Somewhere Only We Know

Nuhm is a construction foreman working in Bangkok. The political instability in Thailand has making its presence felt in all business sectors. Nuhm suddenly finds himself out of jobs. He decides to leave Bangkok to go back to his hometown in the northeast of Thailand to attend his high school friend’s wedding during the Thai New Year in April which also happens to be the hottest month of the year. Nuhm reunites with his old friends at the wedding in Khon Kaen.

A friendship develops between a young paralysed man from a wealthy Bangkok family and his male nurse from Isan in the North of Thailand.

The film features six themes of love in Bangkok's famous districts: Mo Chit, Yaowarat, Khaosan, Phahurat, Silom, and Sukhumvit in the hands of six different directors.

The filmmaker collects memories of his youth. His brother often told him about being stung by a poisonous jellyfish. Here he retells the story.

Golf works as a debt collector in Khon Kaen. One day he wakes up early to go to work as usual. He meets many people, including a desperate man in debt who falls critically ill. The situation forces Golf to weigh his professional duty and his moral sense against each other.

“The Mudguard and a Lonely Monkey” is an essay film of so-called artist, Wichanon Somumjarn. He went back to his hometown, Khon Kaen. This city was located in the northeastern of Thailand. With his new project “From the Muddy Banks of Chee River” a thriller-arthouse cinema on “nano budget”. He and his friends started an investigation on real problems and real locations. As reflective between this essay film and fiction film.

With a function of camera recorded. The filmmaker started filming “Prang Sam Yot” an archaeological site in Lopburi Province in the south-northern of Thailand. And then the story jump to “Prang Ku” an archaeological site in Khon Kaen Province in the north-eastern with same architecture. Like a poetry cinema. The film recorded everyday life and realism with non-linear. Lopburi, Khon Kaen and Bangkok or sometime in “non-place” “Traces and Fragments of Memory” is an experimental film in creative documentary style. The filmmaker convey an aesthetic of the film by deconstructed a “Hollywood Film Language”. It’s try the film back to the first conception of cinema without intervene.

Like Raining at the End of April (Director’s Cut) is an experimental film that reworks selected footage from the 2012 experimental film In April the Following, There Was a Fire, blending it with material from the director’s other works (Wichanon Somumjarn). This film deliberately presents its narrative in reverse chronological order, moving counter to the original storyline. The film is accompanied by a score composed by the band Local People Rockband (a music alias of the director himself), taken from a concept album titled Countryman. The album consists of 13 + 2 tracks meant to be listened to in sequence. Once the final track ends, the film reverses itself, looping back to the beginning. Through this structure, viewers are invited to discover a moving and memorable cinematic and auditory experience.