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My initial reaction on seeing Apichatpong Weerasethakul’s Palme d’Or-winning “Uncle Boonmee, Who Can Recall His Past Lives,” a film highly respected by critics and beloved by audiences around the world, was “So what?”

This was partly a result of the high expectations that reviews had set up, and partly because the film’s charm relies so heavily on riffing with local and traditional folklore, and being whimsical about the supernatural. As Weerasethakul’s rhetoric about the ubiquity of superstition in his home country of Thailand is less than complimentary — “It’s a country of lies and fabrication” — this seemed like having your cake, eating it and then posting photos of it on social media.

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