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Sang sattawat

  • 2006
  • 1 घं 45 मि
IMDb रेटिंग
7.3/10
4.8 हज़ार
आपकी रेटिंग
Sang sattawat (2006)
Story about director Apichatpong Weerasethakul's parents, who were both doctors, and the director's memories about growing up in the hospital environment.
trailer प्ले करें2:36
1 वीडियो
80 फ़ोटो
Drama

अपनी भाषा में प्लॉट जोड़ेंStory about director Apichatpong Weerasethakul's parents, who were both doctors, and the director's memories about growing up in the hospital environment.Story about director Apichatpong Weerasethakul's parents, who were both doctors, and the director's memories about growing up in the hospital environment.Story about director Apichatpong Weerasethakul's parents, who were both doctors, and the director's memories about growing up in the hospital environment.

  • निर्देशक
    • Apichatpong Weerasethakul
  • लेखक
    • Apichatpong Weerasethakul
  • स्टार
    • Nantarat Sawaddikul
    • Jaruchai Iamaram
    • Sophon Pukanok
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
  • IMDb रेटिंग
    7.3/10
    4.8 हज़ार
    आपकी रेटिंग
    • निर्देशक
      • Apichatpong Weerasethakul
    • लेखक
      • Apichatpong Weerasethakul
    • स्टार
      • Nantarat Sawaddikul
      • Jaruchai Iamaram
      • Sophon Pukanok
    • 21यूज़र समीक्षाएं
    • 62आलोचक समीक्षाएं
    • 71मेटास्कोर
  • IMDbPro पर प्रोडक्शन की जानकारी देखें
    • पुरस्कार
      • 3 जीत और कुल 13 नामांकन

    वीडियो1

    Official Trailer
    Trailer 2:36
    Official Trailer

    फ़ोटो80

    पोस्टर देखें
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    टॉप कलाकार19

    बदलाव करें
    Nantarat Sawaddikul
    • Dr. Toey
    Jaruchai Iamaram
    • Dr. Nohng
    Sophon Pukanok
    • Noom
    Jenjira Pongpas
    Jenjira Pongpas
    • Pa Jane
    Arkanae Cherkam
    • Ple
    Sakda Kaewbuadee
    Sakda Kaewbuadee
    • Sakda
    Nu Nimsomboon
    • Toa
    Wanna Wattanajinda
    • Dr. Wan
    Sin Kaewpakpin
    • Old Monk
    Putthithorn Kammak
    • Off, a young patient
    Manasanant Porndispong
    • Dr. Nant, a haematologist
    Apirak Mitrpracha
    • Dr. Neng, Off's therapist
    Norathep Panyanavakij
    • Temple boy with old monk
    Nitipong Thinthupthai
    • Koh
    • (as Nitipong Tinthupthai)
    Rangsan Sutthimaneenun
    • Hospital director
    Kasansaeng Kamnerdmee
    • Physical therapist
    Kosin Wongtes
    • Guitar player
    Thanawat Thampreechapong
    • Doctor 1
    • निर्देशक
      • Apichatpong Weerasethakul
    • लेखक
      • Apichatpong Weerasethakul
    • सभी कास्ट और क्रू
    • IMDbPro में प्रोडक्शन, बॉक्स ऑफिस और बहुत कुछ

    उपयोगकर्ता समीक्षाएं21

    7.34.7K
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    फ़ीचर्ड समीक्षाएं

    6cliff-19

    I really tried to give it a chance but...

    I have now seen three of Apichatpong's films (Mysterious Objects, Blissfully Yours and now this). It finally occurred to me what is going on and why so many people, already enamored of offbeat, experimental and artsy films, still find his work difficult.

    I really got into "Mysterious Objects" at first, the "exquisite corpse" method and the way a simple story got embellished as he went along. But Apichatpong seemed to lose interest in the narrative, so the film became a static slide show of his travels, losing all of its narrative energy.

    "Sud Saneha" (Blissfully Yours) never got me engaged. It was an agonizing experience in lost opportunity and self-indulgent amateurism.

    So now, I can say that "Syndromes and a Century" is by far the best of the three. I gave it 6 out of 10.

    I finally understood that Apichatpong is an artist of still images. He has no idea what to do with emotions or the people who feel them. He just allows them to populate his canvas, and pays no attention to what they do. In fact, if they do nothing and stay still, that's even better.

    The camera moves from time to time, but that is clearly just giving better depth to his still images. He has no skills in using images that move, other than to take them in in a decidedly passive way. There are times in this movie when it is effective (the steam entering the pipe, for example), but most of the time, it underscores his discomfort with the moving image.

    I really want to like his films, mostly because here in Thailand, popular culture is so crushing and stifling, anything artistic is like drops of water in a desert. But I can only cut so much slack.
    7johnnyboyz

    Sweeping, emotional and visually driven film documenting times gone by under a banner of the high-art.

    Thai film Syndromes and a Century manages to come across as an unashamedly routine love story told amongst a palette of long takes, highly ambiguous symbolism, a distinct manipulation of time and space as well as a telling of events from particular perspectives. The film is a high-art piece, with particular avant-garde sensibilities, as it weaves a tale that sways in and out of the past tense, the present tense and distinct and important memories as well as some sort of alternate reality. The film is very spiritual, and it carries that slow and methodical tone that compliments the delicate and somewhat sensitive subject matter of love, rejected love and life. The slow tracking camera as shots of about twenty seconds in length of stone Bhudda statues suggests whatever journeys these characters are on are more spiritual than they are physical.

    Syndromes and a Century isn't necessarily too concerned with narrative, and whatever development of its characters it does, or connection with them we feel with them, is going to be by way of relating to the fondness they feel for one another more-so the vast and complex changes they undergo. Instead, the film takes a step back; focusing more on camera and atmosphere, in particular, where the camera is situated just as much as it is concerned with where it isn't. There is a scene, very early on, in which the camera stands mere feet off the ground at a door-way and focuses on an individual of medical profession talking to various patients sitting to the side of this person's desk. The placement is pretty clear, and with synopsis in mind that this is a personal piece documenting memories of the director's parents as he spent time in the hospital in which they worked, the shot is quite clearly supposed to resemble a child's point of view; tepid as to whether to come in or not and insignificant enough for the people in the room to pretty much ignore them.

    But that's not to say the film is entirely told from a child's perspective, just those scenes that director Apichatpong Weerasethakul feels necessary to document in that grounded, lack of cuts and edits manner. Weerasethakul blends a very articulate sense of the observant during most of the internal scenes supposedly revolving around his parents working in respective spaces; shot through a camera that is very much a part of the scenes, but isn't directly involved in the action, with rather routine exchanges and dialogue sequences in which exactly how people feel for one another needs to be laid out and fast-tracked.

    This romance revolves around a young doctor who happens to be quite fond of what is the closest resemblance in the film of a lead role in a young, female nurse. When this individual eventually confesses his feelings outside in the hospital grounds, there is an entire segment of the film dedicated to a flashback of what I presume to be a prior love in the life of the nurse, a flower salesman by the name of Noom (Pukanok). Given the overall context of the piece and it being a recollection or acknowledgement of past events, the extended break away into the past tense of when the nurse is reminded of prior events fits the overall context of the film; that being as something that is all about delving into the past and remembering important times gone by; times that, indeed, may well have shaped an individual or had such an impact on them that it has made them the way they are.

    As the film progresses, scenes seem to repeat themselves, but from different angles in the room or at the location. Scenes play out from earlier on but cross the line and have the child-like perspective from a different position in what I can only assume is the director's recollection of the general area he frequented many times but, given how complicated and meaningless everything everybody ever said in these rooms was to a child anyway, a lot of the talk; dialogue and exchanges people engaged in with one another just seemed to blend in with everything else and sound the same. What's important in this regard is remembering how highly the visuals of the piece are emphasised by the director; this is a piece about observing and recalling places and people and how this had an impact on you in your life. What it isn't interested in is any particular aural detail: the dialogue between two people that love one another is deliberately unspectacular and the speech in the hospital comes close to exact repetition.

    As a piece that evokes a certain emotional response, Syndromes and a Century succeeds. It is a memorable experience about specific memories themselves, while being deliberately ambiguous and hazy in its set time-frame. Even some of the film's more outrageous content feels as if it can carry certain meanings without coming across as too pretentious. Take, for example, the air condition equipment sequence which acts as a visualisation of raw human emotion as the previously seen dust or smoke that had settled in the room is soaked up by a funnel, in a sort of visualisation of the bombshell of a few scenes ago in which a character proposes they move away with their love. The bombshell is dropped; the smoke litters the area but it is then all absorbed as the other individual comes to terms with what positive things that decision may incorporate. The film is stunning at the best of times, which is rather frequently, and doesn't really drop below a level of high, humbling quality.
    5bandw

    Artistically filmed, but tried my patience

    There is a story to be found here somewhere, but it is cleverly hidden among a grab bag of images. Ostensibly it is about the director's parents who were both doctors. But they are on screen for about 10% of the movie.

    Director Weerasethakul uses skillful framing and subtle color to create some remarkable images. There are some very sensual scenes of natural settings. The majority of scenes seem to be thrown in due to random firings in the director's brain. There are long slow takes circling statues that come from nowhere and go nowhere and lots of prolonged shots of people staring into space. There is one scene capturing a perfectly ordinary dental procedure that goes on for several minutes and another scene of great length of an exhaust vent sucking smoke out of a room. This latter is somewhat transfixing, but I can't see why it's there.

    The movie creates a mood, but I often found that mood to be one of annoyance. If anyone can explain the meaning of the English title ("Syndromes and a Century") please let me know.

    This one is definitely for the art house crowd.
    8grantft

    A film about the way that memory feels.

    Here there is no story, no beginning or end. Snippets only of the universal experience of memory and feeling. So banal, so beautiful, the camera looks - often from a distance almost in reverie, at the smallest things in our lives. The camera is in fact a detached "third eye" - seeing what we don't focus on, remembering what we have forgotten. The actors (are they actors?) play out their small parts with humor, grace and and sincere naturalism.

    One of a handful of directors using the unique language of film to its fullest doing what no other medium can do.

    Touching, funny, hypnotic, complex and simple - Weerasethakul's signature is all over this film - his humanity, his recognition that the unexplainable is present in every ordinary life, that everything is worthy of our attention ...
    8lastliberal

    Bad, inconsequential thoughts gather in our brain.

    I never had a dentist sing to me while he worked. It's just as well as I usually fall asleep. It is just one of the strange things that happen in this rural hospital. But the stories and the characters seem tangential. They focus is on the sets. Whether the hospital, the farmer's market, or the orchid farm; the sets seem to be what Apichatpong Weerasethakul is emphasizing.

    People may be talking or singing, but the camera is on a window with the sun shining through, and it stays there for a long time.

    There is no continuity. Scenes shift aimlessly with no apparent purpose. You almost feel like you are watching a Godfrey Reggio film with some dialog.

    The film suddenly shifts to a city hospital, and we see some of the same scenes repeated. Where the first half was very feminine, the second half takes on a masculine tone.

    The dentist doesn't sing, he has an assistant, and everything is sterile. The doctors seem more matter-of-fact, almost uncaring.

    One thing is consistent, and that is a large white Buddha. It sits on the ground of both stories.

    After a long shot of a hallway, the screen goes black leaving you wondering. It is a true art film for those who appreciate what a filmmaker can do and who are not upset by the lack of story.

    A Zen kōan.

    इस तरह के और

    Sud pralad
    7.1
    Sud pralad
    Rak ti Khon Kaen
    6.8
    Rak ti Khon Kaen
    Loong Boonmee raleuk chat
    6.7
    Loong Boonmee raleuk chat
    Sud sanaeha
    6.9
    Sud sanaeha
    Dokfa nai meuman
    6.7
    Dokfa nai meuman
    On Blue
    8.2
    On Blue
    Memoria
    6.4
    Memoria
    Mekong Hotel
    6.1
    Mekong Hotel
    Soleil Ô
    7.3
    Soleil Ô
    La mujer sin cabeza
    6.5
    La mujer sin cabeza
    He liu
    7.2
    He liu
    Ten Years Thailand
    6.2
    Ten Years Thailand

    कहानी

    बदलाव करें

    क्या आपको पता है

    बदलाव करें
    • ट्रिविया
      Received a very limited release in Bangkok. This theatrical version, known as the "exclusive Thailand edition", had its six contentious scenes blacked out or scratched and contained no sound.
    • कनेक्शन
      Referenced in One Hit Wonderland: 'You Light Up My Life' by Debby Boone (2013)

    टॉप पसंद

    रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
    साइन इन करें

    अक्सर पूछे जाने वाला सवाल

    • How long is Syndromes and a Century?
      Alexa द्वारा संचालित

    विवरण

    बदलाव करें
    • रिलीज़ की तारीख़
      • 13 जून 2007 (फ़्रांस)
    • कंट्री ऑफ़ ओरिजिन
      • थाईलैंड
      • फ़्रांस
      • ऑस्ट्रिया
    • भाषा
      • थाई
    • इस रूप में भी जाना जाता है
      • Syndromes and a Century
    • फ़िल्माने की जगहें
      • Lumphini Botanical Park, बैंकॉक, थाईलैंड(Ending)
    • उत्पादन कंपनियां
      • Anna Sanders Films
      • Backup Media
      • Centre national du cinéma et de l'image animée (CNC)
    • IMDbPro पर और कंपनी क्रेडिट देखें

    बॉक्स ऑफ़िस

    बदलाव करें
    • US और कनाडा में सकल
      • $16,675
    • US और कनाडा में पहले सप्ताह में कुल कमाई
      • $5,518
      • 22 अप्रैल 2007
    • दुनिया भर में सकल
      • $70,649
    IMDbPro पर बॉक्स ऑफ़िस की विस्तार में जानकारी देखें

    तकनीकी विशेषताएं

    बदलाव करें
    • चलने की अवधि
      1 घंटा 45 मिनट
    • रंग
      • Color
    • ध्वनि मिश्रण
      • Dolby Digital
    • पक्ष अनुपात
      • 1.78 : 1

    इस पेज में योगदान दें

    किसी बदलाव का सुझाव दें या अनुपलब्ध कॉन्टेंट जोड़ें
    Sang sattawat (2006)
    टॉप गैप
    By what name was Sang sattawat (2006) officially released in India in English?
    जवाब
    • और अंतराल देखें
    • योगदान करने के बारे में और जानें
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