Yesterday's screening of Apichatpong's Mekong Hotel in Glasgow made it obvious to me how problematic the term Slow Cinema is.
The name Apichatpong Weerasethakul appears almost everywhere you look for something written on Slow Cinema. His work is a trademark. Mekong Hotel, however, makes me wonder to what extent films are slow, and whether it wouldn't be appropriate to narrow the term Slow Cinema to a more specific, cohesive and conclusive part of slow . . .
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