Most viewers will know from the outset that "Krabi, 2652" doesn't offer any action scenes or plot. So from an average viewer's perspective, this movie doesn't offer much value. However, viewers who have travelled Thailand, specifically South Thailand, will find this movie a fresh breath of air; the cinematography offers stunning views of the open, vibrant communities including Thai markets and the peaceful, serene caves and waters.
The movie showcases the ordinary lives of both visitors and locals from the small Thai town, Krabi. The town mostly serves tourists, with foreigners overrunning the downtown area.
One narrative focuses on a woman who scouts out Krabi for a flim. She mostly keeps to herself, working hard to safeguard the development of the upcoming film. Her life clearly stresses her; she feels incomplete, but she doesn't know why.
Similiarily, another set films a scene on a beach (also frequented by tourists). The director just can't get the set right, so he opts to take his crew to Karaoke. The director also feels incomplete; he just wants some company, but his crew only seem to see him as a colleague, not a friend. The main actor on the set also feels alone in his hotel room. He randdomly encounters a caveman and runs away.
Nearby, a young woman running a tourism company refrains from taking advantage of tourists; she helps the tourists orient themselves, directing them to the beach on which she sells tours.
Something about the acting in this movie just rings "authentic" in Krabi, 2562. The beautiful scenes of the Thai beaches and caves, juxtaposed with its locals' monotonous lives, the stark contrast of locals' attitutes from composed to sombre when they leave the public eye, the genuine selflessness of locals, and the extensive history of the land -- all illustrate that a modern movie doesn't have to have action scenes or a thick plot line to inspire awe and wonder. Krabi 2562 deserves a place in the modern viewer's neverending library of media; it offers a new perspective on local life, on the menial nine-to-five work schedules most of society has embraced. Krabi 2562 may not please everyone, but it offers a refreshing illustration of local Thai life for those who can appreciate it.
The movie showcases the ordinary lives of both visitors and locals from the small Thai town, Krabi. The town mostly serves tourists, with foreigners overrunning the downtown area.
One narrative focuses on a woman who scouts out Krabi for a flim. She mostly keeps to herself, working hard to safeguard the development of the upcoming film. Her life clearly stresses her; she feels incomplete, but she doesn't know why.
Similiarily, another set films a scene on a beach (also frequented by tourists). The director just can't get the set right, so he opts to take his crew to Karaoke. The director also feels incomplete; he just wants some company, but his crew only seem to see him as a colleague, not a friend. The main actor on the set also feels alone in his hotel room. He randdomly encounters a caveman and runs away.
Nearby, a young woman running a tourism company refrains from taking advantage of tourists; she helps the tourists orient themselves, directing them to the beach on which she sells tours.
Something about the acting in this movie just rings "authentic" in Krabi, 2562. The beautiful scenes of the Thai beaches and caves, juxtaposed with its locals' monotonous lives, the stark contrast of locals' attitutes from composed to sombre when they leave the public eye, the genuine selflessness of locals, and the extensive history of the land -- all illustrate that a modern movie doesn't have to have action scenes or a thick plot line to inspire awe and wonder. Krabi 2562 deserves a place in the modern viewer's neverending library of media; it offers a new perspective on local life, on the menial nine-to-five work schedules most of society has embraced. Krabi 2562 may not please everyone, but it offers a refreshing illustration of local Thai life for those who can appreciate it.
