Suchada Sirithanawuddhi

Buppah Rahtree est une jeune fille discrète et sans amis. Elle a cependant un admirateur, Ake. Rahtree se rapproche d'Ake pour finallement découvrir qu'il n'est qu'un sale type. Forcée d'avorter, Rathree est abandonnée dans son appartement, où elle meurt. Oui, mais voilà, lorsque la police débarque, impossible de bougée le corps. L’esprit de Rahtree est toujours là et très en colère...

Rong, une jeune Thaïlandaise, est tombée amoureuse de Min, un immigré clandestin birman. Elle paie Orn, une vieille femme, pour prendre soin de Min, pendant qu'elle cherche un endroit où ils pourront vivre leur bonheur. Un après-midi, Min emmène Roong pique-niquer dans la jungle, où ils se sentent libres d'exprimer leur amour. Orn, de son côté, est également allée dans la jungle avec Tommy, l'homme qui travaille avec son mari. Une overdose de bonheur risquerait-elle d'avoir des effets secondaires ?

A film crew go in search of Nok Phii - a rare bird which feeds on the blood of other creatures.

Three short horror tales make up Heaven and Hell. The movie use images from surveillance cameras set up in a person's home and in a convenience store.

Three short horror tales make up Heaven and Hell. The movie use images from surveillance cameras set up in a person's home and in a convenience store.

Glistening objects from a jewelry collection inspired by carnivorous plants are transformed into a colourful sea of garden creatures through hand-drawn animations of roots, insects and various other organisms. A loving tribute to Weerasethakul's mother's garden. Commissioned by Dior; first presented at Musée de l’Orangerie, Jardin des Tuileries, Paris, to mark the opening of a new set of jewellery designed by Victoire de Castellane, 27 February 2007.

A joyful shot recorded by Weerasethakul himself and two young men who become acquainted by filming each other in the back of a moving pickup truck. Though seemingly playful, the short film is a subtle portrait of migrant workers in the north of Thailand.

One of the ingrained rituals in Thai society is the blessing automatically given before certain ceremonies and events such as the playing of the Royal Anthem in movie theaters before feature presentations. This short presents a "Cinema Anthem" which comically praises and blesses the feature to come.

One of the ingrained rituals in Thai society is the blessing automatically given before certain ceremonies and events such as the playing of the Royal Anthem in movie theaters before feature presentations. This short presents a "Cinema Anthem" which comically praises and blesses the feature to come.

Taking the recent tsunami in Asia as its starting point, the filmmakers have used the idea of a ghost seen wandering along the rocky coastline of a Thai island and, in a life-affirming gesture, they have invited some local children to direct the film for them, suggesting and filming the movements of the actor-ghost.

A film crew go in search of Nok Phii - a rare bird which feeds on the blood of other creatures.

A group of people is in a boat traveling along Mekong River that stretches along the Thai-Laos border. They are running against the wind, anticipating a farewell. In the middle of the river, the lady head of the family casts the ashes off into the stream. The white dust merges with the muddy water. The boat makes a u-turn at the bridge that links two countries. The passengers are tired and start to drift off into their own world. The film disintegrates. The crew and the cast wander off in the river of simulation. The border links the worlds of the dead and of the living. The memory of an anonymous dead father lingers. The boat still moves on as the dusk arrives. Apichatpong and his crew traveled to Nong Khai, a small town near Mekong River, and recruited local villagers to participate in the project. For two days, the crew and cast reconstructed a fake ceremony and find a narrative.

A group of people is in a boat traveling along Mekong River that stretches along the Thai-Laos border. They are running against the wind, anticipating a farewell. In the middle of the river, the lady head of the family casts the ashes off into the stream. The white dust merges with the muddy water. The boat makes a u-turn at the bridge that links two countries. The passengers are tired and start to drift off into their own world. The film disintegrates. The crew and the cast wander off in the river of simulation. The border links the worlds of the dead and of the living. The memory of an anonymous dead father lingers. The boat still moves on as the dusk arrives. Apichatpong and his crew traveled to Nong Khai, a small town near Mekong River, and recruited local villagers to participate in the project. For two days, the crew and cast reconstructed a fake ceremony and find a narrative.

A group of people is in a boat traveling along Mekong River that stretches along the Thai-Laos border. They are running against the wind, anticipating a farewell. In the middle of the river, the lady head of the family casts the ashes off into the stream. The white dust merges with the muddy water. The boat makes a u-turn at the bridge that links two countries. The passengers are tired and start to drift off into their own world. The film disintegrates. The crew and the cast wander off in the river of simulation. The border links the worlds of the dead and of the living. The memory of an anonymous dead father lingers. The boat still moves on as the dusk arrives. Apichatpong and his crew traveled to Nong Khai, a small town near Mekong River, and recruited local villagers to participate in the project. For two days, the crew and cast reconstructed a fake ceremony and find a narrative.

A group of people is in a boat traveling along Mekong River that stretches along the Thai-Laos border. They are running against the wind, anticipating a farewell. In the middle of the river, the lady head of the family casts the ashes off into the stream. The white dust merges with the muddy water. The boat makes a u-turn at the bridge that links two countries. The passengers are tired and start to drift off into their own world. The film disintegrates. The crew and the cast wander off in the river of simulation. The border links the worlds of the dead and of the living. The memory of an anonymous dead father lingers. The boat still moves on as the dusk arrives. Apichatpong and his crew traveled to Nong Khai, a small town near Mekong River, and recruited local villagers to participate in the project. For two days, the crew and cast reconstructed a fake ceremony and find a narrative.

A filmmaker captures images that characterize the violence and repression as well as the hope of rebirth and remembrance in northeastern Thailand.

A filmmaker captures images that characterize the violence and repression as well as the hope of rebirth and remembrance in northeastern Thailand.