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.

In films, it’s common to incorporate a love story in order to create an emotional connection for the audience to a certain idea or ideology. It can go through two ways. One is where romance pushes the film’s lovers to pursue what’s right, despite the wrong the film hopes would change. Another is where romance pushes the film’s lovers to do wrong, and thus receiving karmic consequences for doing so. Once Upon a Star’s love story isn’t like these paths. In fact, it risks the existence of their troupe. Instead, it’s their friendship that creates this emotional connection with the viewers. It’s the connection between the troupe members, their dynamic, and their love for film that pushes them to make one more show. The way they mourn the iconic Mitr Chaibancha, as well as the last outdoor showing in the film, reflects the bittersweet way today’s film industry is currently changing. Even as things change, the film celebrates the love that was there before, and looks forward to what’s on the horizon.