Notes from the Periphery

Aoey seeks the Pak Nam Po River - believed to reach heaven - in order to send her mother, who recently passed away, to the afterworld.

According to Thai superstition, a virgin can ward off rain by planting lemongrass upside-down underneath an open sky. This belief remains prevalent to this day. As clouds begin to gather, Piano, the young production manager on a film set, is tasked to carry out this tradition. As her fellow female co-workers shy away from the duty, Piano is left with no choice but to take on the burden of becoming the lemongrass girl.

Four young travelers embark on a trip to Kanchanaburi to see the museum, but pass the time in other ways when they find out it's closed for refurbishment.

The chronicles of a day in the life of a nameless woman as she wanders around Singapore. Part documentary part video essay, 'Nightfall' is a fictionalized account of Suwichakornpong's time spent during a residency researching Thai politics in a foreign land.

Squish! is a meditation on the self through lurid and liquid forms; filtered through both old and foreseeable technology informed by Thai animation history and contemporary culture, and a constant process of constructing and deforming new selves to simulate ‘movements’. By extrapolating and redefining the terms of ‘movement’, be it through psychological, physical or political understandings, the work interweaves the medium of animation with a state of depression.

In this updated homage to the 1930 German silent film of the same title, Thai artist Tulapop Saenjaroen examines the paradox of people relaxing while being filmed. As a film shoot appears to be in perpetual delay, crew members kill time fiddling on their smartphones, all the while under the persistent gaze of the camera.

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

A tour guide and also a hotel rep automated voice, Kanya, leads her foreign guest, Alex, through a beach town in the east of Thailand called Bangsaen. Since Kanya's presentation is overtly aestheticized and strictly regimented, Alex decides to explore the town by himself, fantasizing to get out of the frame.

“The Return” is an attempt by the artist to recall his lost memories of his father who died in the car accident in 1991 when the artist was almost five years old. Personal family photographs from his father’s funeral are overlaid with the imagined voice by the artist himself, fictionalising that his dead father is coming back to life—a strange and moving feedback loop between father and son, between photographic documentation and deteriorating memories, between personal history and its own otherness.

A story about storytelling: After returning to his hometown to work in his sister’s fruit processing factory, Earth slowly but surely pulls out of the family business to dedicate himself to writing an abstract, gory novel.

Shot on black-and-white 16mm film, Local Sensations opens a loose, playful dialogue with Chatri Prakitnonthakan’s essay, How to Design a Modern Monument That Won’t Become a Shrine. Rather than illustrating the text, the film generates pluralities—unraveling the dichotomy of object and subject—and gestures toward a kind of topological politics.