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Analyzing Apichatpong's films is different from conventional approach, as the films are intricately tied to the viewing experience that is the reflection on our own living and being. His dreamy and meditative long takes, influenced by another master of slow cinema, Tsai Ming-liang, are the ultimate testament of time and memory, while working against the conventional dichotomy of form and content. The feelings and consciousness of being, evoked by Apichatpong’s distinctive cinematic language, is what the films are about. Peter Bradshaw wrote in The Guardian: Weerasekathul is an artist who demands that you return your thoughts to the unsolved and unspoken mysteries of existence: that we are born, live, die and all without ever knowing why, or often even wanting to know. Sleep consistently emerges as a thematic thread throughout Apichatpong's works. As we, the audience, watch characters drifting into slumber on the screen, we also enter a half-conscious state, blurring the boundaries between cinematic narrative and our own awareness. This awareness constitutes not only a part of viewing but also filmmaking process. Apichatpong says in an interview: “...the films become not only just the work itself but also the making of the films becomes part of the memory. Sometimes it’s really hard to distinguish, so that’s why I think it’s just one stream of creation, of living. “