บทความนี้เขียนขึ้นในช่วงต้นปี 2012
31.Tulapop Saenjaroen (born 1986)
Tulapop is an upcoming and interesting filmmaker-artist. He
started making short films when he was in high school and had an interest in
alternative films around the world. His earliest works are always narrative and
are about relationships between people in the family, for example, To Vanish
(2005, 19 min), and Sad Scenery (2005, 19 min), which got Vichitmatra
award from the 9th Thai Short Film and Video Festival. Later, he had a chance
to study fine art at The School of the Art institute of Chicago. His works
became more artistic, for example, Our Waves (2006, 12 min), "___"
(2006, 8 min), which is informally called The Underscore Film, and 2008
(2008, 3 min). 2008 is one of the short films in the Project 2008 by
Third Class Citizen who invited about 30 Thai filmmakers to make 30 short films
about the coming year 2008. In this short film, 2008, Tulapop made an
end credit roll up from bottom to top of the frame. He put roles of actors in
the end credit, for example, good person as good person, bad person as good
person, bad person as bad person, etc. It's a smart satirical idea to relate
cinematic world and real world with this simple method. Though his works became
more artistic, some of them are still narrative, for example, Tale of
swimming pool (2008, 13 min), The Return (2008, 5 min), and After
the Wind (2009, 19 min). In The Return, Tulapop tries to imitate the
voice of his father who passed away when he was young, and he does this to
fulfill his lost memory about his father. Some of his works try to play with
viewer's perception, for example, Distinction (2011, 23 min), which
experiments with the format of an interview. The piece focuses on the
relationship between a maid and her female employer. The performers are asked
to perform both roles, as themselves and as the other. Distinction got
Vichitmatra award and R.D. Pestonji's Special Mention Award from the 15th Thai
Short Film and Video Festival. Now he's studying fine art media at Slade School
of Fine Art in London.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
32.Uruphong Raksasad
Uruphong is the master of Thai
pastoral cinema. Because of his family background and his poetic eyes, he can
capture the essence, the feelings, the landscape, and the rhythm of life of
northern Thai farmers better than most filmmakers. He made March of Time 1
(2000, 19 min) and
March of Time 2 (2000, 21 min) while he was studying in a university in Bangkok.
These two films stood out from most Thai students' films at that time because
of their extreme slowness and their total immersion in rural atmosphere.
Uruphong made a few short films about farmers' daily life again in 2005,
including The Bicycle Song (2005, 16 min), which is about old people's
bicycling activities; Day and Night (2005, 11 min), which is about how
rural children spend the night together; The Longest Day (2005, 14 min),
which is a heartbreaking portrait of old people who are left alone in the
country while their children go to work in Bangkok; The Musician (2005,
12 min), which is about the split personalities of a rural musician at night;
and The Way (2005, 8 min), which shows a man and a kid walking through
tall grass or something like that. The Way is a very stunning film
because it can make the viewers feel as if they are walking in the film
themselves. The viewers can feel as if their faces and bodies are touched or
pierced by the blades of the grass. This film is a good example of Uruphong's
films, because it shows how great he is in capturing the rural atmosphere.
Later, Uruphong made a feature film called Stories from the North (2006,
88 min) by combining these short films together.
Uruphong's masterpiece is Agrarian
Utopia (2009, 122 min), which is half-documentary, half-fiction. In making
this film, Uruphong had some farmers grow rice in a farm while he recorded
their lives, daily activities, and problems. The cinematography in this film is
breathtaking, and the film helps making the viewers, especially Bangkokians,
aware of the serious problems that rice growers have to face, such as the land
ownership problems, the debts, and the exploitations by the capitalists.
Though Uruphong's famous films, such
as The Rocket (2006, 18:30 min) and Dad's Picture (2010, 8 min)(20),
are about farmers, he has also made other kinds of films, for example, The
Planet (2007, 7:30 min), which is an animation about nature conservation,
and To (2010, 16 min), which is an interesting documentary about his
urban friend's life.
There are many great Thai films
about villagers' lives, such as Tongpan
(Euthana Mukdasanit, Surachai
Janthimathorn, Rasamee Paoluengtong, Paijong Laisakul, 1977), Yoke
(students of Thammasat University, 1979), Red Bamboo (Permpol Cheyaroon,
1979), Son of Mool River (Surasee Patum, 1980), Son of the North East
(1982, Vichit Kounavudhi), and Farmer Field School (Supong Jitmuang,
2007). What makes Uruphong's films different from these films is the extremely
atmospheric quality in his films. However, Uruphong is not exactly alone in
making Thai atmospheric or contemplative pastoral cinema. Other films in the
same vein include Violet Basil (Supamok Silarak, 2004, 80 min), Four
Boys, White Whiskey and Grilled Mouse (Wichanon Somumjarn, 2009, 10 min), Harvest
Season (Pisut Srimork, 2009, 20 min), Poor People the Great
(Boonsong Nakphoo, 2010, 76 min), Kite (Nuntawut Poophasuk, 2011, 8
min), and Lung Neaw Visits His Neighbours (Rirkrit Tiravanija, 2011, 154
min), a film which verges on a parody of Thai contemplative pastoral cinema.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
33.Vichaya Mukdamanee (born 1984)
Vichaya Mukdamanee is known as a mixed media artist. His artwork is always
inspired by human lives, their relationships to one another, and to their
environments. Most of his works present the essence and feelings that come from
the constant change in this modern society. Vichaya is not an independent
filmmaker but is an artist who uses video as a medium to show the process of
his installation work. In Art-ificial Being, an exhibition at National Art
Gallery in 2011, Vichaya uses daily life objects as an inspiration and
important components to create his unique artwork. He applies various kinds of
techniques including drawing, painting, collage, video, photography, and
performance in order to express his creativity and subject matter. In this
exhibition, he uses video as a medium to document his performance when he tries
to install many types of cheap bed structure. Some types are possible to be
installed but some are not, depending on the balance. In Cut-Thru, an exhibition
at Institute of Contemporary Art Singapore, he also uses video to document his
performance when he and his friends try to install chairs and office tables
among a rice field. Another video in the exhibition shows he and his friends
trying to install chicken cages and fish traps among modern buildings in the
city. He always pays particular attention to the unstable lives of
working-class people and the difference of classes in the countryside and the
big city.
34.Visra
Vichit-Vadakan
Visra Vichit-Vadakan is part of a new wave of Thai artists
who are passionate about their individual art but are also dedicated to shaping
a community of young people who teach compassion and encourage social action
and social responsibility through their work. Visra has lived between the
United States and Thailand her entire life. She graduated from Stanford
University with a degree in Human Biology and Education Policy and worked for
the Thai government under the Office of Knowledge Management and Development
until the coup d'état in 2006. Visra subsequently left Thailand and enrolled at
NYU Tisch School of the Arts graduate film program. At Tisch, she received the
Reynolds Fellowship in Social Entrepreneurship and the Tisch Graduate
Fellowship. She is a granddaughter of Luang Vichit-Vadakan, a progressive
playwright and politician, and a bride of Mark Zuckerberg's close friend, one
of the founders of Facebook.
Her first short film, Rise (2006, 8 min)(21),
was screened at the Thai Short Film and Video Festival in 2006 where it gained
the attention of Jit Phokaew, a cinephile, who chose Rise as one of the
top Thai short films that year. Rise is about a man who wears all-white
clothes, like clothes for doing meditation. He does a performance at
Sanam-Luang in front of Grand Palace. He wraps himself by white fabric and
rolls on a fabric tainted with red,
white, and blue colors, which are the colors of Thai national flag.
Around the performer, there are a lot of people who wear yellow shirts for the
King's birthday and may be for a political group called People's Alliance for
Democracy (PAD or Panthamit). Moreover, there are voices of Visra's parents
talking about how they treated Visra when she was a
kid, how they are proud of their daughter, and how they are worried about their
daughter when she turns her focus to filmmaking instead of science. Among the
voiceovers, the mother says, "I would be disappointed because you have the
potential to do so much more than this. I don't want your life to pass by
without any accomplishment for society". At the end of the film, the
mother says, "I think that you will win a Nobel Prize," then the
father says, "Not an Oscar?" to which the mother replies, "A
Nobel Prize would be better." Rise can be a personal diary of a
filmmaker who has a conflict with her parents. It represents a turning point in
her life. On the other hand, the appearance of PAD or yellow shirt people in
this film signifies the turning point of Thai politics in 2006, too. So, Rise
is not only a personal diary but also a Thai political diary. The film asks
whether "the kids" would obey their "parents" or not, and this question can have both personal and
political implications.
After Rise, she made a few shorts, for
example, Fall (2008, 4 min)(22), and In Space (2010, 16 min)(23).
Her current project is Karma Police. In this film, which takes place in
Bangkok in 2013, a Buddhist monk detective solving religious crimes uncovers a
government secret involving the Thai Space Agency and their program to send the
first Thai citizen into outer space. Karma Police has received the
Hubert Bals Fund for Script and Development and participated in The
International Film Festival Rotterdam's Cinemart in 2011.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
35.Wachara
Kanha (born 1985)
Wachara
has been making films since 2006, but within a few years he has been making
about 40 short films and several feature films. He also helps other directors
making films and also plays in others' films. He is one of the most prolific
Thai directors now.
Wachara
has been making films in almost every genre. His works include Black and
White (2008, 14 min), which is a drama film; Dad (2007, 10 min),
which is a film for children; First Love First Last (2009, 14 min),
which is a weird romantic film; The French Classroom and the Mysteries of
François (2011, 33 min), which is a political film; The Forgotten
(2011, 123 min), which is a documentary; Hunter the Bag (co-directed
with Tani Thitiprawat (2009, 17 min), which is a yakuza film; The Judge
(2009, 25 min), which is a homoerotic film; The Morning Atmosphere at Home
at 6 AM (2011, 16 min), which is a home movie; Pee Pong (2010, 30
min), which is an environmental film; Percepto 01 Sound of Psycho (2011,
21 min), which is a crime film; Pusumra (2009, 22 min), which is a
sci-fi film; A Story in a Car (2011, 4 min), which is like a video
diary; Take Granny Morn to the Garden (2010, 14 min), which is an essay
film; and many experimental films, such as Closer (2010, 18 min), The
Dream of Saturday Night and Sunday Morning (2011, 24 min), The First
Stage of My New Beginning (2010, 30 min), Lose (2011, 70 min), The
Nakorn Asajarn Trilogy (2011, 86 min), Prisoners of Love (2010, 30
min), The Rape of Bangkok (co-directed with Teeranit Siangsanoh, 2011,
90 min), Running (2007, 3 min), and Someday You Will Love Me Like I
Love You (2011, 50 min). He also gave memorable performances in horror
films by other directors, such as Eye (Tawee Nuipree, Rossukon
Suthiwongs, 21 min) and 1by1 (Tanachit Mungkunkumshound, 10 min).
Wachara
is an ultra-low budget filmmaker. He uses every resource he can find to explore
the world of cinema by himself. Though his films lack good production values
and smooth editing, his films show us his great effort to understand every kind
of cinema. Though he may try to imitate scenes in other films by using his
basic tools, his irrepressible enthusiasm ensures that his films are not just
cheap imitations of the real things, but are something weird, unique and
defying explanation.
Wachara's
films are not "polished" diamonds, but his films are full of energy
which comes from his uncompromising attitude and his untiring efforts to make
his dreams come true. He is also a very open person who doesn't try to hide
anything in his life. Seeing his films is to know about his body (Filmvirus),
his political thoughts, his love stories (Waiting for a Pregnant Love),
his frustration with love (To Show the Image of My Love for You), his
ambition (My Second Birth), his weakness, his good points, his friends (Our
Last Night Together), his family (A Documentary about My Family),
his financial status (Garbage Picking), his mistakes, etc. Many viewers
may hate his uncompromising films, but they can't deny the unique power of his
films.
Wachara
belongs to a group of filmmakers called The Underground Office, which is one of
the most interesting Thai filmmaker groups now. The other two members of the
group are Tani Thitiprawat and Teeranit Siangsanoh. They always help each other
making each one's films. and they sometimes make great films together and share
the director's credit in the films. Their collective efforts include Red
Movie (2010, 40 min), which records their anger towards the massacre in
Bangkok on May 19, 2010; Fueng (2010, 30 min), which is an extremely
poetic home movie presenting these filmmakers' lives and dreams; and A Golf
Course (2010, 5 min), which records their anger towards some golf courses
which cause so much trouble for Thai villagers.
Though
these three filmmakers belong to the same group, each of them has a distinct
style of his own. Wachara's films are a bit more romantic than the other two.
Tani likes to combine many genres of film together like Quentin Tarantino.
Tani's works include The Chilling Hours and the Murderer in the Numbing
Silence (2010, 30 min), Disappear (2010, 26 min), Me and My Video
Diary (2010), and To Walk Night (2009, 25 min). Each of these four
films have many genres within itself. Teeranit's films are the gloomiest and
the most poetic among the three, and often concern with the apocalypse. His
ultra-low budget apocalyptic films, which may be partly inspired by Andrei
Tarkovsky and Derek Jarman, include Dark World (2010, 53 min), In the
City (2010, 50 min), Last of Thailand (2009, 24 min), and The
Light House (2011, 43 min), Teeranit's masterpiece is Dark Sleep
(2009, 15 min), which may remind some viewers of the kind of power found in the
films of Maya Deren, David Lynch, or Nina Menkes.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
36.Wasunan Hutawach
Wasunan has made only a few short
films, but these films demonstrate clearly her great ability to capture slices
of life. In most of Wasunan's films, we see only several fragments of or
several moments in someone's life, but these several moments yield so much power
and can represent the character's heart and soul within a few minutes. In Small
World (2008, 17 min), Wasunan presents us slices of a woman's life. The
heroine of this film lives an ordinary boring life in Bangkok, but deep down
inside she misses her idyllic home, and then one day she wakes up and finds out
that she magically returns home and can spend some time with her mom again. The
film tells this story in a documentary-like way, instead of resorting to
sentimentality like other Thai films dealing with the same topic. In Daw
(2009, 7 min), Wasunan plays a woman who seems to have some troubles with her
boyfriend and her mom. The problems in this woman's life are not spelled out.
The viewers must infer about her problems by observing little gestures of the
characters and noticing some hints in the dialogue. Wasunan's masterpiece is Let's
Eat (2011, 11 min), which presents us two scenes in two sisters' lives. The
first scene deals with a dinner of the two sisters with a few friends. The
conversation during the dinner seems ordinary, but at the same time it may also
hint at some interesting characteristics of the sisters. The second scene is a
long silent scene depicting the two sisters while they are driving back home.
Silence speaks a thousand words in this scene, and it leaves a really
long-lasting impression on the viewers. The power of Let's Eat can be
compared to the power of such films as A Week's Holiday (Bertrand
Tavernier, 1980), which depicts one undramatic week in the life of an ordinary
woman. Everything in Let's Eat and A Week's Holiday seems to come
from an ordinary life, but there's something unexplainable but very powerful in
both films which makes the films truly extraordinary.
Wasunan also deals with little
things in life in other films. Hell Factory (2008, 5 min) captures the
moment of someone watching Country Hotel (Ratana Pestonji, 1957, 138
min) and getting inspiration from the old film. Love Me Love My Dog
(2010, 8 min) portrays her dog, but what is really interesting in the film is
the way she portrays herself. This Way (2010, 5 min) deals with ordinary
pedestrians' problem with the troop roadblocks during the political unrest in
Bangkok in May 2010. The Visitors (2011, 2 min) deals with some people
who like to take photographs with big dolls, wax figures, and palace guards.
Wasunan also made A Railroad Engineer (2011, 8 min), which is an
interesting experimental film. In this film, we hear a voiceover telling a
story of a boy, a girl, and a railroad which connects them, but we only see
images of an old man, a railroad, and a sunrise.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
37.Weerapong
Wimuktalop
Weerapong's
films have something similar to the films of Phaisit Phanphruksachat, who
sometimes works as a producer and editor for Weerapong's films. Both filmmakers
create films which give us very limited "information" and inspire the
viewers to create stories for the films by themselves. When we see the films by
these two filmmakers, we don't understand at first what the story is or what is
happening in the films, but we will gradually create some stories inside our
heads, not from the information given to us, but because we are not given
enough information. Films by Weerapong and Phaisit take us to the new boundary
of storytelling.
To
see Weerapong's films is to observe beauty in small things, in ruins, in
poverty, and in the streets of agony. His films are shot by the only one video
camera that he has. The resulting pictures are grainy and blurred, but these
pictures show us the glow in the gloomy lives of working class people, whom
Weerapong likes to observe with the eyes of a peer.
In Colours
on the Streets (2009, 62 min), Weerapong tells us a story of a man who
takes a train to Bangkok to find his father. The film lets us see the world
through this character's eyes without any narration or explanation in the first
half of the film. The film lets us see many streets in Bangkok through the eyes
of a stranger who does not feel excited by the spectacle of a big city, but
likes to observe marginal people and urban communities of poor people. The
camera takes us to ghettos and places devoid of standard beauty, and lets us
stroll in the "underground" of Bangkok. These places in the film are
not exactly situated underground, but they are places where the middle class
know exist, but never set foot in or even take a look at.
In
the middle of Colours on the Streets, the camera takes us inside some
narrow alleys at night until it reaches a certain man. Then some texts appear
on the screen, telling us about a father who bought a camera for his son,
knowing that one day his son must walk alone. After the camera watches this man
for a while without any greetings, it takes us back to the train station. The
train now goes in the opposite direction to the beginning of the film, taking
us back home among heavy rain. The routes which we have seen in the beginning
now look duskier. The camera takes us to the beginning of a road which leads to
the character's home, and lets us observe some unpaved roads with puddles and
mud. The camera takes us to watch an old wooden elevated house above a parched
ground, a house which seems to stand in a forsaken field. The camera also takes
us to watch some fields along a railway. We can see some new luxurious
apartment buildings from afar, but we are standing in a forsaken place. Lights
fade from the sky. The train has passed, and the character forlornly watches
it.
In Swing
(2011, 30 min), the film lets us observe an uncle and a nephew who ride a
bicycle to a deserted place near an expressway. The uncle tries to make a swing
under a big tree for the nephew to play, but his attempt is fruitless. The
swing is unusable. The uncle and nephew still linger at that place. It is the
place for garbage dumping and some hovels. The uncle asks the nephew to stay
with him until lights at expressway are turned on at night, because the sight
of these lights are one of the most beautiful things he can afford to
experience. Then they ride home.
Is
it possible that the aesthetics of experimental cinema can combine with the
gazing of working class people? When a working class person becomes an artist,
will he abandon the way he used to gaze at his own life and turn to gaze at
everything in detachment like an artist? In Weerapong's films, the camera
watches via the eyes of a working class person whose living conditions resemble
many Thai people's. The images in his films are the images of small flats, old
wooden houses, dusty window screens, pools of dirty water, areas under
expressways, garbage dump, ruins, and deserted areas. The gazing in his films
neither tries to tell a story nor tries to represent anything. It is the same
kind of gazing that we use when we watch the sky, trees, things blowing in the
wind, and the sunlight.
Weerapong's
films are his visual diaries. We are the third person who watches things in his
films via the eyes of the first person. We cannot understand the things he
watches, though we look at them through his eyes. We are only the
"guests" in his films. Weerapong doesn't try to explain anything for
us. He only lets us look through his eyes. We must try to understand by
ourselves.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
38.Weerasak
Suyala
Weerasak
has been making films since 2002, but his first cult hit is The Police
(2008, 15 min), which is about a pair of identical twins. The elder one is a
cowman in a faraway village, while the younger one is a policeman. The elder
one always feels inferior to the younger one, and he cannot suppress his
frustration any more when he finds out that both of them love the same woman.
The elder one becomes mad. He rapes and kills the woman, and his crime forces
the younger one to fight against his twin brother. The younger one realizes he
cannot live in the same world as his brother any more. One of them must be
killed. Love, revenge and suffering are treated in an extremely melodramatic
way in this ultra-low budget film. What is special in this film is not the
story, but how Weerasak tries to tell this story by himself only. Weerasak plays
every role in this film. It seems he is his one man crew. He is not only the
director, but also the cinematographer, artistic director, editor, etc. on his
film. Most of the scenes in this film are made by fixing a camera somewhere and
focusing it on Weerasak's face while he delivers his monologue. Some scenes are
made by Weerasak holding a camera in his hand at his arm's length in order to
let the camera focus on his face. Nearly every scene is shot in his house.
Everything in this film is done by him alone.
Weerasak
is a policeman in his real life and also an award-winning writer. He lives in
Ubon Ratchathani, the easternmost province of Thailand. He has been making
nearly 20 films, including The Pen (2008, 60 min), another cult hit in
which he created memorable soundtrack by himself. Some of his films are about
police, for example, Stunned...Crying. Where Is My Mom? (2002, 22 min),
which is about a policeman who is abandoned by his wife and tries to raise his
son alone; Toughly Innocence (2002, 50 min), which is about a young
killer who is chased by a policeman; Dog-Society-Narcotics (2003, 29
min), which is about a crazy policeman who tries to erase crimes from Bangkok; The
Free World of Red Sun (2005, 16 min), which is about a son of a murdered
policeman; and Illegal Citizens (2009, 24 min), a documentary in which
Weerasak interviewed some Laotian suspects who were held in his police station.
Weerasak
is an ultra-low budget filmmaker with the explosive power of imagination. Most
scenes in The Police are the close-ups of his face while he recites his
monologues in a straightforward manner, instead of a realistic manner. There
are some scenes in The Police which were shot outside his house, but
these scenes were not expensively staged. They are just scenes he recorded in
places around his house. The images in these scenes are mundane, but when these
mundane images appear in the film, they play the role of some specific places
assigned by the story. Some images which are inserted into the film are not
even concerned with the story. Some scenes seem like shots from a nonsensical
home video. Some scenes are just views of roads at night, a secretly recorded
footage of a girl crying, or views of various houses. These images which are
not related to the story somehow make the story become more convincing. The
characteristics described above can also be found in other films by Weerasak.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
39.Zart Tancharoen
Zart's first film is Talk Talk
Talk (1998, 25 min), which is about four male friends and the gossip that
one of their friends is gay. The film is dialogue-based and differs from Zart's
later films which focus on romantic relationships, romantic attractions,
atmosphere, and some absurd things. The absurd things in his films can be found
in Something (2003, 25 min), which is about a man who finds that things
around him start to disappear; One One Nueng (2004, 11 min), which deals
with a couple whose unsteady relationship is funnily emphasized by the
earthquake which happens when they are in bed together; The Air That I
Breathe (2005, 18 min), which deals with two pairs of lovers who live in
the same building and coincidentally try to commit suicide at the same time; A
Same Old Story, As I Thought It Was the Same, But It's Not the Same (2005,
31 min), which deals with a secondhand bookshop owner who falls in love with a
customer, but the owner is not sure if the customer is a real person or not,
and later the owner becomes unexplainably obsessed with drinking yoghurt; and Lost
Nation (2009, 100 min), which is about a man named Chart (Nation) who
strangely disappears, while people around him react to his disappearance in
various ways.
Zart's masterpiece is One Night
(2008, 16 min), in which the viewers see something like a lamplight moving
around in darkness and hearing some unidentifiable noises for nearly the whole
duration of the film. At the end of the film, the viewers see something like a
forest at dawn. The film inspires a lot
of imagination and yields various interpretations, including one possible
explanation that the film is about rubber tappers in the south of Thailand who
are killed by the separatists. The atmospheric quality of One Night can
also be found in Zart's The Everlasting Replication of Time (2007, 20
min),
Before Raining (2008, 7 min), and Ferry (2009, 30 min).
Zart proves
that he excels both in making atmospheric films and narrative films. His best
films include Relativity Plus Quantum (2005, 14 min), which has no
dialogue and tells an intertwining stories of six villagers; and Brown
Sugar: Rug Tong Loon (2010, 38 min), which explores the complicated
feelings of a boy and a girl who tease each other and may want to make love.
บทความนี้เขียนขึ้นในช่วงต้นปี 2012
Lastly, we would like to emphasize
that there are many interesting contemporary Thai film directors who are not
mentioned in the list above, because we don't have enough time and ability to
write about all of them. The directors who deserve to be written about include Alwa
Ritsila, Anucha Boonyawatana, Arpapun Plungsirisoontorn, Chaiwat Wiansantia,
Eakalak Maleetipawan, Eakarach Monwat, Hamer Salvala, Janenarong Sirimaha, Meathus
Sirinawin, Nok Paksnavin, Palakorn Kleungfak, Patana Chirawong, Pisut Srimork,
Prachaya Lampongchat, The Professional Dry Cleaners, Punlop Horharin, Santiphap
Inkong-ngarm, Sittipong Patchakao, Sivaroj Kongsakul, Siwadol Rathee, Sompong
Soda, Supakit Seksuwan, Suppasit Sretprasert, Tanwarin Sukkhapisit, Taryart
Datsathean, Teekhadet Vucharadhanin, Thip Sae-tang, Tossaphon Riantong, Weera
Rukbankerd, Wiwat Lertwiwatwongsa, Woratep Tummaoros, etc. We hope some critics
will write a few books about them soon.
There are also some Thai directors
who have been making only a few films, but these films show that the directors
have the potential to be big in the future. These Thai directors to watch
include Anuchyd Muanprom, Chaisiri Jiwarangsan, Kriangkrai Watananiyom,
Nattaphan Boonlert, Pesang Sangsuwan, Phatthi Buntuwanit, Pichanund
Laohapornsvan, Pathompon Tesprateep, Prapat Jiwarangsan, Sittiporn Racha, Tanakit
Kitsanayunyong, Taweewit Kijtanasoonthorn, Tritos Termarbsri, Ukrit Sa-nguanhai,
Vichart Somkaew, Wattanapume Laisuwanchai, etc. We are eagerly awaiting their
new films.
----------
ENDNOTES
1) Graiwoot
Chulphongsathorn, "A Conversation with Sasithorn Ariyavicha pt.1",
CRITICINE (2006):
http://www.criticine.com/interview_article.php?id=28
2) Watch Bangkok
Blues here:
http://www.youtube.com/watch?v=roJhjkX-vr0
3) Watch Kissing in Public here:
http://www.youtube.com/watch?v=NvcaCQAkM6Y
4) Read more about Shakespeare
Must Die here:
http://behindsmd.blogspot.com/
5) Ryan Wells, "Q&A with
Film Scholar Nicole Brenez":
http://cinespect.com/?p=3090
6) Watch Don't Forget Me here:
http://www.youtube.com/watch?v=H30RniAgtHY
7) Caroline Lever, "Films on
the Rock Yao Noi: Nontawat Numbenchapol":
http://www.dazeddigital.com/artsandculture/article/12892/1/film-on-the-rocks-yao-noi-nontawat-numbenchapol
8) Watch Thirdworld here:
http://www.youtube.com/watch?v=7Q-umm6nbLs
9) Watch O.B.L. here:
http://www.youtube.com/watch?v=XnU4Op84_Mc
10) Read the full interview of
Phuttiphong here:
http://v13.videonale.org/en/artist/399-phuttiphong-aroonpheng
11) Watch Whispering Ghosts
here:
http://www.youtube.com/watch?v=hBUvdAU5alU
12) Watch Glue Boy here:
http://www.youtube.com/watch?v=o1ojgwTalLE
13) Watch Damned Life of Yoi
here:
http://vimeo.com/9103890
14) Watch Mizu here:
http://www.youtube.com/watch?v=NdRpc3VrnGU
15) Watch No One at the Sea
here:
http://www.youtube.com/watch?v=8vB7yCQURj8
16) Watch Summer Storm here:
http://www.youtube.com/watch?v=z6brba_J3e8
17) Watch Ageru here:
http://www.youtube.com/watch?v=gkrgi1wrJMg
18) Watch She Is Reading
Newspaper here:
http://www.youtube.com/watch?v=IWwOcpknjLA
19) Watch some parts of She Is
Reading Newspaper Project here:
http://www.youtube.com/watch?v=JsmMvMyghvs
http://www.youtube.com/watch?v=t1hIZdJEZQE
http://www.youtube.com/watch?v=-0IejMutq3I
http://www.youtube.com/watch?v=2RJp58Rlgas
20) Watch Dad's Picture here:
http://www.youtube.com/watch?v=qreeQxYBRB0
21) Watch Rise here:
http://vimeo.com/16045450
22) Watch Fall here:
http://www.youtube.com/watch?v=8EjGAeJHSR0
23) Watch In Space here:
http://vimeo.com/12750385
-------------------
Wiwat Lertwiwatwongsa / Chulayarnnon
Siriphol / Chayanin Tiangpitayagorn / Jit Phokaew / Kanchat Rangseekansong,
April 2012
Wiwat Lertwiwatwongsa is an
experimental filmmaker, film curator, film critic, and writer based in Phuket.
His film Own (2009, 5 min) won an award in
the 14th Thai Short Film and Video Festival. He wrote a book about Kiyoshi
Kurosawa. His blog is here: http://filmsick.wordpress.com/
Chulayarnnon Siriphol is an
experimental filmmaker who has won many awards in Thailand. His website is
here: http://www.chulayarnnon.com/
Chayanin Tiangpitayagorn is a film
critic based in Bangkok. His blog is here:
http://nanoguy.exteen.com/
Jit Phokaew is a cinephile based in
Bangkok. His blog is here: http://celinejulie.blogspot.com/
Kanchat Rangseekansong is an
award-winning film critic, film lecturer, and filmmaker. He wrote a book about
Kim Ki-duk. His blog is here: http://www.bloggang.com/mainblog.php?id=merveillesxx
