EPISTAXIS

The village headman in the Isaan region of Thailand organizes the Bun Bang Fai festival to pray for rain from the rain god Phaya Thoen, addressing the issue of drought.

A moving image captured by the director in 2025 depicts a late afternoon at a Catholic school in Thailand, as children leave for the day, mingling with teachers and parents waiting to pick them up. At a stone bench, two brothers, JAVA and JINO, are seen chatting, the elder being a friend of the director. The footage, originally shot on the director’s mobile phone, was later transformed to evoke the style of a silent film: the visuals were toned to resemble aged black-and-white film and accompanied by music from City Lights (1931) by Charlie Chaplin, enhancing the atmosphere reminiscent of the silent cinema’s final years in the early 1930s.

On a quiet night in the library, a young librarian prepares to head home alone, until something lurking in the shadows begins to creep closer.

Fragments of a contemplative essay film drifting between memory and dream. I see an old man haunted by an elusive voice, and a fading childhood quietly watching over him, in a space where prolonged sleep blurs the boundary of what is real. This is a story written from elsewhere a place where I listen, observe, and record his story, in an attempt to weave together images of family, and the quiet violence of growing up.

Thailand, 2030 — In an era where the government has legalized euthanasia through the organization ITB (In The Blink), Doc, a middle-aged “Negotiator,” is tasked with screening and evaluating those who request to end their lives for valid and justified reasons. But when a radical youth movement demands the legal age for euthanasia to be lowered — sparking debates over whether life’s achievements should come early, or even matter at all — tensions erupt and spiral into a crisis Doc and the organization could never have foreseen.

An obsessive finger-snapping office worker begins to encounter strange behaviors from those around him, which escalate over time. Meanwhile, black liquid starts to seep across his body.

Kua, a film student who shares his experiences, reasons, and ways of thinking that shaped his love for cinema, as well as what cinema has brought into his life, told through the eyes of Aaron, his close friend and future cinematographer.

Tomorrow, a man will direct his first feature film, but, that night, something happens.

A man embarks on a journey to discover his identity, navigating through overlapping realms of surreal dreams.

Pila is a young woman who has repeatedly attempted suicide but has never succeeded. One day, after enduring horrific trauma—including physical abuse and sexual assault—she attempts to end her life once more and loses consciousness. Upon waking, Pila discovers she is still alive, but trapped inside the world of "Undermind." In this realm, she confronts various manifestations of herself, her deepest fears, the memories she has been running from, and the tragic truths of her reality. Pila must find a way to escape from the world of Undermind to break free from and put an end to the agonizing pain that has been consuming her.

The Writer and the Rememberer, together they wander through a mostly deserted buildings, searching for something they barely know they lack.

Moo is from Phatthalung, a province in southern Thailand. In his childhood, Lampam was a place he often visited with his family. He believed it was the 'sea.' One day, he discovered that it was actually a 'lake.' How will he come to terms with the belief he had held all along?

An image of me at twenty-two, lying with open eyes beneath flickering lawn lights — quiet, alone.

My heartfelt sympathies go out to the political prisoners and victims who have suffered under the Thai state during the three periods of Thai political history.

A short story in three parts—verbally contemplating on the death of an insignificant person—riddled with self loathing of both the living, and the dead. For death is a bitter tasting joke with no set-up; only a shocking punchline leaving those who remain with the unbearable weight of grief and longing.