Anutin Charnvirakul:“Nationalism is in the heart of everybody in Bhumjaithai...”

Anutin Charnvirakul’s Bhumjaithai party achieved an unexpected election win yesterday, with an increase of more than 100 seats since the last vote in 2023. More predictably, Pheu Thai suffered a significant decline, losing almost half of their seats. The People’s Party, which won the last election, lost almost a quarter of their seats, finishing in second place.

At a press conference last night, Anutin said (in English): “Nationalism is in the heart of everybody in Bhumjaithai party.” This goes a long way to explain his election victory, as the defence of the country — following last year’s border war with Cambodia — was central to his campaign. This was in stark contrast to Pheu Thai, whose former leader Paetongtarn Shinawatra was dismissed as prime minister following her obsequious phone call with former Cambodian PM Hun Sen.

Since he became PM last September, following Paetongtarn’s dismissal, Anutin has increased his power base, with dozens of MPs (including fifty from United Thai Nation) defecting from other parties to join Bhumjaithai. The People’s Party must now be bitterly regretting their confidence-and-supply agreement with Anutin, which — from their perspective — has backfired spectacularly. Their only consolation is that they achieved a clean sweep in Bangkok, winning all thirty-three constituencies in the capital.

There are numerous reasons for Pheu Thai’s losses. They ran a campaign that was even more blatantly populist than usual, promising to hold daily lotteries with ฿1 million prizes. Their de facto leader, Thaksin Shinawatra, is in jail, yet the party is still reliant on Thaksin family members — this time, his nephew Yodchanan Wongsawat — for its prime-ministerial candidates. And Pheu Thai have surely lost considerable support since 2023, after breaking their pledge not to form a coalition with pro-military parties.

Bhumjaithai will need a coalition to form a government, and their most likely coalition partner — and therefore kingmaker — is Thamanat Prompow’s medium-sized Klatham party, whose fifty-seven seats would put Bhumjaithai over the 250-seat threshold for a parliamentary majority. (Anutin pulled out of the Pheu Thai coalition last year, and Bhumjaithai and the progressive People’s Party are ideological opposites.)

Yesterday’s votes also included a preliminary referendum asking whether the constitution should be rewritten. There was a majority in favour of a new constitution, with a striking north/south divide: almost all constituencies in northern and central Thailand voted in favour, while almost all constituencies in the south voted against. With the conservative Bhumjaithai in power, any changes to the constitution are likely to be limited.

Petal Camera

The Petal camera was released in Japan in 1948. This minuscule device is barely larger than a coin, though its chrome-plated brass body is reassuringly heavy.

The Petal’s disc-shaped film has six exposures, each only 6mm in diameter, which could be enlarged — into ‘petalargements’ — when processed. The camera has a fixed-focus lens.

It was manufactured by St. Peter Optical, primarily for export, and it was distributed in the US by Mycro Camera in 1949. The original circular Petal was followed by the Everax A (engraved with a floral motif) and a Sakura Petal octagonal version.

The Petal is the world’s smallest film camera, and it’s significantly smaller than the more famous Minox spy cameras from Latvia and Germany. It’s also smaller and more advanced than the Hit cameras made by Tougodo, which became a generic term for all Japanese post-war subminiature cameras.

Other smallest-ever analogue cameras include:

• Bolsey 8 — the smallest cine camera
• Sony Ruvi — the smallest video camera
• Polaroid iZone 200 — the smallest instant camera

Press Start:The History of Video Gaming

Erwan Cario’s Press Start: The History of Video Gaming was originally published in French as Start! La grande histoire des jeux vidéo in 2011, and its updated English translation was published last year. The back cover describes it as “the most comprehensive history of video gaming ever”, though that distinction really belongs to Tristan Donovan’s Replay.

While Press Start isn’t the most comprehensive video game history, it does have better illustrations than its rivals (except for purely visual surveys like Stephan Gunzel’s Push > Start). The book covers the most significant video games, consoles, and designers, from the experimental oscilloscope game Tennis for Two in 1958 onwards.

Cario describes Shigeru Miyamoto as “the greatest designer of all time”, and argues that Ocarina of Time, from Miyamoto’s Legend of Zelda series, is “considered by many players to be the greatest video game in history.” He writes that Space Invaders was “unquestionably the first title to have a lasting impact on video games and popular culture”, and describes that game’s 8-bit alien character as “the universal symbol of video games.”

Leonard Herman’s Phoenix was the first book on the history of the gaming industry, and Steven Poole’s Trigger Happy was the first analysis of the aesthetics of video games. Thumb Candy, from Channel 4, is the best documentary on the subject.

100 Years of Anime

100 Years of Anime, by Matthieu Pinon and Philippe Bunel, was first published in French (Un siècle d’animation japonaise) in 2017, to mark the centenary of anime (Japanese animation). The book’s English translation was published last year.

Jonathan Clements wrote the definitive history of anime in 2013. 100 Years of Anime is nothing like as scholarly as the Clements book — it has no footnotes, and only a very brief annotated bibliography — but it is better illustrated, with colour photographs on almost every page. Pinon and Bunel are also the only other authors, besides Clements, to write a complete 100-year history of anime.

Clements also co-wrote The Anime Encyclopedia, a uniquely comprehensive guide to thousands of anime titles. His co-author Helen McCarthy wrote the first English-language book on the subject, Anime! A Beginner’s Guide to Japanese Animation.

Japanese Film Festival 2026

The Japanese Film Festival 2026 (เทศกาลภาพยนตร์ญี่ปุ่น 2569) will take place in four cities around Thailand, from 13th February to 1st March. The lineup is dominated by contemporary releases, though there will also be several screenings of Akira Kurosawa’s masterpiece Seven Samurai (七人の侍).

Seven Samurai will be shown at House Samyan in Bangkok on 15th, 21st, and 22nd February. It will also be screened at Pratudang Micro Cinema in Khon Kaen, on 28th February. (It was previously shown at Cinema Winehouse in 2018, and there have been two 35mm screenings in Bangkok: in 2010 and 2019.)

Breaking the Cycle

Thailand will have a general election on 8th February, and a referendum will be held on the same day, asking whether the constitution should be entirely rewritten. Screenings of Aekaphong Saransate and Thanakrit Duangmaneeporn’s documentary Breaking the Cycle (อำนาจ ศรัทธา อนาคต) have been organised, in three provinces over three consecutive days, in anticipation of the upcoming votes.

The film will be shown tomorrow at the Loftster gallery and café in Korat, at an event called The History on the Rocks. The screening will be followed by a discussion of Thai politics, ประวัติศาสตร์ไทยในแก้วเบียร์ (‘Thai history in a beer glass’).

There will also be a screening on 31st January, at Samaki Chumnum in Nakhon Phanom. That event — Back Then, Forward Now (ดูอดีต ขีดเขียนอนาคต) — is organised by Panom Nakhon Rama.

Breaking the Cycle will also be shown on 1st February, at the House of Commons bookshop and café in Bangkok. After the screening, there will be a discussion with Komtouch Napattaloong, one of the film’s producers, on the history of the progressive ‘orange movement’.

The HOC event is the first in a planned Movie Talk series. Komtouch is also the director of No Exorcism Film, and he curated Infinges, a programme of short films, in 2024.

There will also be a Breaking the Cycle screening on election day itself, at the Nongkhai and Friends library in Nong Khai. (This screening, organised by Nongkhai Mai Pop, was originally due to be held at Anybodyhome on 30th January, but was later rescheduled.)

Breaking the Cycle is a fly-on-the-wall account of the rise and fall of the Future Forward party, which was dissolved by the Constitutional Court in 2020. (Future Forward was founded as a progressive alternative to military dictatorship. The party came third in the 2019 election, after a wave of support for its charismatic leader, Thanathorn Juangroongruangkit, though he was disqualified as an MP by the Constitutional Court.)

The film begins in 2014 with Thanathorn’s determination to end the vicious cycle of military coups that has characterised Thailand’s modern political history. This mission gives the film its title, and Future Forward co-founder Piyabutr Saengkanokkul asks: “Why is Thailand stuck in this cycle of coups?” The documentary benefits from its extensive access to every senior figure within Future Forward. The directors were even able to film Thanathorn as he reacted to the guilty verdicts being delivered by the Constitutional Court.

The documentary ends with the caption “THE CYCLE CONTINUES”, which is sadly accurate: Future Forward’s successor, Move Forward, was dissolved by the Constitutional Court in 2025 despite winning the 2023 election. But in the film, Thanathorn half-jokingly predicts: “In three elections we’ll be the government”, and the movement’s third incarnation, the People’s Party, is currently leading the opinion polls in the run-up to next month’s election.

Breaking the Cycle went on general release in 2024. It was later shown at the Thai Film Archive, as part of the Lost and Longing (แด่วันคืนที่สูญหาย) season. It was also screened at A.E.Y. Space in Songkla, and at the Bangsaen Film Festival (เทศกาลภาพยนตร์บางแสน) at Burapha University. It was part of the Hits Me Movies... One More Time programme at House Samyan in Bangkok, and last year it was screened at Thammasat University and Chulalongkorn University. Its most recent screenings were in Bangkok and Chiang Rai.

Uncle BoonmeeWho Can Recall His Past Lives

Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives (ลุงบุญมีระลึกชาติ) will be shown at the Thai Film Archive on 7th February, as part of a two-day event, พินิจ 80 ปีหลังสงคราม ผ่านภาพยนตร์ญี่ปุ่น ไทย และไต้หวัน (‘reflecting on 80 years after the war through Japanese, Thai, and Taiwanese films’). (The first day of the programme will be on 5th February.)

The film’s central character, Boonmee, is dying of kidney failure (which Apichatpong’s father also suffered from). Boonmee is cared for by his sister Jen and his young cousin Tong, though one evening the ghost of his dead wife materialises at the dining table. A few minutes later, Boonmee’s long-lost son returns in the form of a monkey spirit with glowing red eyes.

Boonmee reflects on his life as a former soldier who killed communist rebels in the 1970s, and we are shown some of his previous incarnations: a buffalo that escapes from its owner, and a princess who seduces one of her servants and makes love with a talking catfish. Each of the film’s six reels was filmed in a different cinematic style, as a tribute to the films that captivated the the director when he was growing up.

After Boonmee’s funeral, Tong becomes a monk, though he leaves the temple as he misses the comforts of home. Finally, Tong and Jen visit a karaoke restaurant, either as an out-of-body experience or perhaps in a parallel universe.

Uncle Boonmee Who Can Recall His Past Lives is one of Thailand’s greatest films. The shot of Boonmee’s son as a monkey spirit emerging from the jungle (photographed by Nontawat Numbenchapol) has become one of world cinema’s most iconic images. (It appears, courtesy of Apichatpong, on the cover of Thai Cinema Uncensored.)

As in Tropical Malady (สัตว์ประหลาด), the forest is a dwelling for animal spirits, though in Uncle Boonmee the supernatural elements are more explicit and tangible. Also, the central theme of Uncle Boonmee is predicted in Tropical Malady, when one character says: “Remember my uncle who can recall his past lives?”

Dianarama:The Betrayal of Princess Diana

Former Panorama reporter Martin Bashir’s extraordinary TV interview with Princess Diana was broadcast on BBC1 on 20th November 1995. Diana’s criticism of Camilla Parker-Bowles provided the key soundbite — “there were three of us in this marriage, so it was a bit crowded” — though her comments about Prince Charles’s accession were even more remarkable. Asked whether their eldest son William should succeed the Queen instead of Charles, she replied: “My wish is that my husband finds peace of mind. And from that follows other things, yes.”

In Dianarama: The Betrayal of Princess Diana, Andy Webb calls the Panorama interview “the most momentous footage the BBC has ever recorded, or will ever record”, and he’s probably right. As we now know, Bashir obtained the interview by deception: he commissioned graphic designer Matt Wiessler to create fake bank statements, and presented them to Diana’s brother Charles Spencer, who then put him in touch with Diana herself.

The forged bank statements added credence to a series of false conspiracy theories that Bashir told to Spencer and Diana. In the weeks leading up to the interview, he was essentially gaslighting Diana — Webb describes his “wicked intent” — exploiting her paranoia after ‘Dianagate’ and other scandals.

Dianarama is the first book on the Diana interview. It’s a comprehensive account of the background, the interview session itself, and the consequences for Diana, Bashir, and the BBC. Webb has spoken to most of the key players — except Bashir, of course, whose only public comment on Diana came in a brief Sunday Times interview on 23rd May 2021.

The book pieces together a detailed account of Bashir’s contacts with Spencer and Diana prior to the interview. Webb also reveals the extent of the BBC’s efforts to cover up Bashir’s serious breaches of journalistic ethics. (The corporation carried out a cursory internal investigation in 1996, though no disciplinary action was taken. BBC News executive Anne Sloman wrote a sinister and prophetic memo at the time: “The Diana story is probably now dead, unless Spencer talks.”)

In 2020, the BBC finally commissioned an independent inquiry into the Diana interview, led by John Dyson. Webb analyses Dyson’s findings, and the witness testimonies from Bashir and others, concluding that Dyson’s “whole assessment of the scandal must be called into question.”

Webb claims a pivotal role in exposing the facts about the interview: “it was only when I was able to get hold of a formerly secret document from the BBC, after a thirteen-year struggle, that the scandal burst into the open and Bashir’s duplicity was revealed for the first time.” He also writes: “I can say without being too swell-headed that something I did... finally brought it to light.”

He began his research into the story in 2007, when he submitted a Freedom of Information request to the BBC, but the corporation denied the request, and Webb moved on to other projects. He didn’t renew his investigation until 2020, when he sent another — much more fruitful — FoI request. He made a Channel 4 documentary about the case later that year, and directed a follow-up in 2021.

Much of the credit for exposing the story belongs to the Mail newspapers. On 7th April 1996, less than six months after the Panorama broadcast, The Mail on Sunday first reported that Bashir had commissioned Wiessler to create the fake bank statements. Spencer gave a series of interviews to the Daily Mail — published on 3rd, 4th, and 7th November 2020 — and it was his allegations that led the BBC to launch the Dyson inquiry. Webb was indirectly responsible for this, as he sent Spencer the replies to his 2020 FoI request, which prompted Spencer to talk to the Daily Mail.

Mapor 5 Film FestivalRay of Northern Light

The Mapor 5 Film Festival (เทศกาลหนังมาผ่อ 5) will be held on 14th and 15th February, with screenings of short films at Rong Sa Dang in Chiang Mai. The festival’s theme is Ray of Northern Light (แสงเหนือ), and the highlights include Jarut Wisawong’s Twas Partly Love, and Partly Fear and Patipat Oakkharhaphunrat’s Black Hole.

Twas Partly Love, and Partly Fear

Twas Partly Love, and Partly Fear is a drama about the family of a Thai lawyer who was forcibly disappeared, and it opens with a solarised clip of Bangkok riot police firing water cannon at student protesters in Siam Square on 16th October 2020. It was first shown at Wildtype 2024, and was also screened in the 2024 Short Film Marathon (หนังสั้นมาราธอน) and at The 28th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 28).

Black Hole

Black Hole is a surreal black-and-white film in which a young son discovers that his father, a corrupt military officer, has sold citizens’ digital data for personal gain. The drama links this family conflict with anti-military demonstrations in modern Thai history, with footage from 14th October 1973, 6th October 1976, and the student protests that began in 2020.

The film was shown at the 27th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้น ครั้งที่ 27) in 2023, and as part of the Short Film Marathon in 2024. It was also screened at the fourth Amazing Stoner Movie Fest (มหัศจรรย์หนังผี ครั้งที่ 4), at the Chiang Mai Film Festival 2025 (เทศกาลหนังแห่งเมืองเชียงใหม่ 2568), and in the Open Screen programme.

Isan Odyssey

Thunska Pansittivorakul’s documentary Isan Odyssey (อีสานอำพราง) will be shown in an outdoor screening today at Samaki Chumnum in Nakhon Phanom. The event is organised by Documentary Club.

Phassarawin Kulsomboon, Isan Odyssey’s cinematographer, previously directed Khon Boys (เด็กโขน), a documentary about a troupe of young khon dancers, and Isan Odyssey begins in a similar vein, following a troupe of young mor lam performers. Just as Khon Boys covers the historical restrictions imposed on khon performances, Isan Odyssey links the past suppression of mor lam to the political history of Thailand.

Isan Odyssey highlights the origins of mor lam as a form of political expression in the Isan region. Modern mor lam, in contrast, is primarily a commercial entertainment: “Gone are the days of ideology and fighting against state injustice.”

The veteran leader of the mor lam troupe recalls his youth in the 1960s, when he heard shots fired from helicopters, the sound of “Thai soldiers shooting communists”. This provides a segue to the film’s central theme: the state’s anti-communist campaign in various Isan provinces during the Cold War.

A voiceover describes how suspected communists were “brutally murdered” during Sarit Thanarat’s regime, and how this “ruthless suppression” continued during the Thanom Kittikachorn era. An elderly resident of the village of Nabua describes the situation at that time as “suffocatingly brutal.”

Similarly, Apichatpong Weerasethakul has made several films in and around Nabua, whose inhabitants were among the first victims of the anti-communist purge. In Apichatpong’s short film A Letter to Uncle Boonmee (จดหมายถงลงบญม), a narrator recalls the area’s past: “Soldiers once occupied this place. They killed and tortured the villagers and forced them to flee to the jungle.”

Isan Odyssey touches on three specific historical incidents, though only briefly. It includes 16mm newsreel footage from 14th October 1973, and a few photographs from 6th October 1976. A young photographer describes the military crackdown in May 2010, and a caption informs us that this resulted in 108 casualties. This grim statistic was a bone of contention in Nontawat Numbenchapol’s documentary Boundary (ฟ้าต่ำแผ่นดินสูง), which was briefly banned in part because it claimed that around 100 people had died.

One of Thunska’s films, This Area Is Under Quarantine (บริเวณนี้อยู่ภายใต้การกักกัน), was also banned. As a result, he told me in an interview for Thai Cinema Uncensored: “I decided not to show any of my films in Thailand.” Working with German producer Jürgen Brüning, he made nine films — The Terrorists (ผู้ก่อการร้าย), Supernatural (เหนือธรรมชาติ), sPACEtIME (กาล-อวกาศ), Reincarnate (จุติ), Homogeneous, Empty Time (สุญกาล), Santikhiri Sonata (สันติคีรี โซนาตา), Avalon (แดนศักดิ์สิทธิ์), Danse Macabre (มรณสติ), and Damnatio Memoriae (ไม่พึงปรารถนา) — all of which featured sexually explicit and politically sensitive content, and none of which had theatrical releases in Thailand.

Isan Odyssey is an exception: it was produced by Documentary Club in Thailand, rather than by Brüning in Germany, and it was the opening film of the What the Doc! (เทศกาลภาพยนตร์ สารคดีนานาชาติ แห่งประเทศไทย) film festival. As in Thunska’s other work, Isan Odyssey directly criticises the Thai state, though it avoids the graphic imagery of his earlier films, hence its ‘15’ rating from the Thai film censorship board. The film’s most recent screening was in Kanchanaburi last month.