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The Return

“The Return” is an attempt by the artist to recall his lost memories of his father who died in the car accident in 1991 when the artist was almost five years old. Personal family photographs from his father’s funeral are overlaid with the imagined voice by the artist himself, fictionalising that his dead father is coming back to life—a strange and moving feedback loop between father and son, between photographic documentation and deteriorating memories, between personal history and its own otherness.

The Return

NR 2008
SWA: Source Within Inner Wealth

SWA: the ‘Self’ is metaphorically hidden in a multi layered 5 sheath formation of interlocking caves we lose touch with our true subtle selves, when we identify with a fluctuating mind and the multiplicity of a manifest reality the film explores a vision... to experience and merge with the Universal Absolute; is the culmination of Inner Spiritual Wealth we need to be at peace with ‘Wholeness’ thus in our lucid states of meditation... our consciousness experiences a joyful sharing of the same space as the ETERNAL INFINITE; an eternal infinite, that supports all mutations... the effortless sublime state of ‘Samadhi’ we are enlightened... as the film, elevates human consciousness

SWA: Source Within Inner Wealth

NR 2021
Methylene Blue

a sonic and moving image collaboration between Liew Niyomkarn and Chulayarnnon Siriphol, commissioned by Sofia Lemos, for the multi-platform research programme SONIC CONTINUUM. Borrowing from the language of cosmetics advertisement, mass media and Thai soap opera, the work addresses questions around voice and speech in the context of the recent mobilisations in Bangkok. Using sound synthesis, Niyomkarn contrasts melodic parallels between the Thai anthem and the popular song 'Golden Land’ with dialogues and conversations ripped from and recorded in global protest events. Drawing on these sonic granularities, Chulayarnnon folds digital noise into an otherwise common manifestation of a capitalised gendered division of affects, intimacy and politics in contemporary Thailand.

Methylene Blue

NR 2020
Forest

Vichuda, a young woman who is quintessential, riveting and good at everything. Sorat, a young policeman, a friend of his brother, falls in love with her but do not dare to build a relationship. Sayam, Sorat's younger brother, has to take on the role of a gangster by dragging her to a hut in the middle of the forest and fake a story for his brother to come and rescue her. But a bond between kidnapper and kidnapped girl just happens in the midst of the soothing sounds of nature and the manifestation of true desire.

Forest

NR 1986
Songs for Dying

Korakrit Arunanondchai’s new piece, Songs for Dying, composed of tropes and ideas from his “living archive,” combines the personal experience of accepting death and the perception of history with religious, technological, and political narratives. Footage of his grandfather’s funeral is followed by archival records of the popular uprising on South Korean Jeju Island, current student protests in Thailand, and references to pop culture. Using the metaphor of the ghost, central to this piece, the artist questions the linear perception of time and seeks to show how the past pulsates in the present. In his worldview, nature, people, and spirits are intertwined into a homogenous whole, forming a living and diverse reality.

Songs for Dying

NR 2021