To a Friend I Have Never Met

Today is New Year’s Eve, though lèse-majesté suspects, and those who have fled the country to avoid lèse-majesté charges, are unable to celebrate with their families. Chatchawal Thongjun, director of From Forest to City (อรัญนคร), has made a new short film for the new year dedicated to lèse-majesté prisoners: To a Friend I Have Never Met (แด่เพื่อนที่ไม่รู้จัก).

The documentary shows footage of protesters campaigning for the release of Arnon Nampa and all other political prisoners, while its soundtrack is a conversation about the plight of those in self-exile who are unable to return to Thailand. The speakers compare the dire situation to dystopian fiction: “It’s as hard as in Squid Game [오징어 게임]. If you want to stay here you have to bow your head and respect them. No questions allowed. No doubts allowed. Because otherwise, it’ll be like in 1984.”

With its compassionate focus on the plight of those charged with lèse-majesté, To a Friend I Have Never Met is similar to Koraphat Cheeradit’s Yesterday Is Another Day, Apichatpong Weerasethakul’s Ashes, and Vichart Somkaew’s Contemporary Thai Political Trilogy (ไตรภาคการเมืองร่วมสมัยไทย). (Thai Cinema Uncensored discusses the impact of the lèse-majesté law on Thai filmmakers, and their responses to it.)

SK13: Kubrick’s Endgame

Stanley Kubrick died in March 1999, and his final film, Eyes Wide Shut, was released posthumously four months later. have always surrounded the film’s post-production, as Kubrick was known for making alterations to his films right up to — and sometimes even after — their theatrical releases. Kubrick screened Eyes Wide Shut for its stars Tom Cruise and Nicole Kidman in the days before he died, but this was not the final cut, and subsequent changes were made by the studio after his death. (Full disclosure: having seen a workprint of Eyes Wide Shut, this is not mere speculation on my part.)

In their book on Eyes Wide Shut, Nathan Abrams and Robert Kolker dismiss rumours about the film’s state of completion as “ultimately irrelevant and certainly counterproductive to our understanding of the film and the pleasure we take from it”, though in their Kubrick biography they call the issue “the most serious controversy of Kubrick’s career”. Tony Zierra clearly agrees with the latter position, and his new documentary SK13: Kubrick’s Endgame attempts to clear up some of the questions regarding Eyes Wide Shut’s post-production.

In a voiceover narration, Zierra describes the reaction to Eyes Wide Shut when the film was screened for Cruise, Kidman, and the Warner Bros. studio heads: “It was widely reported that the private screening in New York was a success, that what was shown that night was Kubrick’s final cut, and the studio executives were happy. But after years of research, I discovered that what happened after the screening contradicted what was publicly reported. Although the two stars were enthusiastic, the film everybody was waiting to see for years was viewed by the studio executives as shockingly bad”.

While Zierra doesn’t provide any evidence to back up that bold claim, his film does feature revealing new interviews with former Warner Bros. executive Julian Senior and Eyes Wide Shut cinematographer Larry Smith, who hint at the unease surrounding the film’s post-production. Like Abrams and Kolker, Zierra found production documents in the Kubrick Archive listing the changes required to the film. It has been previously reported, for instance, that the voice of the character played by Abigail Good was later redubbed by Cate Blanchett, and SK13 includes a rare recording of Good’s original audio track.

The documentary also contains other exclusive material, including a brief appearance by Kubrick in actress Marie Richardson’s audition video. Extracts from Michel Ciment’s interviews with Kubrick are played at several points in the film. Some of these Ciment clips were also featured in Grégory Monro’s earlier documentary Kubrick by Kubrick (Kubrick par Kubrick). At one point, SK13 uses artifical intelligence to recreate Kubrick’s voice, though the disclaimer that the recording is AI-generated is buried among the end credits.

Although it raises important issues about the release of Eyes Wide Shut, SK13’s analysis of Kubrick’s thirteenth feature film is hard to take seriously. It points out continuity errors as if they had some special significance — they don’t — and identifies unconvincing hidden symbols in the film’s props. Bizarrely, Zierra seems to believe that an accidental split-second reflection of a crew member was a deliberate artistic choice of Kubrick’s, and he presents this as a major revelation (which it certainly isn’t). SK13 ultimately has too many echoes of the implausible conspiracy theories in Rodney Ascher’s documentary Room 237.

Fall

Nipan Oranniwesna’s solo exhibition Fall was held at Jing Jai Gallery in Chiang Mai, from 1st March to 2nd June. The exhibition included several works from 2020 that refer to events leading up to the 6th October 1976 massacre at Thammasat University. An installation from the exhibition, Then, One Morning, They Were Found Dead and Hanged, was previously shown at the Thailand Biennale in Chiang Rai.

Then, One Morning, They Were Found Dead and Hanged dominated the gallery floor, with capital letters carved from teakwood that read “THEN, ONE MORNING, THEY WERE FOUND DEAD AND HANGED. IT WAS LATER ESTABLISHED, THAT THEY WERE DONE TO DEATH BEFORE THEY WERE HUNG.” This text refers to Choomporn Thummai and Vichai Kasripongsa, two men who were hanged by police from a gate in Nakhon Pathom on 25th September 1976, after they campaigned against military dictator Thanom Kittikachorn’s return from exile.

Thammasat students staged a reenactment of the hanging on 4th October 1976, and the right-wing Dao Siam (ดาวสยาม) newspaper reported this on its front page two days later, with a photograph of one of the students, Apinan Buahapakdee. Apinan bore a slight and coincidental resemblance to King Vajiralongkorn, who was Crown Prince at the time, and the newspaper accused the students of “แขวนคอหุ่นเหมือนเจ้าฟ้าชาย” (‘burning the Crown Prince in effigy’). It was this incendiary and false headline that led vigilante groups to storm the campus.

Nipan’s teakwood text appears on painted clouds, which are based on a photograph taken by the artist on 24th June 2020, the anniversary of Thailand’s 1932 transition to a constitutional monarchy. This metaphorical reference — the sky as an indirect allusion to the monarchy — has also been employed by other artists: t_047’s single ไม่มีคนบนฟ้า (‘no one in the sky’), and Wittawat Tongkeaw’s installation Creation-Conclusion (เริ่ม-จบ). Wittawat commented on the metaphor with the title of his painting It’s Just the Sky, Nothing More.

The gate from which the two activists were hanged was rediscovered by Patporn Phoothong in 2017. A photograph of the gate (simply titled Gate) was also part of Fall, shown alongside framed reproductions of a twelve-page account of the Thammasat massacre — titled Ungpakorn [sic] — typed by Puey Ungphakorn (a former rector at Thammasat) on 25th November 1976.

Patporn made a short documentary about the case, The Two Brothers (สองพนอง), and exhibited the gate itself at Thammasat in 2019. A split-second image of the gate appears in Tewprai Bualoi’s short film Friendship Ended with Mudasir Now Salman Is My Best Friend (มิตรภาพสิ้นสุดกับ Mudasir ตอนนี้ Salman คือเพื่อนที่ดีที่สุดของฉัน). The gate has inspired several paintings, including Jirapatt Aungsumalee’s ประตูแดง (‘red gate’) and Pachara Piyasongsoot’s What a Wonderful World, and the poster Just Because You Can’t See It, Doesn’t Mean It Didn’t Happen.

Oblivion: The Original Texts

The short film Oblivion: The Original Texts (เลือน: บทประพันธ์ดั้งเดิม), a collage of found footage woven into a magical realist allegory, begins with the sound of gunshots, stills from the recent film Taklee Genesis (ตาคลี เจเนซิส), and a voiceover in which a student, Burindh, describes the 1976 massacre at Thammasat University: “A gunshot has been fired. Sending its vibrating wave upon my chest.”

As the poetic voiceover continues, the narrator recalls how he fled not only from the Thammasat campus but from Bangkok itself, which “is not the city of the people. It is not the city of ordinary people”. (These lines are juxtaposed with vintage newsreel footage of the Ananta Samakhom Throne Hall and the Grand Palace, symbolic buildings that have also featured in some of the director’s previous short films.)

As he escapes from his attackers, Burindh asks: “if I don’t possess this ideology that’s different than them, would they still aim their bullets at me?” The question is as relevant now as it was in 1976, as riot police fired rubber bullets at student protesters in 2021 and 2022. The film uses footage of a protest against Ampon Tangnoppakul’s conviction for lèse-majesté, taken from the short film Ashes, to hint at the ideology of Burindh and the recent protesters.

In 1976, a prominent monk, Kittivuddho Bhikku, pronounced that killing Communists was equivalent to merely catching fish, in a signal to the royalist vigilante groups who stormed the Thammasat campus a few months later. Images of fish in the documentary The Terrorists (ผู้ก่อการร้าย) were metaphors for the monk’s comments, though Oblivion goes a stage further: Burindh transforms into a goby fish and swims away from Bangkok.

Burindh’s metamorphosis is similar to that of Boonsong, the monkey spirit in Uncle Boonmee Who Can Recall His Past Lives (ลุงบุญมีระลึกชาติ), another student who fled from persecution and transformed into an animal. Burindh meets Boonsong, his (literal) kindred spirit, who reassures him that his memories (and, by implication, Thailand’s political traumas) will not be forgotten as long as they are retold.

Oblivion is the latest of more than fifty films that refer to the Thammasat massacre. (The previous examples are discussed in Thai Cinema Uncensored.) It was directed under the pseudonym Burindh the Golden Goby, and it will be followed by Oblivion: The Non-human Interpretation, which will be shown next year as part of Bangkok Design Week.

Save it with Our Eyes

Twenty short films will be shown this evening at the Ready for the Weekend coffee shop in Khon Kaen, as part of the ‘save micro cinema’ campaign. The Save It with Our Eyes programme includes Vichart Somkaew’s The Letter from Silence (จดหมายจากความเงียบ) and Chaweng Chaiyawan’s Please... See Us (หว่างีมอละ).

The campaign began earlier this week, after Bangkok’s boutique Doc Club and Pub cinema announced that it could no longer screen films. On 20th June, Doc Club began showing Sarawut Intaraprom’s Pup (สุนัข และ เจ้านาย), which was rated ‘20’, and three staff from the Ministry of Culture were on site to ensure that audience IDs were being checked. They discovered that the venue had never applied for a cinema licence, and advised that it could continue to operate during the application process.

However, Doc Club’s licence application was ultimately rejected, as its location, the Woof Pack building, does not have sufficient access. (The cinema can only be reached via narrow staircases.) In a statement posted on social media on 16th December, Doc Club explained (perhaps naively) that they had not realised that a cinema licence was necessary, and that they were attempting to find a more suitable location.

The Letter from Silence was previously screened as part of The 28th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 28) and the Short Film Marathon 28 (หนังสั้นมาราธอน 28). Please... See Us was shown at Maejo University in Chiang Mai earlier this year, at Chiang Mai University, and at a Chaweng retrospective in Phattalung. It had an outdoor screening in Chiang Mai last year. It has been screened twice at Doc Club, in 2021 and 2023. It was shown in Phayao as part of Wildtype 2021, and in Salaya at the 25th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 25).

Nosferatu:A Symphony of Horror

Nosferatu: A Symphony of Horror (Eine Symphonie des Grauens), made more than a hundred years ago, is returning to the big screen. It will be shown tonight at Ruammitrhouse in Chiang Rai, with live musical accompaniment by Count 3–0 (as part of the Silent-Cine: Interlude programme), and at House Samyan in Bangkok on 2nd–9th, 11th, 12th, 15th, 17th, 18th, and 19th January 2025.

F.W. Murnau’s classic film, an unauthorised adaptation of Dracula, is a masterpiece of horror and German Expressionism. It contains some of the most iconic images in silent cinema, especially the sequence in which the vampire, seen only as a shadow, glides up a staircase and extends his talons to clutch his victim’s heart.

Nosferatu was also shown in Bangkok earlier this year at GalileOasis, and in 2018 at Cinema Winehouse. It had a gala screening at the Scala cinema in 2016, as the opening film of the 3rd Silent Film Festival in Thailand (เทศกาลภาพยนตร์เงียบ ประเทศไทย ครั้งที่ 3).

Unleashed

Boris Johnson’s memoir Unleashed is almost 800 pages long, though there are only a handful of genuinely interesting passages amid the self-congratulatory prose. The most curious of these is an anecdote implying that Israeli Prime Minister Benjamin Netanyahu planted a bug in the UK Foreign Secretary’s private bathroom: Johnson writes that Netanyahu used the room during a visit to the Foreign Office, and that during a subsequent security sweep “they found a listening device in the thunderbox.”

Johnson is clearly aware of his reputation, characterising himself in his opponents’ eyes as “the monstruous Johnson, the beast of Brexit and the big bullshitting bus, the Pied Piper who played the devil’s tunes and led the people to perdition.” He later describes the Vote Leave campaign bus as “the great red bus of truth”, just one of numerous misleading and unretracted claims about the European Union. When he decided to campaign for Brexit, he says that David Cameron told him: “I will fuck you up forever.”

He acknowledges making “many goofs”, though he is unrepentant about his major failings. He refuses to accept the Supreme Court’s ruling that his prorogation of parliament was illegal, and nicknames Brenda Hale “Spiderwoman” after a brooch she wore while reading the judgement. He is also unapologetic about ‘partygate’, and in fact he now regrets the “rather pathetic apologies” he made at the time. Despite a Privileges Committee report accusing him of repeatedly lying to the House of Commons, he insists that he “hadn’t misled Parliament, certainly not intentionally,” and calls the committee members “my enemies.” This is a consistent theme, as he also blames his partygate fine on people “determined to bring me down.”

Anthony Seldon’s Johnson at Ten is a much more objective account of Johnson’s premiership (as is Tim Shipman’s new book Out), and Sebastian Payne’s The Fall of Boris Johnson is a detailed study of the final months of the Johnson government. The other recent memoirs by former UK prime ministers are A Journey by Tony Blair, My Life, Our Times by Gordon Brown, For the Record by David Cameron, and two less conventional examples: The Abuse of Power by Theresa May and Ten Years to Save the West by Liz Truss.

“ABC News and George Stephanopoulos regret statements regarding President Donald J. Trump...”

ABC News has agreed to pay Donald Trump $15 million in an out-of-court settlement, after he sued the organisation for defamation earlier this year. Trump filed a lawsuit against ABC News and one of its anchors, George Stephanopoulos, when Stephanopoulos asked Republican politician Nancy Mace on air why she had endorsed Trump as a presidential candidate despite Trump having been “found liable for rape.”

Stephanopoulos interviewed Mace on This Week, in a segment broadcast on 10th March. He began the interview with a reference to a civil prosecution in which Trump was found guilty of sexually abusing E. Jean Carroll: “You’ve endorsed Donald Trump for president. Donald Trump has been found liable for rape by a jury. Donald Trump has been found liable for defaming the victim of that rape. It’s been affirmed by a judge.”

Mace, who is herself a rape victim, stated that she found the premise of the interview “disgusting.” Stephanopoulos again asked her to justify her endorsement of Trump: “I’m asking a question about why you endorsed someone who’s been found liable for rape.” Mace accused Stephanopoulos of victim-shaming her, and Stephanopoulos attempted to clarify: “I’m questioning your political choices, because you’re supporting someone who’s been found liable for rape.”

Stephanopoulos then pressed Mace again to answer his initial question: “why are you supporting someone who’s been found liable for rape?” She replied that the question was offensive, to which Stephanopoulos responded: “You don’t find it offensive that Donald Trump has been found liable for rape?”

Trump’s libel claim hinged on the fact that he was convicted of sexually assaulting Carroll, rather than raping her. His lawsuit quoted Stephanopoulos on previous broadcasts referring to sexual assault, in an attempt to prove that Stephanopoulos was aware of the distinction and had used the word ‘rape’ in the combative Mace interview either recklessly or maliciously.

Trump also sued Carroll for the same reason, after she accused him of rape despite the sexual assault conviction. That lawsuit was dismissed, however, as the judge in the sexual assault case issued a written clarification: “that Ms. Carroll failed to prove that she was “raped” within the meaning of the New York Penal Law does not mean that she failed to prove that Mr. Trump “raped” her as many people commonly understand the word “rape.” Indeed... the jury found that Mr. Trump in fact did exactly that.”

The previous references by Stephanopoulos to sexual assault were all made before 19th July 2023, when the clarification was published. His comments in the Mace interview, however, were made afterwards, so it could reasonably be argued that he was using the term ‘rape’ “as many people commonly understand the word”, as per the judge’s clarification. Nevertheless, ABC settled the case yesterday and issued a cursory statement: “ABC News and George Stephanopoulos regret statements regarding President Donald J. Trump made during an interview by George Stephanopoulos with Rep. Nancy Mace”.

Journal of the Siam Society

Thai Cinema Uncensored is reviewed in the new issue of the Journal of the Siam Society (pp. 149–152). In his review, written in French, Bruno Marchal describes the book as “une plongée éclairante dans l’univers cinématographique thaïlandais” (‘an enlightening dive into the Thai cinematic universe’).

JSS (vol. 112, no. 2) was published this month. Thai Cinema Uncensored has also been reviewed by the International Examiner and Bangkok Post newspapers, the journal Sojourn, the magazines Art Review and The Big Chilli, and the 101 World website.

Bangkok Through Poster 2024Thailand Postlitical Fiction

The fifth annual Bangkok Through Poster exhibition opened at Kinjai Contemporary in Bangkok yesterday. This year’s theme is Thailand Postlitical Fiction: poster designs for imaginary movies commenting on Thai politics. Sixty-seven posters were selected from works submitted by artists, students, and design studios, and many of the posters are accompanied by synopses for the fictitious films they illustrate.

A handful of posters in the exhibition refer to past political violence. One example is a spoof horror film titled Cursed Siam (สาปสยาม) by Canyouhearcloud, referencing the 6th October 1976 massacre at Thammasat University. Two posters refer to the 2010 crackdown at Ratchaprasong: All the Light We Can(not) See by Wonderwhale Studio (which uses candles to represent the red-shirt victims), and Animal Sanctuary by Chonlatorn Wongrussamee (which emphasises the killing of wounded protesters sheltering at Wat Pathum Wanaram). Two posters — More Conceal, More Reveal (ยิ่งปกปิด ยิ่งเปิดเผย) by Deepend Studio, and Unfortunately by Njorvks — highlight former prime minister Abhisit Vejjajiva’s statement that “unfortunately, some people died” at Ratchaprasong. Kawinnate Konklong’s short film Unfortunately (แค่วันที่โชคร้าย), released last year, also refers to Abhisit’s dismissive comment.

Most of the posters, however, focus on more recent events. Thaksin Shinawatra and his daughter Paetongtarn (the current Prime Minister) are the most common theme, featuring on ten posters: The Missing (You Too Much) (ผมคิดถึงคุณ) by Setthawuth K. (a spoof of The Shining), The Chair of the Promise Land [sic] by Genji Kun, The Zone of Shinnawatra [sic] by Nam.Ni.Ang, The Successor by Gaw Chutima, Hereditary by Kritsaran Hanamonset, The Loop by Thalufah, The Invisible Storm by Antizeptic, The Landslider by Sina Wittayawiroj (a diptych inspired by The Lobster), and Closing the Scenes (ปิดฉาก) by Thiraphon Singlor.

The student protest movement inspired almost as many posters as the Shinawatras, including Chorn Yuan’s A Smile. There are two that refer to 16th October 2020, when riot police used water cannon to disperse protesters at Siam Square: 16 10 63 by PrachathipaType, and Sky Flood, Stars Fall (น้ำท่วมฟ้า ปลากินดาว) by Tnop Design. Panita Siriwongwan-ngarm’s Here at Din Daeng Police Station, a Boy Named Varit Died (ที่นี่ (สน.ดินแดง) มีคน ตาย ชื่อ ด.ช.วาฤทธิ์) honours a 15-year-old boy who was shot at a protest in 2021.

Protest leader Arnon Nampa appears in two posters: The Lawyer Devil (ทนายปีศาจ) by Shake and Bake Studio, and The Letter (จดหมายรัก) by Tanis Werasakwong (known as Sa-ard). The Letter refers to letters he wrote to his family from prison, as does Vichart Somkaew’s short film The Letter from Silence (จดหมายจากความเงียบ), released this year. Arnon’s fellow protest leader Parit Chirawak features in The Penguin 112 by director Chaweng Chaiyawan (a reference to Parit’s nickname and the lèse-majesté charges he faces).

Article 112 also inspired perhaps the strongest poster in the exhibition, Pssyppl’s Lèse-majesté, which depicts blue figures strangling red ones with nooses, a comment on the maliciousness and severity of lèse-majesté prosecutions. Bangkok Through Poster 2024 runs until 22nd December, and Neti Wichiansaen’s documentary Democracy after Death (ประชาธิปไตยหลังความตาย) will be shown on the final day of the exhibition. (The film was also screened in Chiang Mai last year and in 2022.)

Please... See Us

Chaweng Chaiyawan’s Please... See Us (หว่างีมอละ) will be screened tomorrow at Maejo University in Chiang Mai as part of a double bill of Chaweng’s short films. Please... See Us is a powerful and transgressive film, and ends with an extended sequence in which a pig is killed and dismembered, the helpless animal being a tragic metaphor for the plight of ethnic minorities in Thailand.

The film was shown at Chiang Mai University ealier this year, and at a Chaweng retrospective in Phattalung. It had an outdoor screening in Chiang Mai last year. It has been screened twice at Doc Club and Pub in Bangkok, in 2021 and 2023. It was shown in Phayao as part of Wildtype 2021, and in Salaya at the 25th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 25).

Sarit Thanarat

Sarit Thanarat, military prime minister during the Cold War, died in December 1963. After his death, the floodgates opened, and exposés of his love life were rushed into print. His lovenest was a private residence nicknamed the ‘pink palace’ (วิมานสีชมพู), and this was the title of a Sarit biography published in 1964, which included a dossier of photographs of Sarit’s alleged lovers. Several erotic novels of the period, including แม่ม่ายผ้าขะม้าแดง (‘red-headed widow’), were also thinly-veiled portrayals of Sarit’s mistresses.

Almost fifty years later, the phrase ‘pink palace’ was censored by Channel 3 when it broadcast the lakorn คุณชายพุฒิภัทร (‘khun Chai Puttipat’) on 5th May 2013. In the third episode, a former military general played by Montree Jenuksorn (who slightly resembles Sarit) discussed his ‘pink palace’, though the sound was muted, presumably to avoid any possibility of a libel suit from Sarit’s descendents. (The novel on which the drama was based refers to Sarit more obliquely.)

Potential defamation also prevented director Banjong Kosallawat from making a planned Sarit biopic in 2002, which was to have been titled จอมพล (‘marshal’). Sarit did feature briefly in the horror movie Zee Oui (ซี-อุย), ordering the swift execution of the murderous title character for political expediency. And Sarit’s statue looms ominously over the characters in Song of the City, Apichatpong Weerasethakul’s segment of the portmanteau film Ten Years Thailand.

After Sarit led a coup in 1957, he was portrayed as a hero by pliant newspaper cartoonists. One example of such propaganda showed Sarit cradling a rescued child in his arms, returning the boy (who represents the Thai people) to his grateful mother. In contrast, a July 1958 cartoon in the liberal ประชาชน (‘people’) newspaper depicted Sarit as a monkey wrapping his tail possessively around Democracy Monument. Sixty years later, in the wake of the 2014 coup, Sarit satire was too sensitive, and the Guerrilla Boys self-censored their mural Junta Connection (วิ่งผลัดเผด็จการ), which originally depicted Sarit passing his (literal) baton of dictatorship to Prayut Chan-o-cha.

Art and Culture (ศิลปวัฒนธรรม) magazine analysed cartoonists’ caricatures of Sarit (vol. 43, no. 1), and the journal Same Sky (ฟ้าเดียวกัน) examined the lurid books published shortly after his death (vol. 20, no. 2). Thai Cinema Uncensored discusses the portrayal of Sarit in Thai films.

Dateline Bangkok

2025 is just around the corner, and it marks Dateline Bangkok’s twentieth year online. It’s hard to imagine, but back when this blog began in 2005, Thaksin Shinawatra was prime minister (whatever happened to him...?), Siam Paragon and Suvarnabhumi airport weren’t open yet, and Moo Deng hadn’t been born.

The past two decades have been a period of political polarisation, with coups in 2006 and 2014, and violent crackdowns on protesters in 2010. Perhaps the most jaw-dropping political moment in recent memory came in 2019, when a Thaksin proxy party attempted to nominate Princess Ubolratana as prime minister. Sadly, the cycle of street protests, judicial overreach, and military intervention is likely to continue.

On the other hand, I have fond memories of many film events, including a marathon 24-hour programme of short films over a single weekend in 2018, various clandestine screenings of controversial films, and the World Class Cinema (ทึ่ง! หนังโลก) seasons at the much-missed Scala cinema. And did I really fly to Singapore in 2019 just to see one twenty-minute Thai film?!

There have been plenty of cultural highlights over the last twenty years. My joint favourites are Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives (ลุงบุญมีระลึกชาติ), which won the Palme d’Or at the Cannes Film Festival in 2010, and Rap Against Dictatorship’s anthemic single My Country Has (ประเทศกูมี), which was released in 2018 and instantly went viral online.

On a personal note, Thai Cinema Uncensored, published in 2020, told the full story of Thai film censorship for the first time. Dateline Bangkok’s archive now contains thousands of articles, and the average number of readers is around 1,500 per day, and if you’re reading this, you’re one of them, so thank you very much!

somethingELSEBack to the Future

Sompot Chidgasornpongse’s short drama The Physical Realm (ภูมิกายา) will be shown at Doc Club and Pub in Bangkok tomorrow, in the second of a series of screenings organised by ELSE. The theme of the somethingELSE programme is Back to the Future.

The Physical Realm had its Thai premiere almost exactly a year ago, at The 27th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 27). It was also shown in Chiang Rai earlier this year at the Thailand Biennale. It will be screened at the Thai Film Archive in Salaya on 22nd December in a reprise of the Best of Short 27 (โปรแกรมผลงานชนะรางวัลจากเทศกาลภาพยนตร์สั้น ครั้งที่ 27) programme.

28th Thai Short Film and Video Festival

The Short Film Marathon (หนังสั้นมาราธอน) concluded two days ago, and The 28th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 28) will take place from 14th to 22nd December at the Thai Film Archive in Salaya. This annual festival, founded in 1997, is Thailand’s longest-running film event, providing a unique showcase for independent filmmakers.

Of the short films in competition, the highlights include Komtouch Napattaloong’s No Exorcism Film, screening on 14th December (and on 5th January next year), and Jarut Wisawong’s Twas Partly Love, and Partly Fear on 21st December. Both films were previously shown at Wildtype 2024.

The documentary film competition includes Vichart Somkaew’s The Letter from Silence (จดหมายจากความเงียบ) on 14th December. The documentary strand also features two feature-length films showing in competition that were not part of the online Marathon, as they are politically sensitive: Uruphong Raksasad’s Paradox Democracy on 14th December, and Thunska Pansittivorakul’s Damnatio Memoriae (ไม่พึงปรารถนา) on 15th December.

Damnatio Memoriae premiered at the DMZ International Documentary Film Festival in South Korea earlier this year. The director has trimmed the film’s frontal nudity for this Thai screening.

Paradox Democracy documents the recent student protest movement, and features clips from rally speeches by Arnon Nampa and other protest leaders, intercut with extracts from The Revolutionist (คือผู้อภิวัฒน์), a play about Pridi Banomyong staged by the Crescent Moon theatre group in 2020. The film’s working title was Paradox October, and it includes footage shot at the 6th October 1976 commemorative exhibition at Thammasat University in 2020.

Paradox Democracy’s release title has echoes of Pen-ek Ratanaruang’s Paradoxocracy (ประชาธิป'ไทย). It’s the third in a series of documentaries by Uruphong about the student protests. The first two films in the trilogy are You Fucked with the Wrong Generation (made for television, but not broadcast) and Songs of Angry People.

Sompot Chidgasornpongse’s short drama The Physical Realm (ภูมิกายา), one of the award winners from last year’s Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 27), will be shown on 22nd December in a reprise of the Best of Short 27 (โปรแกรมผลงานชนะรางวัลจากเทศกาลภาพยนตร์สั้น ครั้งที่ 27) programme. It will also be shown at Doc Club and Pub in Bangkok tomorrow.