Wildtype, the annual season of short films programmed by Chayanin Tiangpitayagorn, Wiwat Lertwiwatwongsa, and Sasawat Boonsri, returns this week. After being held largely online due to the coronvirus pandemic in 2021, and taking place in a few provinces in 2022, the event expanded significantly in 2023, with screenings at ten venues around the country. This year, fifty-nine films are being shown in Bangkok and at microcinemas throughout Thailand.
Highlights this year include Koraphat Cheeradit’s ...Tomorrow I Fuck with Yesterday Now! (ฉันแต่งงานกับปัจจุบัน ช่วยตัวเองด้วยเมื่อวาน และมีเพศสัมพันธ์กับวันพรุ่งนี้), Kawinnate Konklong’s Unfortunately (แค่วันที่โชคร้าย), and Piyanat Lamor’s Come from Away (กลับบ้าน). ...Tomorrow I Fuck with Yesterday Now! is showing in the Exper programme of experimental films at Doc Club and Pub in Bangkok on 5th October. Unfortunately and Come from Away are both included in the U-Dawn Genesis programme, screening at the same venue on 6th October. The Exper programme will also be shown at Loftster in Korat on 22nd October. The U-Dawn Genesis programme will be shown there on 23rd October.
Highlights this year include Koraphat Cheeradit’s ...Tomorrow I Fuck with Yesterday Now! (ฉันแต่งงานกับปัจจุบัน ช่วยตัวเองด้วยเมื่อวาน และมีเพศสัมพันธ์กับวันพรุ่งนี้), Kawinnate Konklong’s Unfortunately (แค่วันที่โชคร้าย), and Piyanat Lamor’s Come from Away (กลับบ้าน). ...Tomorrow I Fuck with Yesterday Now! is showing in the Exper programme of experimental films at Doc Club and Pub in Bangkok on 5th October. Unfortunately and Come from Away are both included in the U-Dawn Genesis programme, screening at the same venue on 6th October. The Exper programme will also be shown at Loftster in Korat on 22nd October. The U-Dawn Genesis programme will be shown there on 23rd October.
...Tomorrow I Fuck with Yesterday Now! begins with a young man stumbling around in a woodland. The aimless protagonist is filmed in a continuous take, with double-exposures constantly fading in and out. Birdsong and other bucolic, ambient sounds soon give way to a non-diegetic locomotive on the soundtrack, which gradually rises to a crescendo. Visually, this is matched by bursts of rapid-fire shots, each lasting for only a single frame, that are perceived only subliminally. Some of these inserts are faux-naïf: white doves and heart emojis, symbolising peace and love. Other flash frames are more extreme: Koraphat juxtaposes sex and violence in split-second montages of anatomical drawings, erections, Ukrainian war casualties in Bucha, Nazi troops, and riot police firing water cannon at Thai protesters.
Unfortunately dramatises the ideological gap between generations, as a royalist father files a lèse-majesté charge against his daughter’s girlfriend, Bam, after she attends a protest calling for reform of the monarchy. The man tells his daughter: “I used the law to protect the King from defamation. Unfortunately, the person was Bam.” His dialogue evokes a comment from former prime minister Abhisit Vejjajiva, who dismissed dozens of civilian casualties in a BBC interview: “unfortunately, some people died”. Unfortunately and ...Tomorrow I Fuck with Yesterday Now! were both shown in last year’s Short Film Marathon (หนังสั้นมาราธอน).
Come from Away features a montage of found footage, including clips from TV news broadcasts of Thaksin Shinawatra and Vacharaesorn Vivacharawongse returning to Thailand after both had spent many years abroad. Former prime minister Thaksin returned from self-imposed exile last year, and has continued his divisive and influential role in Thai politics. Teeraphan Ngowjeenanan’s short film แฟ้มรวมภาพทักษิณกลับไทย (‘dossier of pictures of Thaksin’s return to Thailand’) also featured TV news coverage of Thaksin’s arrival. Vacharaesorn is one of the sons of King Rama X, and his return this year has prompted speculation about the royal succession. Come from Away juxtaposes the privileged, state-sanctioned returns of Thaksin and Vacharaesorn with the fates of political refugees such as Wat Wanlayangkoon who fled the country after facing lèse-majesté charges and cannot return.
The U-Dawn Genesis programme also features four short dramas that include very brief footage of political violence and protest. Buariyate Eamkamol’s Isekai (อิเซไก), a science-fiction tale of a young couple breaking up, shows victims of the 2010 military crackdown lying in the road. Jarut Wisawong’s Twas Partly Love, and Partly Fear, about the family of a Thai lawyer who was forcibly disappeared, opens with a solarised clip of Bangkok riot police firing water cannon at student protesters in Siam Square on 16th October 2020. In Warat Bureephakdee’s Crazy Soft Power Love, a satire on the government’s soft power strategy, a Songkran water fight escalates into a brawl, intercut with footage from the 6th October 1976 massacre. In Komtouch Napattaloong’s No Exorcism Film, a robotic voiceover narrates a dream in which a brutal warlord kills villagers with a sword because they ‘disrespect’ him by not addressing him as their king, and the film includes a short video clip of Panusaya Sithijirawattanakul in 2020 reading a manifesto calling for reform of the monarchy.
