Malady of Us [Tanakit Kitsanayunyong, Thailand, 2017] /// Maman Soori’s Case [Hossein Hejrati, Iran,
Anyone who has ever been left confused by the obscurity of their own dreams will be familiar with the inherent fascination and frustration of viewing Malady of Us; that longing to better recall, better decode the meaning of one’s own dreams, to discern their significance and discover why our subconscious causes certain events or places to recur across dreams spanning many years.
Director Tanakit Kitsanayunyong explores through art what it feels like when we awaken from sleep to find we have left our dreams unfinished and return to our waking lives, and the inherent frustrations of finding that a fulfilling conclusion lies forever beyond our slumbered reach, relating these sensations to ongoing political uncertainty in his native Thailand, as continual coups have spelled decades of political uncertainty.
Kitsanayunyong is adamant that an experimental approach to film editing offers the best form and methodology for transcribing dream sequences, and Malady of Us presents a very strong argument for this. Often the meaning of a dream is unclear, with seemingly unrelated images and sounds interweaving with one another. In film, the use of collage, superimposition, orchestral scores, and post-production colouring can all help to create a vision that is visceral yet abstract. In this way, Kitsanayunyong attests that film may offer the best source of mimic