{"id":2172,"date":"2018-04-11T14:59:08","date_gmt":"2018-04-11T05:59:08","guid":{"rendered":"http:\/\/www.the-concrete.org\/?p=2172"},"modified":"2020-11-05T19:09:35","modified_gmt":"2020-11-05T10:09:35","slug":"taiki","status":"publish","type":"post","link":"https:\/\/www.the-concrete.org\/en\/work\/cinema\/taiki\/","title":{"rendered":"The Mental Traveller"},"content":{"rendered":"<p>The Mental Traveller is a poetic reflection on the nature of remembrance. It navigates through the mental spaces of people consumed by memories of lost time.The film meditates on the passing of time, external behaviors, habitual patterns of thought and the sensorial realities of five mentally disordered men inside the psychiatric ward in Chanthaburi Province, east of Thailand, in which it is filmed. The film was conceived from the director\u2019s connections to his parents and companions as they went through states of sickness, impending death, dementia, grief, and temporary insanity. At the same time it echoes upon the turbulent years of political upheavals and repercussions in Thailand, resulting the nation in a state of delirium, lunacy and trauma.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Mental Traveller is a poetic reflection on the nature of remembrance. It navigates through the mental spaces of people consumed by memories of lost time.The film meditates on the passing of time, external behaviors, habitual patterns of thought and the sensorial realities of five mentally disordered men inside the psychiatric ward in Chanthaburi Province, east of Thailand, in which it is filmed. The film was conceived from the director\u2019s connections to his parents and companions as they went through states of sickness, impending death, dementia, grief, and temporary insanity. At the same time it echoes upon the turbulent years of political upheavals and repercussions in Thailand, resulting the nation [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[5,27],"tags":[],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2172"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=2172"}],"version-history":[{"count":6,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2172\/revisions"}],"predecessor-version":[{"id":2691,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/2172\/revisions\/2691"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=2172"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=2172"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=2172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}