Wednesday, April 9, 2008

Vengeance due out on Region 1 DVD

A weird and incohesive but mostly fun mix of fantasy adventure and crime drama, Vengeance is due out soon on DVD in the U.S. It is either being released this month (according to HK Flix) or in July (according to Amazon).

Either way, this will likely be the release to have, since the Thai DVD release was most likely censored.

Produced in 2006 by Mono Film and directed by Preaw Sirisuwan, the strange, loopy tale involves a young cop who tracks a criminal mastermind into an enchanted jungle, where magical CGI creatures await to devour if you make a wrong move. There are tiger bees that fly through the human body like a hot knife through butter, seductive fruit tree maidens who suck the very life out of men, ravenous geckos by the thousands and a giant snake. The action then shifts to pure horror, as a village in the jungle harbors a deadly, supernatural secret.

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Muay Thai Chaiya, My Talking Dic at FCCT


The Foreign Correspondents Club of Thailand in Bangkok regularly screens movies for the expat journo crowd, and this week they will feature the award-winning crime-boxing drama Muay Thai Chaiya and a short film, My Talking Dic, both starring Akara "Gof" Amarttayakul. Gof himself is due to put in an appearance.

It should be a good night. Akara is an enthusiastic personality who will no doubt charm even the most hard-bitten of the assembled press. He capably took on the role of presenter and translator at the world premiere of Chaiya at last year's Bangkok International Film Festival, making that one of the highlights of the festival.

One of my favorite films of 2007, Muay Thai Chaiya should need no introduction here. But, briefly, it's about three childhood friends whose paths diverge in the world of boxing in 1970s Bangkok. Produced by Five Star Production and directed by Ronin Team screenwriter-director Kongkiat Komesiri, it's a gripping and gritty drama that is also unabashedly sweet and nostalgic. Akara stars as a hot-headed boxer whose impatience and rebelliousness get the better of him, and he finds himself slugging it out in underground bare-knuckles ultimate fight matches and working as a murderous enforcer for various underworld figures. He has betrayed his childhood sweetheart, who has gone into the arms of one of his childhood friends, who is also rising through the ranks of the Muay Thai world. Because the mobsters are always fixing the boxing matches, a collision between those worlds, and the old friends, is inevitable.

Akara won best actor honors at the Subhanahongse Awards and from the Bangkok Critics Assembly, and the film also picked up trophies for best supporting actor for Sonthaya Chitmanee, who plays a loyal sidekick to Akara's character.

My Talking Dic is a short film, a co-production between Thailand-based British filmmaker Zoe Popham and Chakkaphan "Po" Vutthakanok, a graduate of Rangsit University's Motion Picture & Video Faculty who's been an assistant director on commericials for Jira Maligool's and Yongyuth Thongkongtoon's Hub Ho Hin production house, which is part of the GMM Tai Hub film studio. Popham and Po are expected to be on hand for the screening as well.

Akara stars as a Thai guy in a relationship with a young Westerner woman (Caitlin Haas) who get some help with their communication problems through the magic of a talking electronic pocket dictionary.

The short has been making its way around the festival circuit, with a screening at last month's Mumbai International Film Festival. It also screened at last year's World Film Festival of Bangkok, where I missed the chance to see it.

The event is at 7:30pm on Thursday at the FCCT, which is in the penthouse of the Maneeya Center at Chit Lom skytrain station. The plan is to show the short film first and have time for a dialogue with the actor and filmmakers. There's a cover of 150 baht for non-members.

Coming up at the FCCT: An April 24 screening of Me ... Myself, with an appearance by leading man Ananda Everingham.



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Wonderful Town heads to San Francisco


Aditya Assarat's Wonderful Town continues its festival run, going to the San Francisco International Film Festival, where it has been programmed in the New Directors lineup.

Described as a "melancholy Thai 'ghost story', about an architect who falls in love with a hotel maid," the film "substitutes dreamlike scenes of the tsunami-ravaged seacoast for shock cuts. No monsters here, just ordinary people haunted by the disaster, years later." Here's more from the festival synopsis:

This 2008 Rotterdam International Film Festival Tiger Award-winner is set in the backwater town of Takua Pa, near the Andaman Sea coast of Southern Thailand, where the 2004 tsunami killed thousands of people. Ton is an architect from Bangkok assigned to supervise the reconstruction of a beach hotel. He puts up at a plain, very quiet hotel in town and soon discovers that a pall of sadness hangs over the locals. Na, the beautiful young woman whose family runs the hotel, is one of the few people to respond to him. The residents are clearly “haunted” by the tsunami and the unpredictability of fate, and a mood of misfortune clings to the green, picturesque hills even on the sunniest day. When a tentative romance blossoms between the laconic man and woman, a ray of hope appears amid the gloom. But Na’s brother Wit, leader of the bored youths who endlessly cruise the local roads on their motor scooters, sees Ton as a threatening outsider. Writer/director Aditya Assarat, a regular at international festivals since 2000, gets naturalistic performances from Supphasit Kansen and Anchalee Saisoontorn as Ton and Na, but the lingering, hushed air of apprehension is the real star of Assarat’s dreamlike scenario. As Na admonishes her brother, “You’re still drowning here.” A very touching, astutely observed film, Wonderful Town offers a glimpse of a world rarely seen.

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(Via Michael Hawley in The Evening Class/Twitch)

Bangkok author's detective novels optioned by Keanu

Bangkok-based novelist Christopher G. Moore has had his series of Vincent Calvino detective novels optioned for film production by Keanu Reeves and Michael Clayton producer Steve Samuels.

The writer of 21 novels, Moore is one of the most recognized of the Bangkok noir authors. His Calvino novels, of which there are nine, fictionalize the underworld of Bangkok's night-time haunts, foreigners living on the edge and, of course, murder. The first book in the Calvino series, Spirit House, has been picked up for publishing in the US and the UK, and his books have been published in many languages.

Jim Pollard, writing for the Daily Xpress, caught up with Moore to talk about the possibilities of Keanu playing Calvino.

Currently, he's finishing novel number 21, Paying Back Jack, the tenth in the Calvino series, which is due out in December. He's also doing the storyline for novel 22.

Moore has lived off his savings and promoted his books cleverly. Covers were posted for a number of years on the walls of toilets at popular bars. Thousands of men enjoying go-go bars in Nana couldn't miss them while taking a pee.

"After 20 years I became an overnight wonder. The press has been fantastic - from the New York Times and down, the reviews have been very positive."

The thought of Keanu Reeves "to star as Calvino" is exciting, but Moore is measured in his comments -- well aware that many film projects don't get off the ground, or become box-office hits.

"They paid a large amount of money for the option. I think they're looking to do a franchise like the Bourne series with Matt Damon."

Tuesday, April 8, 2008

Art of the Devil 3 attacks the box office


The No. 1 film in Thailand over the weekend was Art of the Devil 3, or Long Khong 2, which according to Kong Rithdee in Variety scored US$1.3 million (though Box Office Mojo lists a more conservative figure of $665,350).

A tale of torture and black magic by a vengeful teacher, Art of the Devil 3 was one of three Thai films released to take advantage of the summer school holiday and a four-day weekend. (Monday was the calendar substitution for Chakri Day, celebrating the Chakri Dynasty, which officially was observed on Sunday.) Other releases were RS Film's Dream Team about some kindergarten boys entering a national tug-of-war contest and Nak, an animated feature from Sahamongkol about the Mae Nak Phra Khanong ghost character.

Variety says Dream Team came in second, but Box Office Mojo has the lone Hollywood opener, Vantage Point at No. 2, followed by Dream Team and then GMM Tai Hub's romantic comedy-drama Hormones, the No. 1 for the previous two weeks, at No. 4.

Plucky Nak grabs on with a stretchy arm and reaches No. 5, according to Box Office Mojo.

Thing is, I don't know where either Kong or Box Office Mojo get their numbers. There is no central authority in Thailand that accurately reports the box-office figures. If you ask them, the studios and distributors are happy to reveal their figures, and they generally inflate them. The best that can be done, I've been told, is to call the major cinema chains and then compile the figures yourself, or just call the leading cinema chain, Major Cineplex, and go with their numbers. I'm still working on that.

But no matter what the numbers are, having a No. 1 film is good news for Five Star Production, the producers of Art of the Devil 3. Five Star exec Apiradee "Amy" Eiamphungporn tells Variety:

The film did strongly on the opening Thursday and performed well over the four-day weekend. The film has also been sold to 40 countries which were our customers for Art of the Devil 1 and 2."

Five Star, by the way, is the studio behind Wisit Sasanatieng and Pen-ek Ratanaruang, directors who get a lot of love from festivals, overseas critics and film fans, but whose films aren't generally popular in Thailand. Hopefully they will continue to be supported in their creative efforts while the studio's Ronin Team continues to crank out gory but lucrative horror.

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Review: Nak


  • Directed by Nuttapong Rattanachoksirikoon
  • Produced by Boyd Kosiyabongse and Prachya Pinkaew
  • Starring (voices): Sasikan Apichataworasin, Petchtai Wongkamlau, Chukiet Auimsuk, Suparb Chaiwisuthikun, Unyarit Pitakdikul, Narawarat Techaratanaprasert, Somchai Sakdikul
  • Released in Thailand cinemas on April 3, 2008
  • Rating: 3/5

Heaven and hell for ghosts is still a concept I'm wrapping my head around. I'd always thought ghosts were trapped in limbo between the two places, because of mysterious circumstances surrounding their deaths that will not allow them to pass completely into the world of the dead.

But in the universe of Nak, there are good ghosts who live in heaven, and bad ghosts who live in ghost hell. Heaven for ghosts is an idealized rural Thailand, where everyone lives in tiny wooden houses on stilts and there is a temple fair every night. The ghosts here exist to help humans out of the various bumps and scrapes they may experience in their lives. These helpful ghosts include Mae Nak of Phra Khanong, who in the original legend is an angry, scary ghost of a woman who died in childbirth while her husband was away. In Nak, she has apparently come to accept that she is dead and can no longer be with her husband. She has risen through the ranks of the ghost hierarchy, and now sits in council with the ghost elders.

In this small village, the good traditional Thai ghosts are trying to protect a boy named Tee, who has a strange marking on the back of his neck. Increasingly, evil city ghosts are invading the village and trying to take Tee, but Nak and her friends, Kaew the Headless Ghost and Udd, the shape-shifting fat or tall ghost, and a strange dog named Tong, keep the boy safe from harm when he is riding his bicycle earlier in the day. Later at night, though, Tee sneaks out with his sister to the temple fair. They are watching a movie (shown the traditional Thai way, with narrators humorously acting out all the voices) when the evil female ghost from Ringu pops through the screen and grabs the boy. Hundreds of other evil minions are present to help fight off Nak and her friends.

The boy's sister Kaem then follows the Headless Ghost and the others across a magical, disappearing bridge into ghost land, where there are floating dots of light like something out of a Miyazaki movie. After some deliberation by the ghost council, Nak decides she will go to the city with Kaem and try to retrieve the boy.

As introduced from the back of a ghost-driven tuk-tuk, Bangkok in the world of Nak is an imaginative thrill ride, which waggles a finger at all the commercialism and materialism. Western fast food is derided as "Rotten Burger". The iconic MBK Center becomes the MAD mall. Fat-cat ghosts wheel about in their luxury cars, with zombie schoolgirls decked out in too-tight white blouses and too-shirt black skirts. Never mind that one of the sponsors of Nak is Dairy Queen. Kids, it's okay to have ice cream and pies from The Pizza Company, but stay away from those awful hamburgers.


Soon, Nak is joined by Kaew, Udd and Thong, and wearing Dead Ex uniforms they bluff their way into the headquarters of the evil ghosts where the boy is being held, leading up to a thrilling, action-packed ending that reveals the sad mother Nak's true motivation for leading the rescue effort, and a triumph for Thai traditional ways over evil, foreign-influenced commercial city culture.

The animation is a weird mix. I'm told it is computer-animated 3D that uses cel-shading, which gives it a sort of 2D look. The character design is also a mix of influences -- it's a bit of Thai design, anime, Disney, Pixar (mostly The Incredibles, I think) and even some Rankin-Bass. Nak herself is a slender big-eyed heroine with pink hair, a bare midriff and breasts that jut out underneath a wrapped cloth. She's not supposed to be sexy, but she's drawn that way.

Nak's superpower is her ability to stretch out her arms and pack a powerful punch. She uses it to the max when she has to face the Ringu ghost again. It's modern technology vs. Thai tradition as Nak punches out the video monitors that give the Japanese ghost her power.

While the fight sequences are a lot of fun, the dialogue and action are an uncomfortable mix, with the mouths not so much as moving, but blinking on and off in such a way that the tone and intent of the speech doesn't match the facial expressions. And ... there ... are ... these ... uncomfortable ... ... ... pauses ... when people are speaking. They just stop talking and stare blankly. I wanted to holler out to the screen and say "What!? Spit it out!"

The dialogue not matching up with mouth action is unfortunate, too, because there is some decent voice casting. Petchtai Wongkamlao, or Mum Jokmok, was brought in to do the part of the Headless Ghost after another actor had been cast, and I think his part was recorded after the animation had been done, instead of the other way around as it should be done -- record wacky Robin Williams doing crazy ad libs, and then animate. Chukiat Auimsuk, or Nui Chernyim, is Udd. I think he must be a brother of the comedian Choosak "Nong" Auimsuk. Nak is voiced by singer-actress Sasikarn Apichataworasin. And a big surprise for me was finding out that one of my favorite comic actors, Somchai Sakdikul, voiced the leading evil ghost, credited as the "fireball ghost".

Fans of Thai ghost stories will notice other famous ghosts, such as Phee Pop, depicted here as an elderly woman with really fast hands. The elderly treasure chest ghost is also famous. Another cute female ghost is the banana tree ghost, who wears a yellow tube top and wields bananas as weapons. The krasue, the floating vampiric head that trails her glowing entrails and depicted in dozens of films and TV series, is the leading Thai ghost elder. There's a lot of other ghosts I don't recognize, like the ghost who flies using round rice-sorting trays as wings, and another female ghost, with sultry eyes and no legs.

Then there's the scene stealing dog, Thong, voiced by Suparb Chaiwisuthikun. I've asked some Thai co-workers about this character's origins and no one seems to know. "Don't ask me about the dog," said one Thai colleague before I could even get a word out. Perhaps he's the Scooby Doo for this bunch of meddling ghosts.

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(Cross-published at The Nation Weblog)

Monday, April 7, 2008

SIFF'08: Censorship in Singapore

One thing I have always appreciated about the programmers of the Singapore International Film Festival is their willingness to take chances and bring in films that will be provocative and stir up discussion. But doing so means that inevitably some of their choices will run afoul of the Media Development Authority's Board of Film Censors.

This year, four films have been banned from screening at the festival. They are:

  • Arabs and Terrorism -- Arab-American director Bassam Haddad interviewed hundreds of American policymakers and Middle Eastern political factions as well as people on the street for opposing views on terrorism. The film had been set for a sold-out screening on Saturday, according to an Agence France-Presse report.
  • David The Tolhildan -- Directed by Mano Khalil, the documentary follows the story of David Rouiller, son of a prominent Swiss judge, who joined the Kurdistan Workers Party, which is recognized as terrorist organization by the US and EU. According to the Board of Film Censors chairwoman Amy Chua, both Arabs and Terrorism and David the Tolhildan "portray terrorist organizations in a positive light by lending support and voice to justify their cause through violence", which are disallowed under the film classification guidelines.
  • A Jihad for Love -- Directed by gay Muslim filmmaker Parvez Sharma, it's touted to be "the world's first documentary film on the coexistence of Islam and homosexuality". It was banned "in view of the sensitive nature of the subject that features Muslim homosexuals in various countries and their struggle to reconcile religion and their lifestyle," Chua was quoted as saying by The Straits Times.
  • Bakushi -- This Japanese documentary about a sex fetish involving tying up women was banned because it "normalizes unnatural fetishes and behavior which is disallowed" under film content guidelines, Chua was quoted as saying.
Festival director Philip Cheah was looking understandably harried on Sunday when I briefly met him as he was checking on the screening of Death in the Land of Encantos. I was heading in to watch the last three hours of the film, so we didn't have time to talk, but Screen Daily's Silvia Wong caught up with him:

In the early days of silent film, D.W. Griffith made the epic Intolerance. Now that we have colour and sound, we unfortunately still have intolerance on a more grand epic scale.

The censorship comes as Singapore is trying to liberalize its image, bringing in casinos, a night-time Formula 1 race, staging massive arts and music festivals and promoting its nightlife. It has a motion-picture ratings system that seems to work. But paranoia and censorship still reign, particularly when it comes to political subjects.

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(Via Screen Daily, AP, AFP, Reuters)

SIFF'08: Death in the Land of Encantos


I am back in Bangkok after an exhausting weekend of watching films at the Singapore International Film Festival, with yesterday's viewing, the nine-hour-long Death in the Land of Encantos by Lav Diaz, totally wiping me out.

First, I want to thank Nutshell Review's (and Twitch's) Stefan and Linus of MovieXclusive for taking time to meet with me, buy me breakfast and offer their support before I headed in to Death. Stefan offers his thoughts on the festival so far.

It was great to put some faces with some e-mail addresses and blogger handles. We had breakfast at Kopitiam and chatted about the Thailand and Singaporean film scenes. After a couple of sugary coffees, I thought maybe I was ready.

Well, nothing can really prepare you for viewing a nine-hour film -- you have to just take it. But having previously watched Diaz' Heremias, I sort of had an idea of what I was in for.

If possible, Death in the Land of Encantos is more meditative than Heremias, with some gorgeous, contrasty vistas of the deadly Mayon volcano cone and the devastated landscape. The film takes place in the wake of Typhoon Durian, with a poet, Benjamin Agustan returning home after spending seven years in Russia. He finds his family and girlfriend have been killed in the disaster. His old studio is buried under tons of mud from a landslide caused by the typhoon's effect on the loose earth and rocks on the slopes of Mayon. She is beautiful, but unforgiving and deadly.

Benjamin, or Hamin, reconnects with two of his old artist friends -- a sculptor-painter named Carmelita and poet-turned family man Teodoro. A lot of time is spent with the trio talking about the state of the arts in the Philippines. And Hamin and Carmelita reconnect and details of their past together are revealed.

If Heremias was about the moral conscience of the Philippines, then Death in the Land of Encantos is about the Philippines' artistic soul, and quite possibly, the loss of it. It reveals the apparently fictional character of Benjamin as a deeply troubled man, and the final blow to his psyche appears to have been the loss of his girlfriend. It doesn't help that there's a secret policeman shadowing him, warning him not to return to his radical activist ways, or else he'll again face horrible torture.

Diaz' camera lingers longingly over a nude woman on a bed, capturing her from just about every conceivable angle, under different grades of light, from full daylight to shadowy night. Most of the film, it seems, is shot at dusk or under heavy cover of clouds. As Diaz does not seem to employ the use of any lighting in his films, the action is all in a gray haze, as if in a dream. And it's all in black and white.

There also shots taken from a street in Zagreb, Croatia. I'm not sure how those fit in, but I suppose it comes from Benjamin's travels, and possibly has to do with a woman he was chasing there.

Another interlude deals with folklore about some little magical people who live in the small mounds that are around.

What I learned from watching Heremias is that in a Lav Diaz film of this length, things don't really get going until well after the four-hour mark. But to dive in to the middle of the film and expect to know what is going on would be inconceivable. It's all part of the magic.

Eventually, the film switches from drama to docu-drama, with Diaz interviewing typhoon survivors, as well as people talking about Benjamin before coming to a mind-blowing, soul-crushing ending.

Oh, just another note about Singapore: If you go, make sure you have a mobile phone that is set up for international roaming. To not have a phone set up this way is unthinkable in Singapore. It's the only way you'll be able to surf the Internet in the island-city. There is wireless access most everywhere, but it's through SingTel and the only way to receive the password for the account is by SMS sent to your phone. I found this out too late.

Saturday, April 5, 2008

SIFF'08: Paper Cannot Wrap Up Embers, Breathing in Mud

I am in Singapore, catching just a few films at the 21st Singapore International Film Festival and getting a taste of the culture that this island city-state has to offer. Here's a look at what I watched during my exhausting first day.

Paper Cannot Wrap Up Embers

In his latest docu-drama, Rithy Panh delivers another soul-crushing blow as he trains his camera on dialogue between a group of Phnom Penh prostitutes. They smoke "ma" (amphetamines) from a makeshift plastic-bottle bong, and with nothing to eat but rotten crab, they crunch on the crab shell itself. Another is covered by a horrendous rash. They talk of beatings by johns and their tout. The talk goes on and on, and it's all a bit contrived, but I have no doubt that the experiences are real. Maybe to criticize at all is to trivialize?

Like Panh's unflinching look at the Tuol Sleng torture center in S-21: The Khmer Rouge Killing Machine, it's all a bit much to take. It is, nonetheless, an important document with some pertinent things to say about how Cambodian society has still not made much recovery since the Khmer Rouge era, and blame for their plight is laid squarely on the United States for causing the situation that gave rise to the Khmer Rouge and in the UN's temporary government, Untac. 4/5

Breathing in Mud (Bernafas Dalam Lumpur)

Here's a typical James Lee romantic drama, with the usual dryly intertwining, secretly crossed-up relationships of his Love Trilogy (alternatively the Betrayal Trilogy -- is this part of it?). But Breathing in Mud is different from his previous films in that it focuses on Malays, rather than Malaysian-Chinese people.

It's a gentle, slowly twisting drama about Azman, a driving instructor who is married to Lina, and the couple has two children. Azman is also seeing his pretty young secretary-bookkeeper Liza on the side. Then Lina's first husband (and a friend of Azman), Meor, who is thought to be dead, turns up. A mysteriously menacing but charismatic presence -- you just know he's a bad ass by looking at him -- Meor announces his intentions to reclaim Lina and their son, whom Azman has raised as his own. Meanwhile, Liza has a young man trying earnestly to be her suitor, but she keeps blowing him off because of her feelings for Azman.

The people do things and say things that don't make sense sometimes, and you wonder where it's all heading. The pressure is clearly too much for Azman, who has clumps of hair falling off the side of his head. There are also a couple snivelling thugs hanging around threatening Meor, who remains enigmatic about what he's been doing for the past seven years, only to say he's been "herding cattle" in Thailand and Indonesia.

A couple of humorous sub-subplots involve a taxi-driver friend of Azman's -- at one point Lee's fellow Malaysian indie filmmaker Amir Muhammad is riding in the cab and the driver is surprised to find Muhammad's films about "that village" have been banned in Malaysia. Another is an old Chinese-Malaysian man who books the cab for the night so he can spy on the home of his son, whom he has presumably not seen since childhood.

Breathing in Mud is in the Silver Screen competition and is one of two international premieres for Lee at this festival, along with the eagerly anticipated horror film, Histeria, which screens on Sunday night. I won't be watching it, though, because of my choice of viewing during the bulk of Sunday, which I will detail in a forthcoming post. 5/5


Be Kind Rewind

This is not part of the festival, but is playing in a regular commercial run. I caught it at the Lido complex on Orchard Road -- a sensory experience in and of itself, with one opulent shopping mall after another, after another, after another, on and on and on.

Quite simply, this was the best time I've had watching a film in a cinema in a long time. Judging from the festival screenings -- Embers was fully booked, and Mud was well attended -- Singaporeans are enthusiastic filmgoers, much moreso than people in Thailand.

The screening for Be Kind was pretty well packed and the reaction of the crowd to the humor and antics of Jack Black and Mos Def added to the enjoyment of this very entertaining and visually innovative film by illusionist director Michel Gondry. It's about a video store clerk (Mos Def) who ends up in trouble after his wacko best friend (Black) accidently erases the store's entire stock. In order to keep the shop's most loyal customer (Mia Farrow), the pair take a low-tech route to remake the films using an ancient video camera and whatever bits of junk and scrap they can use. In the process, they remake Ghost Busters, Rush Hour 2, Robo Cop and Driving Miss Daisy, and, to their great surprise, build up a phenomenal following among the townspeople. 5/5

Celebrating Thai Film Day


I checked out Thai Film Day at CentralWorld yesterday, watching the 10 short films in the Thai People Love the King short film contest and briefly browsing at the booths set up by the industry. All the big studios had a presence -- Sahamongkol, Five Star, GMM Tai Hub, Mono Film, Phranakorn and a few others.

At the time I was there, the most activity seemed to be happening at the Sahamongkok Film booth, which featured an appearance by costumed characters from Nak -- Thong the dog, Keaw the headless ghost, Udd, the shape-shifting tall ghost and Mae Nak herself.

I watched Nak late Thursday and am still mulling over my review. It's coming soon. In short, Nak is very colorful, is sometimes entertaining and makes some interesting interpretations and observations about Thai society.

Mono Film had a game set up to promote its upcoming film, I.C.U.: Ghost College of Fine Arts, which is directed by Theeratorn Siriphunvaraporn. I recognized Theeratorn by his distinctive thick-rimmed glasses and trademark Tin-Tin hair fin, and I mentioned to him that I am a big fan of The Tiger Blade, which he directed, and asked how the sequel, Tiger Blade 2 is coming along. He smiled and said "coming soon!" And that was it.

Hanging around film crew working around some type of dolly camera rig, I bumped into director Chalerm Wongpim, so I mentioned to him that I am a big fan of Dynamite Warrior, and asked him what he's working on next. He's doing an action comedy, due to start shooting in three months for release sometime next year. And that's it.

The 90-minute or so package of 10 short films for Thai People Love the King was all in Thai with no subtitles, but I enjoyed watching them anyway. I liked the first one, just because it was mercifully lacking in dialogue. It was about an old woman living in rural Thailand who adhere to the old ways of living in a wooden stilt house and gathering food.

Possibly my favorite was one about a dysfunctional couple -- the husband just sits at his desk, drinking whiskey and flipping through the channels on his blaring TV. The wife, who walks with a limp, annoys the husband by lighting up about a dozen incense sticks and sitting them on the edge of the table, choking him with thick smoke while he's eating breakfast and she's praying to her ancestors. The wife leaves the next morning and locks the husband in. They both end up meeting at the same time at the ferry pier, where they are crossing the river to visit HM the King at Siriraj Hospital, where he was staying for a time late last year. All the shorts made specific reference to the King, by using his photos, yellow shirts and other items. Two were set on the Srinakarin Dam, seen as one of the largest, most tangible of the King's works.