Movie : Karaoke girl (2013)

The bottom girl in "Companion" contains a peculiarly bitter story: Sa walked from rural Thailand to Bangkok alone, became a support girl in a nightclub, and supported poor families in the village, but lied to them that she worked as a woman worker in a factory. The film does not portray his life in the characteristically realistic way, on the contrary, the director changes various aspects of Sa's life in completely new ways. One part of the film is the making of a documentary about Sa's true hometown and scenes of his return; another part is inspired by Sa's City Life presents Sa's supporting career and love experiences in the city in a fictional form, and Sa plays himself.

In an interview, the director revealed that before imagining the subject, he planned to shoot in a mixed feature documentary film. This method differs from the classification of pure genres in the past, especially breaking the binary division of documentary films as reality and drama films as fiction. This dualistic virtual image is based on documentary "realism", which makes us forget that what is presented in the documentary is only "real" chosen and constructed by several directors. We just stand in the director's position and watch his interpretation of the world. The "documentary / story" mixed shooting method of "Prohibition" reminds us that the line between real and fiction is blurred. In the film, real and fictional scenes are interwoven with each other, and both are not displayed clearly. The attention of the audience returns to the protagonist Sa, and tries to observe his life from a different position. As the director puts it, his editing has shifted from a fictional opening and real-life hindrance to protagonist Sa as the narrative pivot.

The most impressive scene of "Ban" is Sa's solo singing at the beginning and end of the film. The director specially hired a composer who was famous in rural Thailand to write for Sa for the film, and Sa personally performed it at the start of "Ban". The film uses a long lens to capture Sa in real scenes like at home. Facing the camera, while singing solo songs, while crying, the audience plunges into the emotions of Sa. At the end of the film, Sa sings the song again and appears on stage in beautiful clothes. Because in fiction, he dreams of becoming a singer, and finally his wish is fulfilled (the film doesn't say whether this is a fantasy or a "real" wish). This method of juxtaposition and beginning and end shows Sa's true emotions first: sadness and hardship, and then spreads her past and present life in the film, depicting the first scene in the film. Finally, let her beautifully reproduce the lamentation in a fictional scene, responding to the opening of the film, washing away her despair, and giving her some kind of consolation. Or, he can only fulfill his dream in a fictional scene, and see the shackles of real life, impossible hope, which aggravate the film's opening distress. wash away his despair, and give him some kind of consolation. Or, he can only fulfill his dream in a fictional scene, and see the shackles of real life, impossible hope, which aggravate the film's opening distress. wash away his despair, and give him some kind of consolation. Or, he can only fulfill his dream in a fictional scene, and see the shackles of real life, impossible hope, which aggravate the film's opening distress.

The misplacement of reality and fiction in "Tires" is even more pronounced in another theme: the contrast between urban and rural. Although the virtual and real scenes are not presented clearly, it is clear that the real scenes are all rural, while the fictional part is the city. The director presents the two spaces in an interlocking way, which is in direct contrast. For example, one scene shows the traditional customs of the Songkran Festival in the countryside, while the voiceover is Sa telling him that he dreamed of a flood, while the scene sees the crowd rowing on the water and running water. Once the image changed, it was edited from a sunny outdoor environment to a gloomy indoor dance hall in the city. The scene was also bustling with people dancing, looks charming. Editing creates contrast in space, and the desires of people from the local general public to modern civilization are rampant. What's more, water is often cited as a symbol of desire, but in rural spaces, water is a symbol of nature, and the Sa dub depicts flooding as a response to the complex relationship between water and city and countryside, flowing from nature to civilization. ., And even dumped the lives of villagers, such as Sa. flows from nature to civilization. ., And even dumped the lives of villagers, such as Sa. flows from nature to civilization. ., And even dumped the lives of villagers, such as Sa.

What's interesting is that in the "real" section, Sa was also "absent" most of the time. Most of what we saw were visits by the Sa family who lived in the village. Even if Sa returns to his hometown, most of the daily life and environment in the countryside is presented. We do not seem to be able to see the "real" Sa in this "real" fragment. This is what makes "Companion" different from other documentaries. The film does not try to assign a "real" subject to Sa, and viewers can only learn about his past from real-life environments and family interviews, to enrich knowledge and imagination about him and his life. In the fictional segment, Sa playing alone is another interesting treat. The director mentioned in the interview that when he was studying in film, he had already tried to play in fictional film scenes. Therefore, this time he also set Sa to play on his own to explore themes he had never experienced in himself. life, but he was inspired by it. His real life. This processing method is more effective for Sa "defamiliarizing" his real life experiences, enabling him to invest in other fictional characters to see himself, rethink his social and cultural positions and experiences from other angles, or even gain insight into himself. situation, to understand oneself and relations with society. Like the Brecht drama, fiction is more real. "Reality" is not what is shown in the film, more important is whether the audience can understand the complex relationships of social reality. For example, the complex question "Tire" tries to explore: Why was Sa forced to work in the city? What's life like in his hometown? Was there a strong and weak power relationship between town and country that led to the Sa experience?

Although the film uses the form of "documentary / story" films to try to explore the Sa situation and social conditions in Thailand, particularly the relationship between urban and rural areas, it lacks a deeper analysis. For example, in Sa's "fictional" city life, the experience of city life is reduced only to his love life, but utterly lacking in any other type of relationship. Even in this "love story", the emotions are still ambiguous, making it impossible to relate to other themes in the film. Another point is that although the fictional part of the city was inspired by the director from real life Sa, it lacks Sa's own perspective and perspective. For example, some experiences and somewhat tortuous introspections cannot be made or recorded by others,