Wednesday, August 25, 2010

Ong-Bak 3 on DVD in the U.K. in October


So that monkhood thing was pretty serious. Khun Tatchakorn Yeerum (ทัชชกร ยีรัมย์) , formerly Panom Yeerum (พนม ยีรัมย์), hasn't been heard from or seen since. Guess it's going to be awhile before Tony Jaa makes a movie. If ever again.

So what about his latest movie, Ong-Bak 3? I would have thought it'd be obligatory for the Toronto International Film Festival's Midnight Madness program. But no.

Maybe they didn't like the torture.

Ong-Bak 3 is out on VCD and DVD in Thailand. They're selling it on the counter at the 7-Eleven as an impulse buy. Which is cool. I've halfway thought of picking it up myself. No subtitles of course. But hey.

Anyway, fans outside Thailand are in luck. It's coming to DVD in the U.K. on October 11. Amazon has it listed. Blu-ray too.

(Thanks Logboy!)

Tuesday, August 24, 2010

Oh Ngao, another horror-shorts anthology

Following the success of GTH's 2008 shorts-anthology Phobia (Si Phrang or "4 intersections") (followed up with Phobia 2, (Ha Phrang, "5 intersections"), Sahamongkol Film International got in on the action with last year's Haunted Universities (Maha'lai Sayong Kwan) and Poj Arnon and Phranakorn offered Tai Hong (a.k.a. Still or more literally Die a Violent Death).

Now comes 96 Film, with a set of bad-karma horror shorts in Ngao (เงา, English title: Shadow). It's a bit confusing I think, because the posters promote three segments, but there are four stories.

Hun Suan (Partners) by Atsawin Thepkanlai is about a youthful prank gone wrong.

Taeng (Abortion) by Theeratorn Chaowanayothin, about the consquences of a college romance, should be self-explanatory.

Dai Daeng (Red Yarn) by Eakasit Sompetch looks into the folly of disbelieving supersititions. Eakasit's the director who two years ago did the fun martial-arts action short Mai Fah the Sabulakui, featured at the 12th Thai Short Film & Video Festival.

And finally there's Mae (Mother), directed by Chanachai, about a lingering evil spirit.

The trailer is at YouTube and embedded below. It opens in cinemas on Thursday.

Apichatpong-a-rama: Joei on the cover of Gentlemen's Magazine, Uncle Boonmee in Vancouver

Uncle Boonmee Who Can Recall His Past Lives has already been announced for the Vancouver International Film Festival.

This year's Palme d'Or winner is playing in the Best of Cannes section.

There's at least one other Thai film in the fest, the musical documentary Baby Arabia premiering next week at the Thai Short Film & Video Festival, but its scheduling in the Vancouver fest hasn't been officially announced by the festival. Perhaps it'll be in the Dragons & Tigers program for Asian films.

The Vancouver International Film Festival runs from September 30 to October 15.

Row Three has more about VIFF.

Uncle Boonmee is also playing in the New York Film Festival and will have a regular theatrical run at Toronto's Bell Lightbox. It opens this Thursday at the SF cinema on Pattaya Beach.

Apichatpong continues to take the Thai media by storm. He's on the cover of the latest Thai edition of GM (Gentlemen's Magazine) and there's a 10-page interview inside.

Limitless Cinema likes a quote from film expert Sonthaya Subyen:

Guillermo del Toro, the director of Pan's Labyrinth, said, 'There's something intangible in the real world, but our instincts can feel it. The only way we can touch it is by art or religion.' The films of Apichatpong possess the miraculous power of the bliss of gazing. His films enable us to feel something which is beyond the frame of the image, and let us see the purity, the simplicity, and the magic which are integrated into the basic nature. This is because the unique characteristic of cinematic art is not clever dialogues, twisted storytelling, or stylistic show-off by playing with weird images."

6th Singapore Short Film Fest has The Wind and a ton of other Thai shorts


Last year I attended the Singapore Short Film Festival for the first time, and was looking forward to going back this year. However, I think because of the red-shirt protests, this year's Thai Short Film & Video Festival is delayed slightly, and so the two largely complementary events are being held at the same time.

So I'll be heading to the Bangkok Art and Culture Center while at The Substation on Singapore's Armenian Street, the sixth Singapore Short Film Festival opens with Horizons, films transcending the usual borders of space, nature and time. The package includes the world premiere of The Wind (Ror Lom) by Tulapop Saenjaroen, a young filmmaker who's part of Anocha Suwichakornpong's Electric Eel crew.

In fact, there's another Electric Eel production in the fest: the award-winning Four Boys, White Whisky and Grilled Mouse showing as part of the S-Express Thailand program curated by the Thai Film Foundation's Sanchai Cotirosseranee.

Other S-Express Thailand selections are Prisoner by Prachaya Lampongchat; last year's top Payut Ngaokrachang Medal winner at the 13th Thai Short Film & Video Festival Sink [Vi] by Pittaya Werasakwong; Censored by Kong Pahurak (The Wasesda University student's latest film, Ladybird’s Tears premiered at this year's Singapore International Film Festival, with help from Edmund Yeo); Nirvana by Siwadol Rathee, which looks at the prohibition of disabled people from Buddhist ordination and Karaoke: Think Kindly by Scene 22, on whether reconciliation can solve the Thai conflict.

Anocha's Old Heart is part of the Diary program, along with Motionless City by Wassachol Sirichanthanun, Tulapop's The Return and A Tale of Heaven: Cinema Forest by Phuttiphong Aroonpheng, which previously screened at this year's International Short Film Festival Hamburg.

Whimsical Fancies has Fairy Feminine by Arpapun Plungsirisoontorn.

The Kids Aren’t Alright, films that speak of the psyche behind children, adolescents and youths of today, has Nottapon Boonprakob's troubled-boy story Drown, which was shown at the recent Bangkok IndieFest. It's previously been shown at the K3: International Short Film Festival in Austria at this year's Bueu International Short Film Festival in Spain.

Foreign Lands has Phuket by Aditya Assarat, which opens this year's 14th Thai Short Film & Video Festival and will be screened in a limited theatrical run in Bangkok as part of the Director's Screen Project.

An animation package has The Value of Tree by Salisa Piencharoen, which won a special mention Payut Ngaokrachang Award at last year's Thai Short Film & Video Festival. Mokhaphon Sanghirun has Destination, which also won a special mention Payut Ngakrachang Award at last year's Thai shorts fest.

There's also the S-Express packages from Singapore, Indonesia, Malaysia, Chinese and the Philippines, which are also part of the 14th Thai Short Film & Video Festival. The Philippines package is curated by Francis "Oggs" Cruz, Dodo Dayao, Richard Bolisay, who pay tribute to the late Alexis Tioseco, previous S-Express Philippines curator, and his partner Nika Bohinc, who died last year.

The sixth Singapore Short Film Festival runs from August 28 to September 5.

Monday, August 23, 2010

14th Thai Short Film & Video Festival sets schedule, Alexis-Nika memorial tribute and Unreal Forest

The schedule for the 14th Thai Short Film & Video Festival is done. There's even a spreadsheet, which will come in handy because there will be movies showing on two screens, in the fifth floor auditorium of the Bangkok Art and Culture Center and in the fourth-floor conference room. In past years, the screenings have been confined to one room.

The programmers give us a lot to look forward to and think about.

Among the special programs this year will be an Alexis Tioseco and Nika Bohinc Memorial Screening, in honor of the film-expert couple who were killed in their home by gunmen on September 1 of last year.

Filmmaker Kidlat Tahamik offers his Each Film ... An Island?, an unfinished new feature. Kidlat explains:


Each Film ... An Island? ... an isolated mass of sedimented sights/sounds?

A cineaste’s filmography ... an archipelago of edited films ... Can island explorers decipher the auteur’s DNA from the celluloid bedrock?

In 2004 my house burned with all the VHS masters of my Video8 shorts. I was resigned – impermanence is a fact of life. How many more islands will submerge with the global warming.

On 2008 on the wild impulse, I e-mailed the Tokyo Video Festival: Were winning award videos archived? Hooray! Even non-winning entries by my son were digitized since 1989(our analog decade)!

My fossilized videos-an uncharted atoll of my filmless films. Let’s go island-hoping! Let’s see of re-incarnated analog Hi-8 images merged with HD open up a whole new road-film diary.

(Director's statement, YIDFF)

Please feel free to screen my unfinished film. Anyway all my films are unfinished is a way – because they might still be included in a future film. It is a compilation of excerpts for my past films and videos. So it is like a short film festival in itself.

I hope this version of the film will be a proper tribute to Alexis if you believe so. I am honored.

That's in addition to the S-Express Philippines program, which Alexis curated up through last year. This year, in tribute to Alexis, Francis "Oggs" Cruz, Dodo Dayao and Richard Bolisay have put together a program of shorts "that represent what the Philippines, as a country that is diverse and multi-faceted, truly is."

There's also S-Express programs from Singapore, Malaysia, Indonesia and "Chinese".

Many other special programs have been detailed earlier. These include the Best of Clermont-Ferrand, from the world's biggest short film festival.

The musical documentary Baby Arabia makes its world premiere on September 1, likely with a mini-concert by the band. Baby Arabia is also tipped for the selection at this year's Vancouver International Film Festival.

There's the Animation Showcase in Tribute to Payut Ngaokrachang, the pioneering Thai animator who died in May. The progam features animated shorts from Japan, the U.K., Norway, Ireland and Spain and is highlighted by Payut's 20-minute short, A New Adventure of Hanuman (หนุมานเผชิญภัย (ครั้งใหม่)). From 1957, it's an anti-communist propaganda film Payut did while working for the U.S. Information Service, which has Hanuman the white monkey god fighting the Red menace.

Queer of Siam features a selection of Thai shorts, Coming of AIDS by Waasuthep Ketpetch, Ter Lae Ter (เธอและเธอ) by Sutthion na Lumphoun, Pre-Attitude by Panu Saeng-Xuto and Play Name by David Snyder. Program Queer: Generation offers an international selection of shorts from Belgium, Argentina, Brazil and Norway.

Another special program, In the Realm of Conflict is in observance of Bangkok's politically charged violence of just a few months ago, and has shorts about all sorts of conflicts from Georgia, Palestine, Iraq, Finland, Norway, the Netherlands, South Korea and Indonesia.

Beyond Yangon is a package of short documentaries that offer a rare glimpse inside the borders of military-ruled Myanmar from the Yangon Film School, a non-profit organization founded in 2005 by Anglo-Burmese filmmaker Lindsey
Merrison.

Also special this year is Pridi 110, a selection of six short documentaries on statesman Pridi Banomyong in observance of his 110th birth anniversary.

There's even Shorts for Kids.

Of course, the Thai Short Film & Video Festival isn't all about shorts, and so the Digital Forum program returns this year with feature-length works.

Among them will be the Thailand premiere of Unreal Forest, Jakrawal Nilthamrong's experimental documentary made as part of the International Film Festival Rotterdam's Forget Africa program. It previously played in Singapore and Milan. The screening coincides with a multi-platform art exhibition of Unreal Forest, set for the Numthong Gallery.

But the whole raison d'être of the Thai Short Film & Video Fest is the competitions, and the finalists have been chosen, with categories for student films (White Elephant for college students and Special White Elephant for younger pupils), the general public (the RD Pestoni Award), animation (the Payut Ngaokrachang Medal), documentaries (the Duke Award) and the International Competition.

The festival opens at 5 on Thursday with registration and then the first program at 6, with the premiere of Aditya Assarat's Phuket (set to screen in Bangkok later as part of the Director's Screen Project), the Georgian conflict film Aprilis Suskhi by Tornike Bziava and the Oscar-winning short Logorama from France.

Bangkok IndieFest readies Golden Shirt Awards, seeks shirt designer


Red shirts, yellow shirts and now Golden Shirts.

Bangkok IndieFest, held from August 6 to 8, touted itself as being one of the first international movie events to take place in Bangkok since red-shirt political protests only a little more than two months before.

It's now working on giving its first Golden Shirt Awards, and the festival needs a designer of the Golden Shirt.

For details, e-mail info [at] bangkokfest.com or contact the fest at www.BangkokFest.com.

Winners of the Golden Shirt Awards to be announced online on or before August 31.

You can also read festival director Jason Rosette's post-festival statement.

Rosette calls for more grass-roots, "bottom up"-type arts events to aid in Thailand's recovery after the violence of the political protests. He also points to a lack of venues that would be suitable to held such events.

Here's more:

As our budget was extremely limited, we sought to secure low or no-cost subsidized exhibition venues as a high priority. We discovered that such venues were not readily available here in Bangkok. Most venues here are priced to accommodate the budget of significantly subsidized festival events; this exclusionary barrier does not appear to contribute effectively to the cultivation of a sustainable, lateral, and diverse independent film industry.

Our recommendation would be for the local government in Thailand or other relevant agencies to support – via subsidy or other mechanism – affordable smaller venues or ‘microcinemas’ which are readily accessible, affordable, and most importantly transparently and democratically available to emerging filmmakers and media practitioners alike.

Private sector entrepreneurs may also consider establishing microcinema (60 seats or less) venues to address what appears to be a viable and significant niche, especially for the vital and vibrant ‘indie’ community. A cost-benefit analysis of the viability of any such venue should weigh accessibility by public transportation as an important variable, although the appropriately positioned neighborhood movie house
may also be sustainable.

Our efforts to secure such an arts-friendly, subsidized (i.e., no cost) venue included diligent outreach to the Bangkok Art and Culture Center; however, our numerous calls, emails, faxes and personal visits following the submission of our proposal yielded no definitive, meaningful response from that organization or its staff.

Read on for details of how the festival came together at HOF Art with sponsors that included EPSON, Singha, Apple iStudio, Location Thailand, the US Embassy Ratchada Spa and Resort and others.

You can also look at photos of the fest at Shutterfly.

Production company Camerado, meanwhile, has announced plans to hold the fourth Cambofest from March 1 to 9 at the Royal Theatre in Kampot, highlighted by the official Cambodian premiere – 88 years later – of Robert Flaherty's Nanook of the North.

For more on Cambofest, read this gripping account of the festival's struggles.

(Photo via Bangkok IndieFest)

Saturday, August 21, 2010

Review: Boonchu 10


  • Directed by Kiat Kitjaroen
  • Starring Thanachat Tulayachat, Santisuk Promsiri, Jintara Sukapat, Natthaveeranuch Thongmee, Gaewglao Sintaypdon
  • Released in Thai cinemas on August 5, 2010; rated 13+
  • Wise Kwai's rating: 4/5

Lost and stolen wallets hold the currency for new friendships in Boonchu 10, the latest episode in the long-running teen comedy series from Five Star Production.

Director Bhandit Rittakol created the series in the late 1980s and was in pre-production for Boonchu 10 when he died last year. The closing credits are a heartfelt tribute to Bhandit. During the film, there's even misty-eyed hearkening back to the olden days.

Long-time Boonchu cast member Kiat Kitjaroen took over the helm for this one (actually the eighth in the series – parts 3 and 4 were skipped back in the '90s in a marketing gimmick).

The result is seamless. Boonchu 10 Yoo Nai Jai Samer Ja (บุญชู จะอยู่ในใจเสมอ, roughly "Boonchu, forever in our hearts") is just as wholesome, earnest, nostalgic and full of laughter as the previous entries.

Production values are high, with the cinematography capturing lush picture-postcard scenery, cool green-screen action involving a tiger licking a guy and surprisingly well-choreographed and framed action scenes. In short, Boonchu 10 is pretty fun.

In the original series, Santisuk Promisiri portrayed Boonchu, the country boy from the central plains ricefields who goes to Bangkok to study agricultural science. There, the talkative hick meets a group of wacky friends and his true love, Moree (Jintara Sukapat), or "Miss Mo" as he sweetly calls her to this day. When the franchise was rebooted in 2008, Boonchu's and Mo's equally motor-mouthed son Boonchoke (Thanachat Tulayachat) was sprung from the Buddhist monkhood, where he'd spent his entire childhood, and sent to school in Bangkok, where he met a group of wacky friends.


Now, as Boonchu 10 opens, Boonchoke is back home in Suphanburi, bidding his parents farewell as he heads off to his new studies in applied Thai traditional medicine at Mae Fah Luang University in Chiang Rai.

After a quick stop through Bangkok and Chester's chicken to bid farewell to his school friends there from Boonchu 9, he heads up to Chiang Rai, where he offers prayers to the statue of the university's namesake, the Princess Mother. If a certain other director had filmed this scene perhaps it would have been cut by censors.

Boonchoke quickly makes a new friend, a wiseacre named Doc. But Boonchoke's heart is already set on a button-cute young woman named Janhom ("Jeen" Gaewglao Sintaypdon). Using advice from his lady's man friend Doc, Boonchoke tries a line on Jamhom that is totally inappropriate.

But then Boonchoke makes up for that by retrieving the girl's lost wallet and then running his motorbike into a lake trying to give it back to her.

Meanwhile, Boonchu and Mo are set on visiting their boy at the university. Boonchu and his Bangkok buddies all come up to Chiang Rai and visit the northern city's night market.

The men take time out for a meal at a northern restaurant and encounter the same irascible restaurateur they traded barbs with back in Bangkok. How'd he get up to Chiang Rai? Who cares? It leads to plenty of wordplay and jokes that don't really translate well to the subtitles but had the audience rolling in the aisles.


In fact, the genius of the jokes in Boonchu is that they are actually smart, full of puns and idiomatic Thai wisdom, which makes Boonchu such a refreshing departure from the usual lowbrow slapstick that's pulling in crowds these days. (Boonchu 10 was third at the box office earning around 7 million baht its opening week compared to Phranakorn's Luangphee Teng 3, which on its opening week was No. 1 with a whopping 24 million baht.)

Boonchu makes a couple of new friends, one a hilltribe man selling wooden frog noisemakers.

Boonchu then has his wallet stolen, which leads to a knock-down, drag-out chase of the thief by all of Boonchu's buddies through the crowded marketplace. To the rescue comes a spirited young woman, who chases down the street hood and dispenses of him with a few well-placed kicks. It's JaJa, and with a name like that she should be an action star.

It's none other than "JaJa" Natthaveeranuch Thongme, best known for her co-starring role as Ananda Everingham's girlfriend in the original Shutter.

Turns out her character's name is Janpah – a fantastic blowgun-wielding Indiana Jones-style heroine environmental activist who always has exactly the helpful herb she needs in her shoulder pouch. Rightly, she's a legend at the university for her herbology course for fourth-year students.


Of course, an incredible string of coincidences puts her in the path of Boonchoke, who has gone into the forest to forage for herbs and natural remedies with his friend Doc. After the boys have a run-in with a trio of hilarious wildlife poachers, Janpah comes to the rescue and sets the animals, including a tiger, free.

And as the action escalates, Boonchu, his buddies and the hilltribe frog salesman find their way into the forest to locate Boonchoke, leading to a climactic fight involving the wildlife-poacher stooges, the high-kicking Janpah, a chainsaw and a gunshot with a gut-wrenching, mournful impact that leads to a big twist.

And Moree has a secret.

I wouldn't be surprised if there were more of the Boonchu series to come.


Related posts:

Thursday, August 19, 2010

Anocha in a White Room, seeking funds in Pusan


Mundane History director Anocha Suwichakornpong's new project called The White Room is among 27 titles chosen for the Pusan Promotion Plan of the Asian Film Market at the 15th Pusan International Film Festival.

Film Business Asia has the full rundown of the announcement and a list of titles.

The Pusan Promotion Plan is a project market that gives filmmakers a chance to meet with potential co-producers, financiers and investors. It runs from October 10 to 13.

Here's more from the PPP website:

The highlights of the PPP this year is the improved quality of projects from returnee directors. Anocha Suwichakornpong, Thailand’s female director known for her film Mundane History (2009), which won the Tiger Award at Rotterdam, will also join Al-Daradji at the PPP. Mundane History (2009) was funded by the Asian Cinema Fund (ACF) for post-production. By returning to Pusan with her new project The White Room, she hopes to find would-be investors.

A returnee herself like Suwichakornpong, Charlotte Lim Lay Keun does not seem to have forgotten the PIFF fever from last year and returns with It Must Be a Camel. PIFF has noticed both Suwichakornpong's and Lim's talents from the beginning and ever since then, it seems like their career as a filmmaker continues to rise.

The White Room is listed as a co-production between Thailand, the U.K. and Japan. The Japanese producer is Kousuke Ono.

Anocha says she wrote the script before Mundane History, back around 2004, and it was accepted to the Script Program at the Berlinale Talent Campus in 2006.

The story is set in England and Japan.

That's another project in the works for Anocha, who is also doing her Bangkok factory-worker drama Dao Khanong (By the Time It Gets Dark), which is among projects backed by the Culture Ministry's Strong Thailand fund and Rotterdam's CineMart.

(Photo via Extra Virgin)

Wednesday, August 18, 2010

Ananda Everingham in action as Red Eagle

Tempting fate, a red-masked, black-leather-clad Ananda Everingham dangled from a rope ladder and rode a motorcycle yesterday in a live stunt-show promotion in Pattaya by Five Star Production for the October 7 release of Insee Daeng (อินทรีเเดง, Red Eagle).

It was 40 years ago on October 8, 1970 at Dong Tan Beach, Jomtien, a few miles down the Gulf of Thailand coastline from Pattaya, where the original Red Eagle star, superstar actor Mitr Chaibancha, fell to his death while dangling from a rope ladder on a helicopter as it soared into the skies. He was making Insee Thong (Golden Eagle), the last in his long-running series of Red Eagle movies. There's a shrine to Mitr at Jomtien that to this day receives daily visits from fans and people praying for luck.

And, it was just a couple years ago that leading man Ananda himself took a nasty spill on a motorcycle and suffered serious injuries that delayed his work on this reboot of the Red Eagle franchise, which being directed by the imaginative director of Tears of the Black Tiger and Citizen Dog, Wisit Sasanatieng.

The original series, which started in the 1950s, is based on crime novels by Sake Dusit, about drunken playboy lawyer Rome Rittichai, whose alter-ego is the masked vigilante crimefighter Insee Daeng, similar to Green Hornet or Batman. Mitr starred in the series, with actress Petchara Chaowarat as his plucky confidante and assistant. There've also been other movie incarnations of Red Eagle, as well as TV dramas.

The Pattaya Daily News has an account of the stunt show with more photos, and says a helicopter was involved in yesterday's events at the Central Festival shopping mall on Pattaya Beach.

Actually, the sturdy steel-cable ladder was suspended on a sling between buildings at the shopping center, as photos show.

And, had the actor's grip on the ladder loosened, as Mitr's did back on that fateful day in 1970, Ananda would have been okay, because he was rigged into a climbing harness, attached to a safety rope.

Though the actors weren't in danger, it still must have been a thrill for Pattaya folks to get a look at the red-masked man and the movie's heroine, musician and actress Yarinda Bunnag.

You can get another look at Ananda in action in the Red Eagle trailer.

Tuesday, August 17, 2010

Culture Ministry screens International Award-Winning Thai Films at Paragon


The Culture Ministry together with Paragon Cineplex join the trend of saluting Thai independent cinema with a program of 11 shorts and features, screening from August 18 to 22 in the International Award-Winning Thai Films series under the ministry's Fuan Mit Ruan Samai Sangsan Thai Su Sakol project.

According to a Culture Ministry press release, the program is in honor of Her Majesty Queen Sirikit and aims to "propagate contemporary art as [a] cultural asset, and also to extend the contemporary art to the creative economy".

Here's the lineup (also at the Major Cineplex website):

  • August 18, 5pm: Zart Tancharoen's Lost Nation (100 min)
  • August 19, 5pm: Apichatpong Weerasethakul's A Letter to Uncle Boonmee (20 min), Kanitta Kwanyu's The Moment of Love (22 min), Nattaphong Homchuen's Red Man (8 min), Pichaya Chaidee's Love You If Me Dare (17 min) and Zart Tancharoen's Relativity Plus Quantum (15 min.)
  • August 20, 5pm: Anocha Suwichakornpong's Graceland (17 min), Anocha's Like Real Love (38 min) Adiya Assarat's Waiting (25 min) and Aditya's 705/1 Sukhumvit 55 (5 mins)
  • August 21, 1pm: Citizen Juling (222 min) by Samamrat "Ing K" Kanchanawit, Manit Sriwanichapoom and Kraisak Choonhavan
  • August 21, 5.30pm: A Letter to Uncle Boonmee, The Moment of Love, Red Man, Love You If Me Dare and Relativity Plus Quantum
  • August 22, 1pm: Graceland, Like Real Love, Waiting, 705/1 Sukhumvit 55
  • August 22, 6pm: Citizen Juling

Zart Tancharoen's experimental documentary-style drama Lost Nation (ผมชื่อชาติ) is about a man named Chart (Nation), who's lost in the woods. As he fades into the mist, his identity becomes clearer to friends and family who talk of his disappearance. It screened at last year's World Film Festival of Bangkok.

Apichatpong's A Letter to Uncle Boonmee, a short that's part of his multi-platform Primitive art project, which also spawned the Cannes Golden Palm-winning feature Uncle Boonmee Who Can Recall His Past Lives. Letter has reaped several awards, including best film and prize of the jury at the Pernambuco Association of Filmmakers at the Janela Internacional de Cinema do Recife, Brazil, as well as honors in Oberhausen and Ann Arbor. It was also screened at last year's World Film Festival of Bangkok.

Kanitta's The Moment of Love (เวลา...รัก) was featured at last year's Thai Short Film & Video Festival and the Bangkok Fringe Festival.

Nattaphong's highly entertaining, politically colored Red Man was also featured at last year's Thai Short Film & Video Festival. It won the best cinematography award in the Kodak Filmschool Competition and was part of last year's travelling package of S-Express Thailand shorts.

Pichaya's Love You If Me Dare won a short film prize at the 16th Subhanahongsa Awards and was selected for the Fat-rama festival, the Bimm festival and others.

Zart's Relativity Plus Quantum was featured at the 2005 World Film Festival of Bangkok. It was the second-prize White Elephant Award for student films as well as the best cinematography honors in the Kodak Awards at the ninth Thai Short Film & Video Festival. It was shown at the 2006 Curta Vila do Conde International Film Festival in Portugal and the 2005 CJ Entertainment Asian Film Festival in South Korea.

Graceland, from 2006, was Anocha's graduate thesis film from Columbia University. It's about an Elvis impersonator (Sarawut Martthong) being picked up by a mysterious woman and taken into the countryside. It was the first Thai film to be selected for the Cannes Cinefondation program. It won awards at the Busan Asian Short Film Festival and the Tampere Film Festival.

Anocha's triptych Like. Real. Love (ดุจ จิต ใจ , Duj Jit Jai), premiered at the 2008 International Film Festival Rotterdam, and won the grand prize at the 13th Hong Kong Independent Short Film & Video Awards and a special mention at Oberhausen. Each of the three segments examine different states of emotion and dreams.

Aditya, this year's Silpathorn laureate for film, has Waiting from 2002, which has been featured at dozens of festivals. Awards include the Cinemavenire Grand Prize at the 2003 Torino Film Festival and a special mention at the 2003 Thai Short Film & Video Festival. His 705/1 Sukhumvit 55 (an address along Bangkok's Soi Thonglor) is also from 2002 and has been featured at many film festivals.

Citzen Juling (พลเมืองจูหลิง, Polamuang Juling) is a sweeping, epic-length documentary on Thai politics and society that stems from the fatal beating of a young Buddhist schoolteacher in restive Muslim-majority southern Thailand's Narathiwat Province in 2006. The film premiered at the 2008 Toronto International Film Festival and was also screened at that year's Bangkok International Film Festival and the 2009 Berlinale. Despite much fear by Ing K, Manit and Kraisak that their politically sensitive movie would be censored, it was screened uncut in a limited release at Bangkok's House cinema last year. It was a nominee for the Asia Pacific Screen Awards and best-picture winner at the Kom Chad Luek Awards.