Movies to Watch From Thailand

After years of documentaries covering Thailand’s controversial issues, some of which have been temporarily banned by the Ministry of Culture, Nontawat Numbenchapol takes a step into feature film in Doi Boy. The plot covers plenty of the topics he’s previously depicted– immigration, prostitution, and corruption– but it unfolds naturally into a slow-paced, but moving drama where an undocumented sex worker tries to find home. Awat Ratanapintha as Sorn excellently leads this journey, but Arak Amornsupasiri as reluctant cop Ji, and Bhumibhat Thavornsiri as passionate activist Wuth also make their mark. While the film doesn’t delve into the intricate intersectionality, it feels like that’s part of the point. The notion of a nation doesn’t care about people’s dreams, even if that dream is for the nation to be better.

After the devastating Happy Old Year, we were excited to see the next of what Nawapol Thamrongrattanarit has to offer. Fast & Feel Love is a surprising one, purely because of how silly and unserious the entire film is. The satirical film follows a sport stacker whose passion to be the fastest blinds him to all the day-to-day tasks and life goals that have been pushed towards his girlfriend, and the film plays this basic conflict as dramatically as other action films would, with dynamic cinematography, an over-the-top soundtrack, and dramatic voice overs. The joke does get stretched a tad too long, but it humorously pokes fun at the infantile ways men in action films act, while still recognizing how this mindset is the way we cope in adulthood.

As a result of the miraculous success of the famed Tham Luang cave rescue, which saw the return of 12 kids trapped in a cave for more than 15 days, you’ll find no shortage of documentaries about the mission. Some take the point of view of the children, even others the locals and loved ones. But National Geographic’s The Rescue largely focuses on the volunteer rescuers, all of whom were foreigners who flew from different parts of the globe to risk their lives for the young victims. The film dives into their personal lives and their psyches, even going so far as their childhood to explain the motivations behind the heroic decisions they made at that moment. In less deft hands, The Rescue might seem like yet another White Savior Complex story, but directors Jimmy Chin and Elizabeth Chai Vasarhelyi (the same creative couple behind the Oscar-winning doc Free Solo) prove that the divers’ expertise, skill, and personal stakes make for a story worth telling.

Due to the possibility of death, Buoyancy cannot be made as a documentary. This film, after all, sheds light on today’s real life slavery. But that doesn’t mean it’s no less true. The script was written based on interviews with real life survivors, who, of course, would rather not be filmed due to their safety. The characters were written to closely reflect them, which was why, even though the studio is Australian, they casted Thai and Cambodian actors, and wrote the dialogue in their respective languages. And the story that writer-director Rodd Rathjen created, gradually escalates the terror Chakra faces on the whims of a cruel captain, with each new experience slowly scrapping off the innocence that was supposed to be protected. Buoyancy is not a documentary, but it works as a necessary exposé of slavery in Southeast Asian seas because of Rathjen sticking true to the sadly real life atrocity.

An interior designer comes back from Sweden to her birthplace in Thailand where she tries to declutter her family home to make it a minimalist, Marie Kondo-type house. “Minimalism is like a Buddhist philosophy. It’s about letting go,” she tells her mother as she tries to convince her. “Are you nuts?” The woman replies.

Jean insists and she embarks on a journey of touching what hasn’t been touched in decades: traces of an absent father and a past lover among the old Nokias and VHS tape recorders.

Happy Old Year is a contemporary exploration of the age-old resistance to throwing things away. Decluttering is a costly act, one of rejecting and discarding memories. The film was Thailand’s official submission to the Oscars.

With the nostalgia and the twin love triangle, at first glance, You & Me & Me seems like nothing new. However, this Thai coming-of-age drama is done so well that it feels entirely unique. Taking inspiration from the childhood of twin writer-directors, You & Me & Me brings us to a summer vacation in Isan, north Thailand, where the twins, distinguishable only by a mole and by dual-sided acting of Thitiya Jirapornsilp, encounter a boy named Mark. Amidst test taking, phin lute playing, and rowing in lotus filled lakes, their summer evokes some nostalgia, but also some drama, as their first forays into love threaten their bond. While the pacing is slow, and it does focus on the love triangle, You & Me & Me cares about each twin as they start to delve into new experiences outside of their duo. The film is a sweet and nuanced tale of twin sisterhood, but also a love letter to the Hongvivatanas’ childhood summer home.

As one of the few animated Filipino films ever made, there’s a question as to why The Missing should use the animation in the first place. The animation here is much more rough than the ones from other countries, and while it’s a bit more pricey, the filmmakers could have filmed this in live action with practical SFX and CGI. But there’s a big reason why it was animated anyway– It’s because of the story. It’s not just because the protagonist Eric is an animator– it’s because animation, to that specific lead, was the way through which he was able to form a life after trauma, becoming the livelihood that allowed him to move out of his childhood home, and far far away from the trauma he faced. Writer-director Carl Joseph Papa also takes advantage of the medium by creating designs that match Eric’s current state of mind– regular, day-to-day life is rotoscoped, while the blank portions of his memory are traditionally drawn in the style Eric would have had during that age. It’s an unusual approach, but whether or not the story was adjusted to the budget, Iti Mapukpukaw is undeniably a touching and inventive drama that depicts the complexities of grief.

When reminiscing about the film industry, most period films focus on the big names – the stars, the directors, and the producers that back them – as they’re more likely to have plenty of source material. Once Upon a Star is interested in the little people, the small town distributors that bring the movie magic to the locals. Centered on a cinema projection troupe, the film celebrates the old way of distribution, who, unlike today’s streaming, travel from place to place to set up outdoor cinemas with live dubbing. And through each projection of classic Thai masterpieces, the connection they have with each other, between both the troupe and the audience, recalls the intimate nostalgia of watching a movie together. It’s a unique take from director Nonzee Nimibutr, one that’s a stunning love letter to the film industry he hails from.

Heart Attack is a romantic comedy, but instead of the hijinks being caused by the usual dating, miscommunication, and wooing, Yoon’s struggle here is to finally get a hold of his overbearing schedule and figure out how to relax and recover from burnout, and it’s all inspired by wanting to impress his doctor Imm. It’s funny, but it’s also all too real. Writer-director Nawapol Thamrongrattanarit recreates the overwhelming frenzy to complete a job through a magnificent jazz soundscape and Sunny Suwanmethanon’s internalized monologue, and it’s such an effective cinematic translation that the moments of rest, the moments where Yoon and Imm finally take a break feels like a relief. Heart Attack works precisely because it empathizes and understands the experience of workers in today’s gig economy.

There is a lot to admire about this revenge film from director Mouly Surya—the breathtaking shots of rural Indonesia, the grisly practicality of the titular Marlina, the relevant observations on gender politics, and the simple yet stylistic way all of this is revealed. Fans of Westerns and Spaghetti Westerns are also treated with an Eastern reimagining of tropes as the film exchanges long guns for Kabeala knives and sprawling deserts for tropical hills.

Packed with so many delights, Marlina the Murderer in Four Acts is a near-impossible miss. But if you somehow find none of this gripping, you can always rely on the sure thrill of seeing scorned women bloodily and rightfully avenge themselves. 

Saturated colors, numerous plot twists, and a quirky hot-headed detective bring this whodunit murder mystery/dark comedy to life. On the eve of a big storm, Sai and her British husband Earl visit Sai’s family’s farmhouse, and the night ends in a gruesome mass murder. The horrific setup is quickly undercut by Detective Nawat who, convinced that Earl is the culprit, spouts ridiculous theories and changes the backstory of his intimidating scar. The melodrama lands well, as does the absurdity of the mystery, and the commentary on Thai-Foreign perceptions is successfully delivered, all of which helps the film fill out its unexpected two-hour runtime. 

Whores’ Glory leads us through the hidden world of prostitution in three different countries. The lack of narration is an excellent choice here—all too often, it’s easy to accept preconceived notions about this type of work. Instead, what leads us through the film are words from the sex workers themselves and their clientele. In some ways, these words reveal their differences. The workers pray, worry about money, and share their troubles with each other, but it’s their employers and clientele who reveal their misogyny. Overall, while the Western soundtrack and glamorizing shots can be distracting, it’s clear that the film gives respect to sex workers and prioritizes their perspective.

Meditative, slow, and peppered with mysticism and subtle humour, Syndromes and a Century is a truly unique Thai drama. With a male and female doctor as the central protagonists, the story is split into two settings, in different hospitals and 40 years apart. This is not a plot-driven movie by any means. Patiently paced scenes weave together the protagonists’ memories with their current lives, in a hypnotic thread that touches on Buddhist themes as it explores the timeless human experiences of love, relationships, illness, and death.

The movie was originally intended to be a tribute to the parents of writer and director Apichatpong Weerasethakul, himself the son of physicians who worked in a hospital. Though he went on to claim that the movie took a different path eventually, it does recall the enigmatic spirit and ethereal quality of childhood memories. Despite—or maybe thanks to—the absence of narrative, Syndromes and a Century remains a beguiling watch from start to finish.

How to Win at Checkers (Every Time) is less a film about checkers and more a coming-of-age drama about brotherly love. Sure, they play the game. Oat gives some rules to play it. But it’s heartbreaking to see that despite knowing these rules, and applying them to the game that is life, Oat and his older brother Ek still can’t win against chance, the chance that’s actually rigged behind the scenes. It’s a subtle way to depict the frustration towards Thailand’s draft lottery, one that’s rigged by class, gender, and corruption. There are some elements that are left underdeveloped, but the sacrificial love shared between the brothers is what makes How to Win at Checkers (Every Time) worth watching.

Grandparents are often depicted as innately loving, especially towards their grandchildren, so it’s a delight to see someone like M’s Amah, who is testy and tenacious, and quite proud to be doing her own thing even in her old age. She runs her house alone and sells congee in her neighborhood, and even when presented with the worst possible news, she refuses pity, only allowing M back in her life after he proves his motives are sincere. M, to his credit, is believably selfish and sensitive as a young school dropout. Together, the two and their crackling push-and-pull chemistry are a blast to watch. It’s tender, but never overly saccharine, and no matter how much you resist you’re sure to shed a few tears. How to Make Millions Before Grandma Dies may not have the most original plot (I’m sure you’ll be able to guess the ending just by reading the premise alone), but it’s thoroughly engaging, not only because of the two leads, but because of it’s relatable messages about family dynamics (especially Asian family dynamics), money, and legacy. The gentle, unobtrusive cinematography by Boonyanuch Kraithong makes it extra easy on the eyes too. I only wish the movie explored the misogyny of tradition more, instead of merely touching upon it (“Sons get the goods, daughters only get the genes” is such a brilliant line), but I suppose that would need a female writer/director at the helm.

Ong-Bak: Muay Thai Warrior is, at first glance, an action-only movie that hopes to emulate something like Bruce Lee in Thailand. The Muay Thai choreography is memorable, the chase scenes are iconic, and the plot is scant in order to fit more fight scenes in it. However, the film feels electric precisely because it strikes at the fear of how local culture is erased, snatched, and forgotten for a more urban and globalized city lifestyle. With Tony Jaa’s amazing physicality, and the film introducing him and the art of Muay Thai to international audiences, Ong-Bak literally knocks out that fear, proving that local culture can survive, and maybe even thrive, on the world stage.

It looks like something you’ve already seen before: a student genius turns a simple high school cheating scheme into a full-blown, high-stakes heist. But layered with great acting, taut writing, and sharp observations about the ways in which education (and society in general) fails its students, Bad Genius turns a familiar premise into something genuinely exciting and impressively affecting. It’s everything you want a caper movie to be: smart and thrilling, with almost no moment to breathe, and of course, peppered with characters you can’t help but root and be nervous and excited for. 

If you’re looking at posters and stills of this film thinking, “I know exactly what will happen here,” you’re right. Whatever it is, you’re right. Mother of the Bride is the type of vacation-wedding movie that’s been done a thousand times better before. But a generic premise is one thing; it’s easy to forgive cliches when you’re doing it right and giving the audience something else to look forward to, be it hilarity or romance. Being generic and lazy, however, is a different and less forgivable thing. Brooke Shields is the only one who feels like she’s truly acting here as she physically and emotionally throws herself into a character who is, sadly, too thinly written to deserve this much effort. If you’re still wondering whether the movie’s worth playing for the sake of Mother’s Day, just know that you’re better off reading Hallmark cards—they’re way less sappy and require only half the effort to go through.

With its celebration of Thai dances, excellent costumes, and two male theater actor leads, ManSuang seemed like it would be something akin to a Thai Farewell My Concubine, especially as it starts off with what could have been sex scene interrupted by a murder. The addition of the espionage storyline, as well as the dynamics between the Chinese and the mainland Thai, seemed like the film would be subtle social commentary through historical drama. However, the story feels haphazardly assembled, with characters acting contrary to their goals, and sadly, the film doesn’t showcase as much of Thai culture as we would like. Instead, the film spends more time establishing an overly complicated mystery that gets too hard to follow with its multiple plotlines. ManSuang has beautiful set design, costumes, and a handsome cast, but the writing wastes the potential the story had.

It’s surreal to watch Congrats My Ex, because the Thai production feels inspired by Indian romance films, with its musical numbers, elaborate dance sequences, and maximalist sets and costumes. With both India and Thailand culturally linked for centuries, it’s interesting to see how this film celebrates their commonalities. That being said, this film isn’t too focused on this, on the difficulties of having an intercultural, long distance relationship– it knows that it wants to be an over-the-top wedding rom com. It does overly rely on the standard rom-com tropes, with a dash of slapstick shenanigans, over-the-top wedding dramatics, and one too many reckless driving accidents. It’s still a fun watch for fans of Bella and Bright though, but it’s nothing new.

There’s a sense of disconnectedness in RedLife, as the film isn’t centered on one storyline, but rather two storylines that at first don’t seem connected. Ter, a young snatcher, marries a sex worker named Mild, while Som is a student who aspires to escape her prostitute mom’s poverty, especially after she falls for the more affluent Peach. At first, the film depicts their lives in stunningly framed, slice-of-life moments that captures a different side of Bangkok, one that’s tough to depict, but one people know about. But they do intersect, later on in the movie, in a series of events that leads them trapped in tragedy, despite all they did to escape it. The unexpected twist makes their lives surprisingly poignant, though RedLife’s journey might take too long to get there.

While marketed as a family drama, Long Live Love! plays out more like a romance film between parents Sati and Meta. Where Meta has dived in, and accepted her role as a wife and mother, former model Sati still clings to the immature lifestyle he’s used to, to the glimmers of fame that he used to have. The premise is genius– there’s something poetic in the way someone who’s constantly obsessed with the look of a photo now has to go on the quest for its behind-the-scenes. There’s something here that questions previous portrayals of toxic masculinity and of marriage primarily because of how they’ll be perceived. However, there seems to be some missing sequences that could have made the ending more devastating.

The pulp and machismo that defined the ‘80s is very much present in Vengeance Is Mine, All Others Pay Cash, but instead of glorifying the era, Indonesian auteur Edwin smartly flips the script and puts the headstrong Iteung (Ladya Cheryl) front and center in this subversive and heady action film. As the anti-damsel-in-distress, Iteung expertly wrestles her way through love, all while retaining an endearing cheekiness and independence about her. 

Excellently choreographed, impeccably detailed, and skewed with enough of a feminist bent to keep it fresh, Vengeance Is Mine fittingly won the top prize at the 74th Locarno International Film Festival.

As a growing number of horror movies are, Influencer is inspired by the fact that we’re increasingly spending our lives in the digital, rather than physical, world. Kurtis David Harder’s film makes some effort to highlight the tension between those two realms: its plot hinges on the idea that vapidly sunny influencer-speak often masks gloomier realities, and suggests that, if your existence is mainly validated through a screen, would anyone really know if something truly dark happened to you?

It’s an interesting premise, to be sure, but Influencer’s critique settles there. Instead of striving for social thriller status by exploring the paradox of social media with any real rigor, the rather broad writing here means it lands as a run-of-the-mill scary movie, one that verges on being a forgettable experience once the credits have rolled. One element saves it from that fate, though: Cassandra Naud, who gives an unnerving performance that brings intriguing psychological depths to the role of CW, the film’s villain. She can only do so much to elevate a script that is shallowly interested in her character, though, meaning Influencer can’t quite transcend its status as a middling social media horror.

A heart-wrenching tribute to victims of natural disasters that is one of despair, suffering, and hope. And it wouldn’t be so damning if it weren’t based off a true story surrounding the tragedy that killed more than 230,000 people. Boxing Day 2004 was one of the most memorable dates for wedded couple, Henry (Ewan McGregor) and Maria (Naomi Watts, for an Oscar nominated performance). Just two days prior, they arrived at Orchid Beach Resort in Thailand to celebrate the Christmas holidays together with their three children. After a squabble with the crew regarding their room reservations, they are granted the privilege of staying in a peaceful villa and all seems to be well. Nature had other plans in mind, though, and facing it head-on is the bittersweet reality.