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Five Inspirations is a series in which we ask directors to share five things that shaped and informed their film.Ratchapoom Boonbunchachoke’s A Useful Ghost (2025) is showing exclusively on MUBI in many countries.INSPIRATION #1Good Men, Good Women (Hou Hsiao-hsien, 1995)Possibly the biggest influence on how I conceptualize ghosts or spectrality. Yes, Hou’s film is not a ghost film, not even remotely a horror film. But I rarely encounter a film that illustrates multilevel haunting this brilliantly. The protagonist in the film is both haunted by her own personal history from a few years earlier and by the national history from several decades before her own parents were born. I’m so fascinated with how a person’s life can be shaped by personal memory and national history depicted in this film.INSPIRATION #2Naive artI love the idea behind naive art, like that of Henri Rousseau or Niko Pirosmani: that the artists are well trained and skillful, but instead of painting with expert-level craftsmanship, they choose to draw and paint like an untrained child. Their works are very childlike and playful yet still clearly show their undeniable skill.INSPIRATION #3João César Monteiro’s uncinematic old horny manIf you watch the opening of Monteiro’s Recollections of the Yellow House (1989) without sound or subtitles (say you don’t speak Portuguese), you’d be struck by the beautiful, serene image of Lisbon. But once you listen to the voiceover or read the subtitles, you discover it’s an old lady complaining about lice in her pubic hair. That tremendous, mischievous contrast between sublime image and horny monologue left a lasting impact on me. During preproduction, I kept using the terms “elegantly perverted” and “perversely elegant” to describe the mood and tone I was after. I also love a Monteiro anecdote: While shooting one of his films, his director of photography had set up a shot so beautifully that Monteiro came to the set and sabotaged it, claiming he was freeing the film from being confined by “cinematicness.” It feels so liberating to think of film outside the frame as being cinematic.INSPIRATION #4Immortality (1988) by Milan KunderaI read the Thai translation when I was quite young and was so in awe of how cleverly the whole novel is constructed. I’d never read anything like it before. I love how Kundera weaves an essayistic quality into his characters’ lives, which makes the book both intellectually stimulating and emotionally affecting. INSPIRATION #5Theo Angelopoulos’ TimeI admire how Angelopoulos always anchored his films in the history of Greece. As a Thai filmmaker, a question I always struggle with is how to tell a story so deeply invested in the Thai context to people outside that context. Angelopoulos’ films are deeply Greek, yet they transcend their boundaries: even though the history depicted isn’t his own, he completely owned how he told it. His cinematic treatment of time is worth studying on its own. I remember being mind-blown the first time I watched Ulysses’ Gaze (1995). There’s a scene where Angelopoulos covers several decades in a single shot. No one could see how he pulled that off. It’s amazing how time can be filmed like that.
| # | Наименование новости | Тональность | Информативность | Дата публикации |
|---|---|---|---|---|
| 1 | Five Inspirations | Julian Radlmaier | 0 | 9.59 | 07-07-2026 |
| 2 | Five Inspirations | Jocelyn Charles | 0 | 11.48 | 23-06-2026 |
| 3 | Seven-Word Reviews | Il Cinema Ritrovato 2026 | 0 | 8.79 | 03-07-2026 |
| 4 | Movie Poster of the Week | The Best of Movie Poster of the Day, Part 31 | 0 | 9.77 | 17-07-2026 |
| 5 | Filmmaker Survey | Carla Simón | 0 | 7.8 | 25-06-2026 |
| 6 | What Survives the Steam | 0 | 7.47 | 22-06-2026 |
| 7 | Positively the Same Dame: An Obsession with "Vertigo" | 0 | 6.79 | 30-06-2026 |
| 8 | A Sovereign Surface: Jackals, Pixels, and the Right to Opacity | 0 | 10.34 | 29-06-2026 |
| 9 | Movie Poster of the Week | Tony Stella in Memoriam | 0 | 7.67 | 19-06-2026 |
| 10 | Young, Wild, and Free: Bruno Dumont on “Red Rocks” | 0 | 10.63 | 09-07-2026 |