Anatomy of Time
Press Play to start
The 15th edition of the Five Flavours Asian Film Festival will feature, for the first time, a seat reservation system at cinema screenings for holders of passes and stationary accreditations. It is important to us that we take care not to overcrowd the rooms and avoid queues at the entrance.
Only a reservation guarantees you a seat at a screening!
The reservation system is very simple and is based on similar principles as buying tickets for individual screenings - just login to your account, visit the page of the selected film and click "book". Detailed information can be found below.
Please make reservations only for the screenings you wish to attend. Reservations can be cancelled, even at the last minute - please remember this and always cancel your reservation if you cancel your screening - this will allow other viewers to use the available space.
Reservations will be possible from Tuesday, 16 November from 12:00 p.m. for all the festival's films.
Reservation of seats
for pass and accreditation holders
Tuesday, November 16, 12:00 pm
If you decide to attend a screening at the last minute or for any other reason you do not book in advance, and there are seats available in the auditorium, your booking will be made "automatically" at the entrance to the auditorium after scanning your pass.
For most of the screenings there will be free seats before the show itself. However, please pay special attention to the screenings of Wong Kar Wai's works and the screenings of those films that we only show in the cinema - we expect the highest attendance at these screenings.
This year, you will also be able to use an electronic pass by presenting it to ticket takers on your phone screen.
1960s. Maem is a girl on the brink of the adult life, whose complexities she learns about form her father, a silent watchmaker. From time to time, the father's shop is visited by two young men, wooing the daughter. A few decades later we see Maem by the bed of one of the suitors, now severely ill and rejected by the society because of the atrocities he committed in the army.
The timelines of the life of one woman are intertwining in the structure of the film, creating a spacial, enigmatic structure, filled with the burning, yet long forgotten feelings. Inspired by the memories of his mother, the director paints a portrait of a woman painfully marked by life. Nostalgia goes hand in hand with bitterness, regret mixes with the memories of the carefree moments that could have lead somewhere completely different. The background of the film is the convoluted trajectory of the contemporary history of Thailand, which left its mark on the lives of ordinary people, especially on the silent biographies of the wives and children of those whose names end up in the history books. But there is one thing that interests Nilthamronhg more than politics – it is the reflection on the inevitable cycle of life and death tying people with nature which becomes a silent, yet palpable and sensually present protagonists of the film.
Born in 1977 in Lopburi, Thailand, studied at the Silpakorn University in Bangkok, the Pratt Institute in New York, and the School of the Art Institute of Chicago. His short films were awarded at international festivals, he also made installations for modern art galleries. His feature debut premiered at the Rotterdam IFF. In 2007, he was chosen as a resident of Rijksakademie in Amsterdam.
2006 Patterns of Transcendence (kr.m.)
2009 Man and Gravity: Plateau (kr.m.)
2010 Unreal Forest
2010 Immortal Woman (kr.m.)
2014 Stone Cloud (kr.m.)
2015 Znikający punkt / Jud ruam sai ta / Vanishing Point
2021 Anatomia czasu / Wela / Anatomy of Time