Chulayarnnon Siriphol

"Viriyaporn Boonprasert" is the name of a filmmaker who has been making social satire films since 2012, and no one knows who she is until now. But Viriyaporn's films reflect the condition of Thai society and Thai politics in the past to the present.

The film follows the conventions of Thai cinema during the Cold War, where every actor is dubbed by the voice that suits their roles. The hero sounds heroic and the villain sounds villainous. Ang, a transgender sex worker with a pretty, feminine voice is assigned a special mission as an undercover spy. She disguises herself as a cisgender man to enter into a romantic relationship with Jit, a belligerent yet idealistic student activist with an evil voice. Ang must extract important information from Jit. However, the mission goes awry as she slowly falls for him. Apolitical at first, Ang is slowly awakened by Jit to see the other world where people speak in another way.

The film follows the conventions of Thai cinema during the Cold War, where every actor is dubbed by the voice that suits their roles. The hero sounds heroic and the villain sounds villainous. Ang, a transgender sex worker with a pretty, feminine voice is assigned a special mission as an undercover spy. She disguises herself as a cisgender man to enter into a romantic relationship with Jit, a belligerent yet idealistic student activist with an evil voice. Ang must extract important information from Jit. However, the mission goes awry as she slowly falls for him. Apolitical at first, Ang is slowly awakened by Jit to see the other world where people speak in another way.

Banned at the Thailand Biennale Krabi 2018, this film is based on the history of Khao Kha Nab Nam, Krabi. Filled with fantasy and historical facts, it treads the line between fiction and folklore.

In 2013, the filmmaker’s ownership of a work was revoked by his commissioners. In response, he distributed 100 copies of the award certificate and re-rendered the film 100 times on DVD, the quality of each successive version increasingly degraded until the original work became unrecognisable. Each DVD was sold as an edition of the film for 100 baht. The performance is compared to the replacement of the Khana Ratsadon plaque—a symbol of democracy in Thailand — with a royalist plaque after it mysteriously vanishes. But it is resurrected in various guises and contexts, including the aforementioned DVD. By destabilising the notion of authenticity, this tongue-in- cheek docufiction embraces meaning-making from below as resistance in a totalitarian regime.

In 2013, the filmmaker’s ownership of a work was revoked by his commissioners. In response, he distributed 100 copies of the award certificate and re-rendered the film 100 times on DVD, the quality of each successive version increasingly degraded until the original work became unrecognisable. Each DVD was sold as an edition of the film for 100 baht. The performance is compared to the replacement of the Khana Ratsadon plaque—a symbol of democracy in Thailand — with a royalist plaque after it mysteriously vanishes. But it is resurrected in various guises and contexts, including the aforementioned DVD. By destabilising the notion of authenticity, this tongue-in- cheek docufiction embraces meaning-making from below as resistance in a totalitarian regime.

In 2013, the filmmaker’s ownership of a work was revoked by his commissioners. In response, he distributed 100 copies of the award certificate and re-rendered the film 100 times on DVD, the quality of each successive version increasingly degraded until the original work became unrecognisable. Each DVD was sold as an edition of the film for 100 baht. The performance is compared to the replacement of the Khana Ratsadon plaque—a symbol of democracy in Thailand — with a royalist plaque after it mysteriously vanishes. But it is resurrected in various guises and contexts, including the aforementioned DVD. By destabilising the notion of authenticity, this tongue-in- cheek docufiction embraces meaning-making from below as resistance in a totalitarian regime.

In 2013, the filmmaker’s ownership of a work was revoked by his commissioners. In response, he distributed 100 copies of the award certificate and re-rendered the film 100 times on DVD, the quality of each successive version increasingly degraded until the original work became unrecognisable. Each DVD was sold as an edition of the film for 100 baht. The performance is compared to the replacement of the Khana Ratsadon plaque—a symbol of democracy in Thailand — with a royalist plaque after it mysteriously vanishes. But it is resurrected in various guises and contexts, including the aforementioned DVD. By destabilising the notion of authenticity, this tongue-in- cheek docufiction embraces meaning-making from below as resistance in a totalitarian regime.

In 2013, the filmmaker’s ownership of a work was revoked by his commissioners. In response, he distributed 100 copies of the award certificate and re-rendered the film 100 times on DVD, the quality of each successive version increasingly degraded until the original work became unrecognisable. Each DVD was sold as an edition of the film for 100 baht. The performance is compared to the replacement of the Khana Ratsadon plaque—a symbol of democracy in Thailand — with a royalist plaque after it mysteriously vanishes. But it is resurrected in various guises and contexts, including the aforementioned DVD. By destabilising the notion of authenticity, this tongue-in- cheek docufiction embraces meaning-making from below as resistance in a totalitarian regime.

An adaptation of Sri Burapha (Kulap Saipradit)'s 1937 influential Thai novel, Behind the Painting. Forget Me Not is an attempt to reread the novel and also reread Thai political history at the same time.

2014년 태국에서는 군사 쿠데타가 일어나 군부가 정권을 장악했고, 21세기 태국에서 온 네 개의 시선이 군사주의가 일상에 침투하고 관계하는 방식을 탐구한다. 평화로워 보이는 사회의 질서는 설계된 리듬과 행동양식의 예외 없는 움직임을 배양하고 감시하는 체제 속에서 지속된다. 완벽히 동화되지 않으면 사회에서 축출되는 운명에 처한다. 사람들에게 잘못된 생각을 전할 수 있다며 사진 전시에 개입하는 세상에서 인간의 표정은 읽기를 거부당한다. 그러나 4개의 옴니버스에서 가장 중요한 시선의 운동은 군사주의의 효력이 상실되는 순간들을 읽어내는 장면들에 있다. 보통의 사람이 사진 찍은 얼굴에는 검열 따위로 제어될 수 없고 해석을 강제하는 풍부한 표정이 가득 담겨 있다. 움직일 수 없을 때도 사람들은 눈을 흘끗거리고, 도망가라는 메시지를 전하기도 한다. 일상에 스며든 군사주의의 풍경이 공사 중인 공원에 버티고 섰지만, 또한 과거를 기억하고 현재를 실행하는 다양한 사람과 그들의 시선이 태국의 미래를 살아갈 것이다.

2014년 태국에서는 군사 쿠데타가 일어나 군부가 정권을 장악했고, 21세기 태국에서 온 네 개의 시선이 군사주의가 일상에 침투하고 관계하는 방식을 탐구한다. 평화로워 보이는 사회의 질서는 설계된 리듬과 행동양식의 예외 없는 움직임을 배양하고 감시하는 체제 속에서 지속된다. 완벽히 동화되지 않으면 사회에서 축출되는 운명에 처한다. 사람들에게 잘못된 생각을 전할 수 있다며 사진 전시에 개입하는 세상에서 인간의 표정은 읽기를 거부당한다. 그러나 4개의 옴니버스에서 가장 중요한 시선의 운동은 군사주의의 효력이 상실되는 순간들을 읽어내는 장면들에 있다. 보통의 사람이 사진 찍은 얼굴에는 검열 따위로 제어될 수 없고 해석을 강제하는 풍부한 표정이 가득 담겨 있다. 움직일 수 없을 때도 사람들은 눈을 흘끗거리고, 도망가라는 메시지를 전하기도 한다. 일상에 스며든 군사주의의 풍경이 공사 중인 공원에 버티고 섰지만, 또한 과거를 기억하고 현재를 실행하는 다양한 사람과 그들의 시선이 태국의 미래를 살아갈 것이다.

Short film directed by Chulayarnnon Siriphol.

Hyper-realistic minidrama. An afternoon in the life of fish processing plant labourer Wawa Kai, one of the many migrants from Myanmar working in factories in Thailand. The film follows her every move, revealing what looks like a routine day, but in fact it's a scary one for her, as she reports a crime.