Doc Club Festival

Doc Club and Pub will host its first Doc Club Festival in Bangkok next month, from 2nd to 11th February. The schedule includes two screenings—on 6th and 8th February—of Napasin Samkaewcham’s short film A Love Letter to My Sister, a deeply moving documentary about the volatile relationship between his parents. A Love Letter to My Sister was previously shown in last year’s Short Film Marathon 27 (หนังสั้นมาราธอน 27), and at the 27th Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 27).

Another recent documentary short, Vichart Somkaew’s 112 News from Heaven, is screening on 5th and 7th February. On the film’s soundtrack, an announcer reads a bulletin of royal news—a daily staple of the Thai airwaves—and this is juxtaposed with captions documenting the convictions of activists charged with lèse-majesté (article 112 of the criminal code). 112 News from Heaven was also shown yesterday in Phatthalung.

On 10th February, there will be a mini retrospective of Nutcha Tantivitayapitak’s documentary shorts: Mr. Zero (คนหมายเลขศูนย์), บันทึกสุดท้าย ‘ดา ตอร์ปิโด’ (‘the final record of ‘Da Torpedo’’), and Red’s Scar (บาดแผลสีแดง). The three films all profile individuals accused of crimes against the state: a writer charged with lèse-majesté, a lèse-majesté convict who died shortly after she was interviewed by Nutcha, and a protester falsely accused of arson following the 2010 military massacre. The Director in Focus retrospective will be followed by a Q&A with Nutcha.

The festival also includes three videos from 2022, all of which commemorate violent episodes from Thailand’s modern history. Sumeth Suwanneth’s Lost, and Life Goes On (เลือนแต่ไม่ลืม) features interviews with relatives of the victims of the 1992 ‘Black May’ massacre. In Chulayarnnon Siriphol’s ชวนอ่านภาพ 6 ตุลา (‘invitation to read images of 6th Oct.’), Octobrists and current students interpret photographs of the 6th October 1976 massacre. Chanasorn Chaikitiporn’s Dawn of a New Day (ก่อนฟ้าสาง) traces the history of the student protest movement from the 14th October 1973 uprising to the 1976 massacre. Sumeth and Chulayarnnon’s films will both be screened on 5th and 7th February, and Chanasorn’s is screening on 4th December as part of a Director in Focus retrospective.

Phatthalung Micro Cinema 0.5

The first independent film event organised by Phatthalung Micro Cinema will be held on 20th January at Swiftlet Book Shop in Phatthalung. For this soft launch, no. 0.5 in their screening programme, they will show three short films, including the premiere of Vichart Somkaew’s documentary 112 News from Heaven.

On 112 News from Heaven’s soundtrack, an announcer reads a bulletin of royal news, a daily staple of the Thai airwaves. This is juxtaposed with captions documenting the convictions of activists charged with lèse-majesté (article 112 of the criminal code). Vichart’s Cremation Ceremony (ประวัติย่อของบางสิ่งที่หายไป) used a similar technique, with captions honouring victims of political injustice.

Today saw the harshest sentence ever given to a lèse-majesté convict, as Mongkhon Thirakot received a fifty-year jail term. He was found guilty last year, in relation to fourteen Facebook posts, and was originally sentenced to twenty-eight years: two years per conviction, to be served consecutively. He appealed the verdict, and today the Appeals Court added an extra twenty-two years to his sentence.

January Sing-alongs!

Neighbourhood, the Bangkok community mall that began regular outdoor film screenings last year, will show a season of musicals this month. January Sing-alongs! includes the classics The Wizard of Oz on 21st January and The Sound of Music on 27th January.

The Sound of Music had a previous outdoor, sing-along screening as part of the 2005 Bangkok International Film Festival, at Benchasiri Park. The Wizard of Oz had an outdoor screening last year, at Benchakitti Forest Park.

The Wizard of Oz also had a theatrical rerelease last year. It was previously shown at Bangkok Screening Room in 2018, 2019, and 2020. It has also been screened at the Scala, Cinema Winehouse, Bangkok Community Theatre, and Jam Café.

Pac-Man: Birth of an Icon

The Japanese arcade video game Pac-Man (パックマン), designed by Tōru Iwatani, was released by Namco in 1980, at the height of the so-called golden age of video arcades. In the 1970s, Atari’s Pong and Taito’s Space Invaders (スペースインベーダー) had defined video games in the public consciousness, though Pac-Man would supersede them both to become arguably the most iconic video game in history.

Pac-Man’s initial appeal came from Iwatani’s creation of what Steven Poole (in his book Trigger Happy) calls “[t]he first videogame ‘character’ of all”. In their book Pac-Man: Birth of an Icon, Arjan Terpstra and Tim Lapetino argue that the game’s distinctive mascot is now a ubiquitous cultural symbol: “Pac-Man’s appeal as a character transcended arcades and moved into the wider realm of popular culture.”

Pac-Man: Birth of an Icon, published in 2021, is the definitive history of Pac-Man, covering every aspect of the game’s development and release. It’s both a coffee-table book with beautifully-reproduced illustrations (including numerous documents from the Namco archive) and a meticulously researched, comprehensive account of the game’s history.

One indication of the book’s attention to detail is that its title also appears in Japanese (パックマン:アイコンの誕生). Appendices include a complete Pac-Man gameography and the first English translation of Iwatani’s Japanese-language memoir, Pacman’s Method (パックマンのゲーム学入門).

Retro Gamer magazine (no. 61) also covered the making of Pac-Man (which it called “gaming’s most iconic videogame character”), but Pac-Man: Birth of an Icon is the first book on the history of the entire Pac-Man phenomenon. Leonard Herman’s Phoenix was the first general history of video games, and Tristan Donovan’s Replay is the most comprehensive guide to the subject. Push > Start was the first visual history of the medium.

Lust and Love

Ark Saroj’s photobook Lust and Love was released yesterday. The book was inspired by New York photographer Peter Hujar’s monograph Love and Lust and, like Hujar, Ark photographs his friends and former lovers: “They are real people and with some of them I have shared intimate moments.” One of Lust and Love’s most explicit images—a black-and-white double-page spread—was shown at the KinkyBKK exhibition at Silom’s Pulse Gallery from 8th to 30th September last year.

An essay by artist Oat Montien in Lust and Love compares Ark and Hujar’s nude portraits: “both of their works subvert the lines between fine art and pornography... They give us the license to really meditate on their very graphic material on a deeper level beyond the immediate shock and taboo.” The same also applies to other photographers, such as Ohm Phanphiroj and Shotbyly, whose work demonstrates the increasing visibility of LGBT representation in contemporary Thai art.

“Only movies with content that may affect the monarchy will remain prohibited...”

Thailand’s film censorship system is likely to be liberalised this year, after an announcement from the government’s National Soft Power Strategy Committee (คณะกรรมการยุทธศาสตร์ซอฟต์พาวเวอร์แห่งชาติ) yesterday. According to the NSPSC, more representatives from the film industry will be permitted to sit on the film censorship board, and the board’s focus will shift from censorship to classification.

The NSPSC, chaired by Prime Minister Srettha Thavisin, was established on 13th September last year. It assesses policy recommendations submitted by its subsidiary, the National Soft Power Development Committee (คณะกรรมการพัฒนาซอฟต์พาวเวอร์แห่งชาติ), chaired by Paetongtarn Shinawatra (the leader of Pheu Thai).

Yesterday, Paetongtarn announced that sensitive themes such as sex and religion will no longer be subject to censorship: “Only movies with content that may affect the monarchy will remain prohibited from being screened in Thailand.” (Unsurprisingly, the issue of lèse-majesté remains untouchable.)

Thai Cinema Uncensored, the first comprehensive history of Thai film censorship, documents the arbitrary nature of film regulation in Thailand, and the inconsistencies of the censorship board’s judgements. The proposals unveiled yesterday appear to address many of these problems inherent in the state censorship system, though they fall short of the self-regulation called for by the film industry.

Pat Yingcharoen: Collective Convalescence

Collective Convalescence is the first monograph on the young Thai artist Pat Yingcharoen, whose paintings combine tragic images of violence from art history and photojournalism. The elegantly designed book features an essay by Panu Boonpipattanapong and an interview with the artist by Korn Karava. (Korn also edited and published the book, which is the second volume in a series that began with No God No King Only Human.)

Like many artists of his generation, Pat experienced a political awakening following the 2014 coup. It was this newfound awareness, known in Thai as ta sawang, which first led him to transition from “conducting painting experiments to focusing more on the historical aspects.” (Novelists Uthis Haemamool and Veeraporn Nitiprapha have also discussed their ta sawang experiences, and it was a recurring theme in interviews with film directors for Thai Cinema Uncensored.)

In particular, Pat often incorporates elements from photographs of the 6th October 1976 massacre, which he regards as “among the most iconic depictions of Thai history”. In his essay, Panu explains that these images of hanged and desecrated bodies are juxtaposed and decontextualised, so that “new dimensions of history that may have been previously suppressed are discovered.”

Images of the 1976 massacre are depicted prominently in several of Pat’s works. In Sacred Punishment, one of the victims is transposed into a reproduction of William-Adolphe Bouguerau’s Flagellation of Our Lord Jesus Christ (La flagellation de Notre-Seigneur Jésus-Christ). In Beater, Neal Ulevich’s infamous image of a man holding a folding chair is superimposed over a detail from the same Bouguerau painting. In Martyrs, another victim is placed in the centre of Andrea del Sarto’s Disputation on the Trinity (Disputa sulla Trinità).

The artist’s other visual references to the massacre are more subtle. Onlookers from the background of Ulevich’s photograph appear in Under the Blue Moon (shown at his Blue Rhapsody exhibition at Number One Gallery last year) and From Jesus to the Void. The distinctive tree trunk from which a victim was hanged in Ulevich’s picture appears in the backgrounds of Imaginary Horizon—a reproduction of Bouguerau’s First Mourning (Premier deuil)—and Cain and Abel. (Another young Thai artist, Pachara Piyasongsoot, also painted the same tree trunk, in The Garden.)

Pat Yingcharoen: Collective Convalescence was published last month, in an edition of 300 (mine being no. 294). Each copy is numbered and signed with a flourish by the artist. (Curiously, he spells his first name Patt, while the book uses an alternative English spelling, Pat.)

Nednary

“WHAT’S YOUR DEMOCRACY, THOO?”
“DEMOCRACY? IT’S MY KIND OF DEMOCRACY.”

Seven boy scouts arrive at an abandoned camp. One of them is the son of a poacher who shot a rare black panther (in a reference to disgraced businessman Premchai Karnasuta). In the past, the others have all killed domestic cats for fun. Their karma catches up with them as a girl scout and a mysterious man hunt them down. In this supernatural horror film from Yuthlert Sippapak, the girl scout is a reincarnation of the dead cats and the man is the spirit of the panther.

The nicknames of the seven boy scouts are the same as those of right-wing Thai politicians—Thoo (Prayut Chan-o-cha), Thay (Mongkolkit Suksintharanon), Pom (Prawit Wongsuwan), Nooh (Anutin Charnvirakul), Tape (Suthep Thaugsuban), Nu (Wissanu Krea-ngam), and Mark (Abhisit Vejjajiva)—and the girl scout’s nickname, Booh, is the same as Yingluck Shinawatra’s. So the film is a political satire, with Yingluck getting her revenge on the coup-makers and protest leaders who brought down her government. (Thaksin Shinawatra’s nickname is Maew, the Thai word for ‘cat’, so the girl scout character perhaps represents both Yingluck and Thaksin.)

Thoo is the most aggressive of the boy scouts, knocking Booh unconscious, tying her up, and repeatedly punching her in the face when she regains consciousness. The real-life parallel is that Prayut led a coup against Yingluck’s government, and she has been legally persecuted ever since. (She was fined, impeached, and convicted of dereliction of duty.)

The film was shot in 2019, though it was initially shelved by its studio, Phranakorn Film, due to concerns about its political content. Yuthlert has since added an over-saturated colour filter to the image (to disguise the fact that it was shot on his iPhone), and retitled the film from Seven Boy Scouts to Nednary (อวสานเนตรนารี). The new title translates as ‘girl scout’, shifting the focus onto the female protagonist, in the same way that Yuthlert retitled another long-delayed film from Fatherland (ปิตุภูมิ) to Rachida (ราชิดา).

Interviewed in Thai Cinema Uncensored, Yuthlert described Nednary as “a political satire. Finding a way to fight back in a film in the mainstream.” The director has been politically active since the 2014 coup, and Nednary is his personal response to the last decade of Thai politics. The violent plot is also somewhat cathartic, as he explained in his Thai Cinema Uncensored interview: “No one grows up, because I kill them all!”

After this year’s election, the studio finally felt comfortable to release the film. In fact, rather than minimising the political angle, it’s emphasised in the trailer and opening title sequence, with the scouts’ nicknames shown in very large letters. (The English spellings of the nicknames in the trailer are more accurate than those in the film’s subtitles: Tu, rather than Thoo, for example.)

In case viewers miss the political allusion, it’s hammered home when the boy scouts argue about who should lead them. Thoo insists it should be him—Prayut clung onto power unconstitutionally for nine years—and the others accuse him of being undemocratic. Thoo’s reply is a Thai pun that’s not translated in the subtitles: he says that his kind of democracy is “ประชาธิปตู่.” The Thai word for ‘democacy’ is ‘ประชาธิปไตย’, though he replaces the final syllable with his own nickname; the English equivalent would be ‘Thoo-ocracy’.

Short 27 Awarded Film Screening

The 27th Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 27) took place from 16th December until Christmas Eve, after the preliminary online Short Film Marathon (หนังสั้นมาราธอน). At next month’s Short 27 Awarded Film Screening, the winning films will be shown again at the Thai Film Archive in Salaya.

Phassarawin Kulsomboon’s feature-length documentary Khon Boys (เด็กโขน) will be shown on 6th January next year, for its final screening in Thailand for the foreseeable future. Another documentary feature, Supamok Silarak’s Red Poetry (ความกวีสีแดง), is screening on the following day, as is Sompot Chidgasornpongse’s short drama The Physical Realm (ภูมิกายา).

The Physical Realm will also be shown at a Best of Short 27 (โปรแกรมผลงานชนะรางวัลจากเทศกาลภาพยนตร์สั้น ครั้งที่ 27) screening at Chiang Rai International Art Museum on 10th February. The screening is part of the Open World Cinema programme of the Thailand Biennale in Chiang Rai.

The Amazing Movie Posters of Thailand

The Amazing Movie Posters of Thailand, by Neil Pettigrew and Philip Jablon, is—to borrow the adjective from its title—an amazing book. Featuring more than 500 posters, including many full-page reproductions, it’s the most extensive guide to Thai film posters ever published.

The Amazing Movie Posters of Thailand includes a brief history of Thai film poster production, paying particular tribute to Somboonsuk Niyomsiri (also known as Piak Poster), “[t]he father of Thailand’s style of hand painted movie posters”. The Thai poster for Apocalypse Now, painted by Tongdee Panumas, is singled out as “a contender for being the greatest film poster of all time. Not just from Thailand but from any country.”

The book also features the most comprehensive roster of Thai poster artist biographies ever compiled. The entry for Somboonsuk highlights his design for the French film Temptation (L’Île du bout du monde), which “revolutionised the look of Thai cinema posters in 1959 by using an offset printer which allowed for more richly colourful artwork.” (An exhibition of Somboonsuk’s work was held at the Thai Film Archive last year.)

The Amazing Movie Posters of Thailand is published by the founder of the horror film magazine The Dark Side, thus it focuses heavily on horror and exploitation posters. The final few chapters are devoted to gory and erotic posters, including one for the Hong Kong film A Gambler’s Story (邪斗串), described as “perhaps the all-time most explicit movie poster ever produced in Thailand.” (These posters—displayed in seedier cinema lobbies, not on public view—were more graphic than the films they advertised, as discussed in Thai Cinema Uncensored.)

Co-authors Pettigrew and Jablon are both Thai poster collectors. (Jablon is also a dealer.) Pettigrew has previously written about Thai horror and sexploitation posters in The Dark Side (no. 167, 168, and 180). Jablon organised a poster exhibition at this year’s Singorama Film Festival, and wrote the excellent Thailand’s Movie Theatres.

Gilbert Brownstone’s Thai Movie Posters (Affiches de cinéma thaï/โปสเตอร์ภาพยนต์ไทย), published in 1974, was the first survey of Thai film posters. After almost fifty years, another book on the subject was long overdue, and The Amazing Movie Posters of Thailand was well worth the wait.

Starpics magazine released a special issue (no. 3) on the history of Thai film posters in 1997, which is also a great resource. There are catalogues to the Bai Pid (ใบปิด) and Thai Film Posters (ใบปิดหนังไทย) exhibitions, and other poster exhibitions include Eyegasm and Rare Thai Movie Posters (ลับแลโปสเตอร์ ภาพยนตร์ไทย). There is a short essay on Thai film posters in Thai Cinema (Le cinéma thaïlandais), and vintage posters are illustrated in Dome Sukwong’s A Century of Thai Cinema.

Museum 2032

Charinthorn Rachuratchata’s exhibition Museum 2032 (พิพิธภัณฑ์ ๒๕๗๕) looks simultaneously into the future and the past, while commenting on the present. Charinthorn transports us forward ten years, as visitors to a 2032 exhibition commemorating 100 years of democracy in Thailand. (Absolute monarchy was replaced with parliamentary democracy in 1932.) Photographs of an unsuccessful royalist rebellion led by Prince Boworadet ninety years ago are juxtaposed with images of the student protest movement that began in 2020.

Though separated by time, the two events are connected by the active involvement of Thai citizens in fighting for democracy. In 1933, students and other young Thais supported the newly-formed democratic government in suppressing Boworadet’s rebellion. In 2020 and 2021, students campaigned for reform of the monarchy and an end to military rule. Displaying four black-and-white images of each event facing each other on opposite walls of the gallery, Charinthorn draws parallels between them and shows that the democratic struggle continues.

Each of the photographs has been torn and restored using the Japanese kintsugi method, whereby gold lacquer is used as a bonding agent. Rather than producing conventional seamless repairs, kintsugi highlights the seams as an integral aspect of the repaired object. When applied to the photographs in the exhibition, the technique emphasises that the events depicted are worthy of preservation, and also that Thai democracy remains imperfect.

Charinthorn’s previous photographic series, The Will to Remember, featured images of the recent student protest movement alongside photographs of the massacre of Thammasat University students in 1976. The prints were also repaired via kintsugi, though in The Will to Remember the kintsugi seams symbolised resilience against the erasure of the massacre from the collective memory.

Museum 2032 opened at VS Gallery in Bangkok on 21st October, and was originally scheduled to run until 30th December. It has now been extended until 7th January next year.

Yingluck Shinawatra ‘not guilty’

Today, Thailand’s Supreme Court dismissed a criminal case against former prime minister Yingluck Shinawatra. The verdict of not guilty was unexpected, given the numerous legal and extra-constitutional penalties issued against Yingluck over the past decade. (Her government was deposed in a coup, and she was fined, impeached, and convicted of dereliction of duty.)

Today’s verdict relates to Yingluck’s removal of Thawil Pliensri as head of the National Security Council in 2011, shortly after she became PM. Thawil was replaced by the chief of police, and Priewpan Damapong became the new police chief. Priewpan is a brother-in-law of former PM Thaksin Shinawatra, Yingluck’s brother, and Yingluck was accused of sacking Thawil for nepotistic reasons, to create a vacancy for Priewpan.

Thawil alleged that his demotion “involves acts of the prime minister that are unconstitutional”. Article 266 of the 2007 constitution prohibited “the recruitment, appointment, reshuffle, transfer... of a Government official” if such action was performed “for personal benefits or for the benefits of others or of a political party”.

The Central Administrative Court and the Supreme Administrative Court both ruled that Thawil’s transfer was a violation of the constitution, and their judgement was upheld by the Constitutional Court in 2014. The Constitutional Court’s guilty verdict resulted in Yingluck’s dismissal as PM, which created a power vacuum filled by the military junta.

Despite its highly consequential guilty verdict, the Constitutional Court’s judgement was rather nuanced. The court ruled that, although Yingluck had not acted “in accordance with moral principles”, she was legally authorised to transfer Thawil. This distinction ultimately paved the way for today’s verdict of not guilty from the Supreme Court.

The National Anti-Corruption Council recommended criminal charges against Yingluck in relation to the Thawil case in 2020. By that point, Yingluck was already living in self-imposed exile, after fleeing the country in 2017. Thaksin also fled into exile, though he returned to Thailand this year following a quid pro quo arrangement with the military, and it’s possible that today’s acquittal of Yingluck is another phase of Thaksin’s deal.

The Art of Origami Books: Origami, Kirigami, Labyrinth, Tunnel and Mini Books —By Artists from Around the World

The Art of Origami Books: Origami, Kirigami, Labyrinth, Tunnel and Mini Books by Artists from Around the World, by Jean-Charles Trebbi, was originally published in French (as L’art du livre origami) in 2021. It includes numerous examples of origami books by contemporary artists, though the most interesting chapter, by Jacques Desse, gives a brief illustrated history of ‘leporello’ books. The chapter on ‘tunnel books’ also includes illustrations of vintage examples.

Trebbi’s previous books include The Art of Cutting (L’art de la découpe) and The Art of Pop-Up (L’art du pop-up). The Century of Artists’ Books, by Johanna Drucker, covers the related topic of books designed by artists, and John Smith’s Notes on the History of Origami is a concise history of origami as an art form.

Britain’s Best Ever Political Cartoons

Tim Benson, Britain’s leading authority on political cartoons, compiled an anthology of Britain’s Best Ever Political Cartoons in 2021. Almost 200 cartoons are included (mostly in black-and-white), from the satirical prints of James Gillray (such as The Plumb-pudding in Danger) to The Guardian’s Steve Bell. Benson’s introduction gives a concise history of British political cartoons, and he cites David Low as “[t]he greatest political cartoonist of the twentieth century”. The book concludes with a selection of recent cartoons, reproduced in colour.

Rude Britannia, The Offensive Art, and The History of Press Graphics 1819–1921 also feature examples of classic British political cartoons. The Rude Britannia exhibition catalogue includes one of Gerald Scarfe’s best Margaret Thatcher caricatures. (Thatcher is underrepresented in Britain’s Best Ever Political Cartoons, and Scarfe’s work is omitted.) Victor S. Navasky profiled key political cartoonists in The Art of Controversy.

The Exorcist Legacy: 50 Years of Fear

The Exorcist Legacy: 50 Years of Fear was published earlier this year, to mark the fiftieth anniversary of William Friedkin’s classic horror film The Exorcist. Author Nat Segaloff was Friedkin’s authorised biographer, and he covers the making of the film in considerable detail, with chapters on the three stages of production and the film’s release.

The book also discusses the various Exorcist sequels, which are of interest only to completists. Segaloff’s synopses of all these spinoffs are largely superfluous. Fortunately, though, the first half of the book is devoted to the original 1973 film.

Mark Kermode’s book on the film, from the BFI Film Classics series, remains the definitive study, and Segaloff interviewed him for The Exorcist Legacy. In fact, Kermode has become such an authority on The Exorcist that Segaloff dedicates his book to him alongside Friedkin and William Peter Blatty (who wrote the original novel).

Damnatio Memoriae

Thunska Pansittivorakul’s latest documentary, Damnatio Memoriae (ไม่พึงปรารถนา), had its world premiere at this year’s DMZ International Documentary Film Festival in South Korea. Thunska’s films often contain found footage, though with Damnatio Memoriae he has taken this a step further, producing a collage film comprised almost entirely of repurposed news and propaganda clips. (It begins with a montage of violent episodes from modern world history: the Holocaust, the Zapruder film, 9/11.)

Structurally, the film is a series of stark juxtapositions between fantasy and reality: propaganda videos (either directly or indirectly state-sanctioned), followed by atrocities committed by those states. Thus, the jolly Duck and Cover public information film is intercut with footage of Japanese A-bomb victims. Most of the examples are drawn from Asia during the Cold War era: Chinese Communist propaganda films, followed by the Tiananmen Square massacre; the Seoul Olympics opening ceremony intercut with autopsy photographs of Gwangju Uprising victims.

Thai political history is central to Thunska’s filmography, and Damnatio Memoriae is no exception. Here, clips from the historical romance Sunset at Chaophraya (คู่กรรม) are juxtaposed with footage of the 6th October 1976 massacre, with the love song Angsumalin (อังศุมาลิน), performed by heartthrob Nadech Kugimiya, on the soundtrack. (Sunset at Chaophraya is based on a novel by Thommayanti, who denounced students as Communists in the buildup to 1976. Video artist Chulayarnnon Siriphol has also appropriated footage from Sunset at Chaophraya.)

Explicit sexual content is another key component of the director’s work, used most provocatively in The Terrorists (ผู้ก่อการร้าย), when a man is shown masturbating while captions describe the victims of the 1976 massacre. As Thunska explained in Thai Cinema Uncensored, this scene was a condemnation of what he views as the military’s quasi-sexual impulse to destroy its opponents: “That massacre is like masturbation... They need to feel good and happy, but it’s really cruel.”

Damnatio Memoriae features a similar sequence: a young man masturbates in the shower, while captions describe “the Red Drum killings of more than 200 civilians (unofficial accounts speak of up to 3,000) who were accused of supporting communists in Phatthalung, southern Thailand.” The graphic metaphor for military violence is an echo of The Terrorists, though there is an added layer of significance: the actor in the shower comes from Phatthalung, where the killings took place decades before he was born.

Nudity is also used for comic effect, in an irreverent comment on royally-appointed Thai prime minister and statesman Prem Tinsulanonda. Prem is shown preparing to deliver a speech at the White House, in recognition of Thai-US military cooperation during the Cold War, and just as he is about to speak, the film cuts to a close-up of an erection.

The shower sequence is an out-take from Supernatural (เหนือธรรมชาติ), and Damnatio Memoriae also features brief clips from Avalon (แดนศักดิ์สิทธิ์). Thunska’s previous films include Danse Macabre (มรณสติ), Santikhiri Sonata (สันติคีรี โซนาตา), Homogeneous, Empty Time (สุญกาล), Reincarnate (จุติ), and This Area is Under Quarantine (บริเวณนี้อยู่ภายใต้การกักกัน).

Tang Chang (1934–1990): Non-Forms

Tang Chang, one of Thailand’s greatest modern artists, is the subject of a retrospective that opened earlier this year at the Centre Pompidou in Paris. Tang Chang (1934–1990): Non-Forms (subtitled Non-Formes in French) features his iconic self-portrait from 1973: the painting shows the artist with no eyes or hands, his symbolic self-mutilation a desperate response to the massacre of pro-democracy protesters that took place that year. The bilingual (English and French) exhibition catalogue (bound in the Japanese stab style) quotes his description of the work as a tribute to those “rising in anger against the military dictatorship on 14 October 1973.” Several of his concrete poems (กวีรูปธรรม), commenting on the massacres of 1973 and 6th October 1976, are also included.

Rare Thai Movie Posters

Today and tomorrow, vintage Thai film posters will be on display, and on sale, at the Woof Pack building in Bangkok. The Bai Pid (ใบปิด) exhibition—held at the same venue last year—featured reproductions of classic poster artwork, whereas this weekend’s fair, Rare Thai Movie Posters (ลับแลโปสเตอร์ ภาพยนตร์ไทย), focuses on original posters.

Rare Thai Movie Posters and Bai Pid are among only a handful of exhibitions devoted to Thai movie poster art. Others have included Thai Film Posters (ใบปิดหนังไทย; 1984) in Bangok, and Eyegasm (2012) in Palm Springs, California. Philip Jablon exhibited some posters from his collection at this year’s Singorama Film Festival in Songkhla.

Gilbert Brownstone’s Thai Movie Posters (Affiches de cinéma thaï/โปสเตอร์ภาพยนต์ไทย), published in 1974, was the first book on the subject. A new survey, The Amazing Movie Posters of Thailand by Jablon and Neil Pettigrew, was released earlier this year. Starpics magazine issued five special issues devoted to film posters; most focused on Hollywood posters, and no. 3 covered 100 years of Thai cinema.

112 News from Heaven

Vichart Somkaew’s short documentary 112 News from Heaven juxtaposes news that’s broadcast on all channels every day with news that goes unreported by mainstream outlets. On the soundtrack, an announcer reads a bulletin of royal news, a daily staple of Thai television and radio. This is contrasted with captions documenting news of “victims of the Thai state”. Vichart’s previous film Cremation Ceremony (ประวัติย่อของบางสิ่งที่หายไป) used a similar technique, with captions honouring victims of political injustice.

The Thai monarchy is often associated with the sky, symbolising the high reverence in which it is traditionally held, and lèse-majesté is article 112 of the criminal code, hence the title 112 News from Heaven. The film’s captions feature 112 headlines from a 112-day period, detailing the custodial sentences given to those convicted of lèse-majesté and the bail denied to those awaiting trial.

After its litany of legal persecution, the film ends with a clip from an impromptu TV interview Rama X gave during a walkabout. Asked for his message to pro-democracy protesters, the King offers words of reassurance: “We love them all the same.”

The film’s structure recalls D.H. Lawrence’s novel Sons and Lovers. The bulk of that book describes the misery of the protagonist’s life, though it ends on an unexpectedly uplifting note: “He would not take that direction, to the darkness, to follow her. He walked towards the faintly humming, glowing town, quickly.”

Can the book’s final few optimistic sentences negate the oppressive narrative of its previous 500 pages? Or does the apparently hopeful ending represent a false dawn? The same questions are raised by 112 News from Heaven, in relation to the state’s attitudes towards political dissent.

Again, there is a similarity with Cremation Ceremony. After detailing various state injustices, that film also ends on a positive note, with a final caption welcoming the news that pro-democracy parties “emerged victorious” in this year’s election. But after the film was released, it became clear that the election result was another false dawn, as the winning party was sidelined and the military remained in government.

27th Thai Short Film and Video Festival

The 27th Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 27) runs from 16th December until Christmas Eve at the Thai Film Archive in Salaya. The annual Short Film and Video Festival is Thailand’s longest-running film event, providing a unique showcase for independent filmmakers.

Over seventy films will be screened in competition, chosen from more than 600 titles submitted. Almost all of the submissions were shown online during the Short Film Marathon (หนังสั้นมาราธอน) earlier this year.

A Love Letter to My Sister, video journalist Napasin Samkaewcham’s deeply personal account of the volatile relationship between his parents, is surely the most powerful film at this year’s event. This moving and often heart-rending documentary will be shown on 17th December.

Sompot Chidgasornpongse’s short drama The Physical Realm (ภูมิกายา) will have its Thai premiere on 16th December. The film includes a subtle tribute to the leaders of the student protest movement, when a man speculates on the name he might have given to a child his former girlfriend never had. He considers the names Anon, Panassaya, and Jathupat, which refer to Arnon Nampa, Panusaya Sithjirawattanakul, and Jatupat Boonpattararaksa, respectively. (The references are slightly disguised, as the film’s subtitles spell the names phonetically.)

Other highlights include Phassarawin Kulsomboon’s Khon Boys (เด็กโขน), screening on 16th December; Supamok Silarak’s Red Poetry (ความกวีสีแดง), on 17th December; Kawinnate Konklong’s แค่วันที่โชคร้าย (‘unfortunately’), also on 17th December; and video artist Chulayarnnon Siriphol’s ANG48 (เอเอ็นจี48), on 23rd December. Award winners will be announced on Christmas Eve.

A Love Letter to My Sister and แค่วันที่โชคร้าย both had their debut screenings during the Short Film Marathon. Khon Boys premiered at Jumping Frames (跳格) in Hong Kong. The Physical Realm premiered at Film Fest Gent in Belgium on 19th October. Red Poetry has previously been shown in both Chiang Mai and Salaya. ANG48 was shown previously at ใช้แล้ว ใช้อยู่ ใช้ต่อ (‘I’ve used it, I’m using it, I’ll keep using it’), Wildtype 2023, and Shadow Dancing.

Khon Boys

Phassarawin Kulsomboon’s new documentary Khon Boys (เด็กโขน) will be shown at the Thai Film Archive in Salaya on 16th December, in what is expected to be its only public screening in Thailand. The film had its world premiere on 15th September at Jumping Frames (跳格), the Hong Kong International Movement-Image Festival 2023.

Khon Boys follows a group of students as they learn the Thai dramatic art of khon dancing. The film opens with an introduction to the history of khon and its associations with Thai royalty: khon was traditionally performed exclusively at royal functions, and its principal characters are gods and kings. The ten kings of Thailand’s current Chakri dynasty share their name with Rama, protagonist of the khon drama Ramakien (รามเกียรติ์), and the film highlights the parallels between khon’s warrior kings and the past 200 years of Thai history.

Captions describe the Ramakien’s plot: “Rama returns home for his coronation, and his reign is one of peace and happiness.” Cut to: Sanam Luang, “15 months after King Rama X’s coronation,” where protesters gathered in September 2020 to call for reform of the monarchy. Later, there is footage of riot police firing rubber bullets at REDEM protesters at Sanam Luang in March 2021, and an impressive drone shot of 10,000 protesters assembling at Democracy Monument in August 2020. The film describes the epic Ramakien as a “great battle between Good and Evil,” and it presents the current confrontations between demonstrators and the establishment in the same terms.

Khon Boys is Phassarawin’s solo directorial debut, though he previously codirected Danse Macabre (มรณสติ) and the short film Dance of Death (แดนซ์ ออฟ เดธ) with Thunska Pansittivorakul. He also worked as cinematographer on Thunska’s Santikhiri Sonata (สันติคีรี โซนาตา) and Homogeneous, Empty Time (สุญกาล). Khon Boys is similar to the latter film, as they both include interviews with high-school boys about contemporary politics.

Khon Boys perfectly captures the tension between tradition and change. Just as youthful protesters in a hierarchical society are challenging conservative elites, the young khon students are participating in a royalist art form yet simultaneously questioning the ideology it represents. The film shows a social studies class that appears to be a straightforward propaganda exercise, with a writing project titled “Missing the King in Heaven”. Meanwhile, when interviewed by the director, the students criticise the lèse-majesté law and the military. As one student puts it succinctly: “Soldiers aren’t the nation’s fence. They are the king’s shield.”

Some of their comments on lèse-majesté were self-censored by the director, with photos of CGI dinosaurs to mask the forbidden opinions. (Homogeneous, Empty Time also includes a self-censored discussion of lèse-majesté.) One student resorts to a thinly-veiled metaphor, namely a fictional location in the Japanese manga series One Piece (ワンピース): “Let me talk about the country of Wano. Lord Kaido is the country’s big boss. He thinks he has limitless power and can do anything to people like us.”

James Dyson v. Daily Mirror:“The scope for honest comment... was very considerable indeed.”

James Dyson has lost his libel case against the Daily Mirror. Dyson had sued the newspaper over a column by Brian Reade published last year describing his business strategy as “screw your country, and if anyone complains, tell them to suck it up.”

The article was published on the Mirror’s website on 28th January last year, and appeared in the following day’s print edition (p. 19). Judge Robert Jay ruled that the column was an expression of personal opinion, and therefore not defamatory: “The scope for honest comment, however wounding and unbalanced, was very considerable indeed.”

Jay became famous as counsel to the 2011–2012 Leveson Inquiry into media ethics and practices, when his questioning of witnesses was televised. A year ago, Dyson lost another libel case, against Channel 4 and ITN.

I’m Starving Artbook: Sweets and Politics

Comic artist Kwanrapee’s I’m Starving Artbook: Sweets and Politics (เดี๊ยนหิว!!! Artbook: ขนมหวานและการเมือง), published earlier this year, is a record of the stickers, fleurons, and illustrations she created between 2019 and 2022. This was a period of protest against Thailand’s military government, and the book’s title has a clever double meaning: “If this artbook accurately depicts my hunger, then I also hunger for freedom and democracy.” (Similarly, on the cover of the fourth edition of Chris Baker and Pasuk Phongpaichit’s A History of Thailand is Thienchai Nokngam’s painting Seafood, which also makes “a comparison between democracy and food... Everyone likes eating deep-sea fish and deep-sea shellfish, in the same way they want to have a deep, full-blown version of democracy.”)

It Is What It Is

Chatchawal Thongjun’s From Forest to City (อรัญนคร), one of the best Thai short films of the year, will be shown at Bangkok University’s School of Digital Media and Cinematic Arts as part of the It Is What It Is (ชีวิตก็เท่านี้) programme. The event, on 4th December, is the third screening in the Jubchaii (ถูกจับฉาย) series. Chatchawal’s film will also be shown online on 6th December in the Short Film Marathon (หนังสั้นมาราธอน).

From Forest to City is a black-and-white drama, though it has two flashes of colour: a red folding chair (symbolising the 1976 Thammasat University massacre), and a yellow t-shirt (as worn by anti-democratic People’s Alliance for Democracy supporters). In its final act, the film features a montage of footage from Thailand’s polarised political history, set ironically to รักกันไว้เถิด (‘let’s love each other’), a Cold War propaganda song whose lyrics call for national unity.

Chiang Mai Film Festival 2023 Part II

Highlights from this year’s Chiang Mai Film Festival will be shown tomorrow on the rooftop of the city’s Mantana Building. Vichart Somkaew’s Cremation Ceremony (ประวัติย่อของบางสิ่งที่หายไป), Koraphat Cheeradit’s Yesterday Is Another Day, and Weerapat Sakolvaree’s Nostalgia are all included in the Chiang Mai Film Festival 2023 Part II programme.

Cremation Ceremony was also shown recently at Doc Club and Pub in Bangkok, and at Wildtype 2023. Yesterday Is Another Day has been screened at Silpakorn University. Both films were part of this year’s Short Film Marathon (หนังสั้นมาราธอน). Nostalgia has previously been shown at Bangkok University, Future Fest 2023, Wildtype 2022, and the 26th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 26).

Spotlight by BKK Critics

This month, Doc Club and Pub in Bangkok will showcase a series of critically-acclaimed short films, all of which have won Bangkok Critics Assembly awards. The event is in two stages, with the first three titles being shown on 3rd–6th December and the final three on 7th–21st December. The Spotlight by BKK Critics season concludes with Chaweng Chaiyawan’s Please... See Us (หว่างีมอละ), followed by a Q&A with its director.

Chaweng’s film ends with an extended sequence in which a pig is killed and dismembered, the helpless animal being a tragic metaphor for the plight of ethnic minorities in Thailand. This transgressive film had an outdoor screening in Chiang Mai earlier this year, and was previously shown at Wildtype 2021, Signes de Nuit (‘signs of the night’), and the 25th Thai Short Film and Video Festival (เทศกาลภาพยนตร์สั้นครั้งที่ 25).

The Fabulist:A Novel

Uthis Haemamool’s novel จุติ was published in English translation this year as The Fabulist: A Novel. The book describes the protest movement that emerged after the 2006 coup as a “new democratic spirit, which saw citizens as the rightful owners of the country, rather than the few high-ranking officers and aristocrats who governed as though they knew what the majority needed or didn’t need.”

These pro-democracy red-shirts were opposed by the pro-establishment yellow-shirts, in a prolonged political conflict that the novel calls “a chasm between two groups who held two completely different versions of the truth.” The protests ended in 2010, when Abhisit Vejjajiva authorised the use of live ammunition by the army. As the novel puts it: “Death and casualties among Red Shirt protestors erupted after the government—led by the prime minister with the pretty face—ordered the police to ‘secure the area’.”

Interviewed by Max Crosbie-Jones for the Nikkei Asia website this month, Uthis explained that the 2010 crackdown marked the beginning of his political engagement: “Prior to that I thought that art and literature was separate from politics, but seeing so many people killed changed me. And it was even more disappointing to see members of Thailand’s literary and art circles celebrating. Politics have been embedded in my work ever since.”

In his Nikkei article, Crosbie-Jones describes the 2010 massacre, which took place at Ratchaprasong in Bangkok, as “an event that galvanized many Thai artists, writers and filmmakers to address the country’s legacy of coups, military interference and autocracy”. Similarly, Sayan Daenklom coined the term “Post-Ratchaprasong art” to describe works produced in response to the crackdown, in the journal Read (อ่าน; vol. 3, no. 2).

Like Uthis, author Veeraporn Nitiprapha was also inspired to incorporate political subtext into her fiction writing after 2010, as she explained in an interview with the Electric Literature website: “I was overcome with a deep, painful bitterness seeing the fashionable, well-educated, well-paid people of the city feeling content about the injuries inflicted upon the poorer, less educated people who were mostly from the upcountry. And it was important to write about that bitterness.”

In Thailand, this political awakening is known as ta sawang. Film directors Pen-ek Ratanaruang (“me, who five years ago had no interest in politics”), Yuthlert Sippapak (“I never gave a shit about politics”), Chulayarnnon Siriphol (“I turned to be interested in the political situation”), Thunska Pansittivorakul (“I started to learn about politics”), Apichatpong Weerasethakul (“I was politically naïve”), and Nontawat Numbenchapol (“I was a teenager, a young man not interested in politics”) all describe their ta sawang moments in Thai Cinema Uncensored.

Doi Boy

Nontawat Numbenchapol’s film Doi Boy (ดอยบอย) was released on Netflix yesterday. Nontawat’s documentaries—including Boundary (ฟ้าต่ำแผ่นดินสูง), By the River (สายน้ำติดเชื้อ), and Soil Without Land (ดินไร้แดน)—have highlighted sensitive political issues, and Doi Boy, his first feature film, is no exception.

Boundary and Soil Without Land both explored tensions on Thailand’s borders, and in both cases the documentaries focused on the experiences of a young soldier caught up in a larger conflict. Boundary follows Aod, a Thai soldier who returns to his hometown on the border with Cambodia. Jai, the main subject of Soil Without Land, is a stateless man living on the border between Myanmar and Thailand, who reluctantly joins the Shan State Army.

Sorn, the central protagonist of Doi Boy, is also a young man from Shan State conscripted into the military. After deserting, he crosses the border into Thailand, jumping from the frying pan into the fire. He is forced to totally transform his identity (from monk to soldier to sex worker) and, like other undocumented migrants in Thailand and elsewhere, he is exploited by almost everyone he meets, but particularly by Ji, a corrupt police officer with a guilty conscience.

Doi Boy begins with young Thai demonstrators chanting “For the people!” Clearly, this is meant to evoke the student protest movement that began in 2020, calling for reform of the monarchy, but the real-life slogans were presumably too sensitive for the film. Nontawat previously made Sound of ‘Din’ Daeng, a series of short documentaries about the demonstrators, and he recreates the atmosphere of the protests in Doi Boy.

Another slogan of the Doi Boy protesters is: “It could be you!”, a reference to the kidnapping and murdering of protest ringleaders. It soon becomes clear that the police are behind these crimes, as Ji suffocates a captured protester, Bhoom, with a bin bag. In 2021, corrupt police chief Thitisan Utthanaphon murdered drug suspect Jeerapong Thanapat in the same manner. (That case was also referenced, much less tastefully, in Poj Arnon’s comedy Oh My Ghost! 8/หอแต๋วแตกแหก โควิดปังปุริเย่.)

At the end of the film, a somewhat ethereal body is shown, in a foetal position, apparently inside an oil drum. Again, this has real-life echoes: several anti-government activists, including Wanchalearm Satsaksit, are missing, presumed dead, and after Porlajee Rakchongcharoen was murdered in 2014, his remains were found in an oil drum. (Apichatpong Weerasethakul’s exhibition A Minor History/ประวัติศาสตร์กระจ้อยร่อย showed the disposal of the bodies of murdered political dissidents in the Mekong river.)

Doi Boy admirably addresses human rights abuses in a feature film, though it’s also very stylishly shot and edited. Phuttiphong Aroonpheng attempted a similar combination with Manta Ray (กระเบนราหู), though whereas Phuttiphong’s film was a case of style over substance, Doi Boy achieves exactly the right balance. This is immediately apparent from the audacious opening sequence, when Sorn performs a striptease wearing a rubber gimp suit, intercut with flashbacks to Ji’s suffocation of Bhoom.

Red Poetry

Supamok Silarak’s film Red Poetry (ความกวีสีแดง) will be shown in Salaya this weekend. The feature-length documentary is a profile of performance artist Vitthaya Klangnil, who formed the group Artn’t with fellow student Yotsunthon Ruttapradit. A shorter version—Red Poetry: Verse 1 (เราไป ไหน ได้)—was screened last year at Wildtype 2022.

The documentary, filmed in 2021, shows the intense endurance and commitment Vitthaya invests in his protest art. A durational performance—sitting near Chiang Mai’s Tha Pae Gate for nine full days—led to his collapse from exhaustion. In another action, he climbed onto Chiang Mai University’s main entrance, repeatedly slapped himself in the face, and jumped into a pond. When he reported to the police to answer charges of sedition, he vomited blue paint outside the police station.

The film ends with Vitthaya carving “112” into his chest, in protest at the lèse-majesté (article 112) charges he faced after he exhibited a modified version of the Thai flag in 2021. He was convicted of lèse-majesté earlier this year, and received a suspended sentence.

Red Poetry will be shown at Die Kommune on 25th November, at a screening organised by Mahidol University’s Institute of Human Rights and Peace Studies. It has previously been screened in Chiang Mai earlier this year, and it had an online screening as part of this year’s Short Film Marathon (หนังสั้นมาราธอน).

ใช้แล้ว ใช้อยู่ ใช้ต่อ(‘I’ve used it, I’m using it, I’ll keep using it’)

Later this week, Bangkok University will be screening a programme of short films that reappropriate found footage. The ใช้แล้ว ใช้อยู่ ใช้ต่อ (‘I’ve used it, I’m using it, I’ll keep using it’) programme includes Chulayarnnon Siriphon’s ANG48 (เอเอ็นจี48) and Kanyarat Theerakrittayakorn’s Develop Viriyaporn Who Dared in Three Worlds (เจริญวิริญาพรมาหาทำใน 3 โลก).

ANG48 reuses scenes from the classic romance Sunset at Chaophraya (คู่กรรม), creating a new backstory for that film’s heroine. It has also been shown this year as part of the Short Film Marathon (หนังสั้นมาราธอน) and Wildtype 2023, and at last year’s Shadow Dancing exhibition.

Develop Viriyaporn Who Dared in Three Worlds features clips from short films by the mysterious and elusive Viriyaporn Boonprasert, and interviews with young Thai directors, one of whom may or may not be the face behind Viriyaporn’s pseudonym. It has previously been shown at Wildtype 2022.

ใช้แล้ว ใช้อยู่ ใช้ต่อ will take place at the Surat Osathanugrah Library on 24th November. Its title is a pun on “ทำแล้ว ทำอยู่ ทำต่อ” (‘I’ve done it, I’m doing it, I’ll keep doing it’), Prayut Chan-o-cha’s campaign slogan in this year’s election.

James Dyson v. Daily Mirror:“These allegations represent a personal attack...”

James Dyson is suing the Daily Mirror newspaper over an article published last year describing his business strategy as “screw your country, and if anyone complains, tell them to suck it up.” The column, by Brian Reade, criticised poor public role models, and mentioned Dyson only briefly.

The article was published on the Mirror’s website on 28th January last year, and appeared in the print edition on the following day (p. 19). It has now been removed from the website, and deleted from online newspaper archives.

Dyson appeared at the Royal Courts of Justice in London yesterday, and issued a written statement about the article: “These allegations represent a personal attack on all that I have done and achieved in my lifetime and are highly distressing and hurtful.” He has accused the Mirror of defamation.

Dyson had previously filed a libel suit against Channel 4 and ITN, though that case was dismissed on 31st October last year. Judge Matthew Nicklin ruled that Dyson had not been personally implicated: “The broadcast is simply not about him, and no ordinary reasonable viewer could conclude that he was being in any way criticised.”

“This image may be worth a million words...”

Israel and Hamas have been at war since 7th October and, as in previous conflicts, news organisations are making editorial judgements about publishing images of casualties. On 12th October, the Israeli government’s X account posted three photographs of children killed by Hamas; The Daily Telegraph newspaper printed one of those images the following day (p. 3), with the child’s face blurred. The newspaper’s headline paraphrased US Secretary of State Antony Blinken: “This image may be worth a million words”.

On its website on 13th November, The New York Times published an op-ed by Lydia Polgreen describing a photo taken by Mahmud Hams showing six dead children at a Gaza morgue, though her editor decided against reproducing the image in full. Instead, a cropped version was used, showing only the lower halves of the children’s faces.

The NYT’s front page on 20th November featured a photograph showing the shrouded body of eight-month-old Misk Joudeh, her face and arm visible as her remaining family members gathered around in mourning. She had been killed, alongside her parents, by an Israeli airstrike last month. (The image, taken by Samar Abu Elouf, was reprinted on the front page of the paper’s international edition yesterday.)

As Polgreen wrote in her online op-ed: “It is a rare thing for mainstream news organizations to publish graphic images of dead or wounded children. Rightly so. There is nothing quite so devastating as the image of a child whose life has been snuffed out by senseless violence.” This was also true in 2015, when The Independent newspaper published a photograph of three-year-old Alan Kurdi, washed up on a Turkish beach, on its front page.