In the first half, the same-sex relationship in the countryside slowly fermented in restraint, and this way of getting along with challenging instinctual desire is secretive and lonely. Fragmented like a prose, it shows the love and life details of a gay couple in their home villages and small towns. There is still Apichatpong's fitness square dance. The last man in the first half licks the hand of another man. You can say it is a naked display of sexual desire, or you can understand this paragraph as the interpretation and prelude to the second half. The metaphysical story of man and tiger in the primeval forest in the second half is more like a dream about taboos. You cannot decipher mysticism any more than you cannot decipher dreams. There are the most personal desires and emotions. So dreams are also real, real about the spirit and everything inside. In the delicate audio-visual language, Apichatpong easily brings the audience into the virgin forest. When you are in the image, you will be intoxicated. You will hold your breath under the gaze of the man and the tiger, in awe .
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