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MovieMail's Review
Thomas Clay’s The Great Ecstasy of Robert Carmichael was one of the most intriguing British debuts of recent years - deeply flawed, and culminating in a truly horrific rape scene, it nevertheless showed flashes of brilliance, and heralded the arrival of a new cinematic talent. Soi Cowboy, shows a maturity lacking in the earlier film, detailing the relationship between an overweight European man (Nicolas Bro, a big star in his native Denmark) and a Thai girl. After a daring, lengthy opening sequence in which neither character exchanges a word, we gradually learn more about the nature of their relationship, and what at first seems like a mutually exploitative dynamic turns into something more affectionate, if perverse.
The long, lingering scenes recall the work of Chantal Akerman, while the eccentric structure - the plot changes dramatically halfway through, with completely new characters, before the two stories finally merge - owes much to the work of Apichatpong Weerasethakul (Syndromes and a Century). But the sensitive direction and lyrical interludes, as well as a sense of menace in the second half, are Clay’s own, a world away from the cheap shock value of Robert Carmichael.
Soi Cowboy is a two-part drama set in Thailand from Brighton-based filmmaker Thomas Clay (The Great Ecstasy of Robert Carmichael).
In Bangkok, a corpulent European man and a young, pregnant Thai woman live together in near silence. His large body stands in contrast to her tiny frame. He gives her presents – she has a growing collection of stuffed animals – and takes Viagra pills. She is looking for security, and he is the best way for her to stay out of Soi Cowboy, the red-light district where they met. She likes him, but sleeping with him is a duty. Meanwhile, in the countryside, a teenage mafia enforcer is employed to deliver his older brother’s head...
Clay’s avowed intention in Soi Cowboy was to explore the relative nature of sexual morality and the impact of global capitalism, represented in the unequal, if mutually beneficial, relationship between Tobias and Koi, and the violent story of Koi's brother Cha. The film combines inventive cinematography and shifting directorial styles to enter its characters' lives with both haunting intimacy and documentary-like clarity.