What other filmmaker could create a tissue of metaphor, almost musical, from the hum of rotary objects?

From the Thai arthouse director Apichatpong Weerasethakul, whose Uncle Boonmee won the Palme d'Or at Cannes a few years ago, comes another strange swooning dream, Cemetery of Splendour.

Apichatpong's singular method is by now familiar: he looks at present-day realities through a prism of personal and collective memories, refusing to distinguish between the everyday, dream-states and dark fantasies

Cemetery of Splendour is a film in which enjoyment levels increase as the plot progresses and we immerse ourselves in this particular universe. [Full review in Spanish]