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.
It will also be shown on 13th February at Bansomdejchaopraya Rajabhat University in Bangkok, as part of the Fox Film Festival vol. 3 (เทศกาลหนังจิ้งจอก ครั้งที่ 3). That screening will be followed by a Q&A with Thunska and the film’s cinematographer, Phassarawin Kulsomboon. The festival will also take place on 6th February, and its theme is Mics Up and Guns Down (ร้องโค่นกำแพง).
It will also be shown on 13th February at Bansomdejchaopraya Rajabhat University in Bangkok, as part of the Fox Film Festival vol. 3 (เทศกาลหนังจิ้งจอก ครั้งที่ 3). That screening will be followed by a Q&A with Thunska and the film’s cinematographer, Phassarawin Kulsomboon. The festival will also take place on 6th February, and its theme is Mics Up and Guns Down (ร้องโค่นกำแพง).
Phassarawin 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.”
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.”
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.
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.
