soon abandoned to make room for a more personal film, while still using the book's structure and content as inspiration.
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Listed 4th in Cahiers du Cinéma's Top 10 movies of the decade 2010-2019.
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In a 2016 BBC poll, critics voted the film the 37th greatest since 2000.
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The film received a score of 2.4/4 at Screen International's annual Cannes Jury Grid in 2010.
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It was listed second on Film Comment magazine's Best Films of 2011 list.
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In the 2012 Sight & Sound critics' poll, 8 critics voted for it as one of their 10 greatest films ever made; this ranked it at #202 in the finished list. Five directors also voted, making the film ranked at #132 in the directors' poll.
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Spoilers 

The trivia item below may give away important plot points.

Despite the film's title, Uncle Boonmee doesn't describe any of his past lives.
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