Alexander Sokurov

Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives proved to be a divisive film in its commercial release following its surprise Palme d’Or win at last year’s Cannes. On the one hand, the strange film’s recognition exhibited a triumphant glimmer of hope for international art cinema in a world economy that hasn’t exactly been making room for ‘difficult’ art. On the other, for many the film has itself proved to be an alienating experience and was written off as a pretentious exercise that exemplifies the worst tendencies of art cinema.

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