Showing 1 - 10 of 16
The world is on fire, but we still have the Oscars
Life, Kong Rithdee, Published on 13/03/2026
» Tight races in several categories as two outstanding American films, Sinners and One Battle After Another, vie for glory with other international titles.
Where the struggle begins
Life, Kong Rithdee, Published on 04/11/2025
» Annemarie Jacir's Palestine 36 reminds us that the question of Palestine didn't begin two years ago but generations before that. Showing at the Tokyo International Film Festival, the film is set in the aftermath of World War I as the European powers carve up the Middle East like a spoiled child slicing his birthday cake: gleefully, arbitrarily, jabbing their fingers on a map with no regard of history or the need of local inhabitants.
Cinema of resistance wins at Cannes
Life, Kong Rithdee, Published on 27/05/2025
» In a year full of richly textured stories about female trauma and painful personal growth, the Cannes jury, led by Juliette Binoche, took the noble route and gave the Palme d'Or to the most political film in the 22-title competition.
Agents of change
Life, Kong Rithdee, Published on 21/05/2025
» Awash with saturated colour and steeped in Brazil's history of authoritarianism, Kleber Mendoça Filho's The Secret Agent has emerged as a serious contender for the Palme d'Or. A former film critic, programmer and now a leading voice in Brazilian cinema, Mendoça Filho's fourth feature -- and his third in Cannes Competition -- is a political thriller, a tribute to disappeared dissidents, and a deft ode to the way memory is passed through time and technology.
Cannes 2025: What's on our watch list
Life, Kong Rithdee, Published on 13/05/2025
» The 78th edition of Europe's biggest film festival starts today. We take a look at some notable titles across different sections -- Competition, Un Certain Regard, Directors' Fortnight and Critics' Week -- including a Thai film.
And the winner is...
Life, Kong Rithdee, Published on 28/02/2025
» The words and the verdicts on Oscars 2025.
Changing the narrative
Life, Kong Rithdee, Published on 02/09/2022
» A man returns home from work in Malaysia after Covid-19 struck, then gets lost in a bureaucratic labyrinth trying to get government handouts. Another woman finds a job at a factory, but the rules require her to compromise her faith. In Yala, a skater boy sets out in search of a friendly park where he can enjoy his ride. A hijab-wearing K-pop fanatic is getting married to a man who has just converted to Islam. And in a Pattani family, a young man watches his mother being possessed by a spirit, possibly a black-magic attack from his business rival.
To dump or not to dump
Life, Kong Rithdee, Published on 31/12/2019
» The title of a new Thai film is a bilingual wordplay: How To Ting is literally translated as "how to dump". That, I think, is sharper than its tired official English title, Happy Old Year. To dump or not to dump -- things and people, mementos and memories -- that is the question. In the film, a young designer who's dressed like a Muji model, and who has just returned from studying in the minimalist-paradise Sweden, plans to dump all useless objects from her maximalist Bangkok house, where she lives with her mother and brother, and to turn it into an all-white, supremely sparse and unapologetically decluttered interior nirvana -- a home office lifted straight from a Scandinavian style book.
An imperfect world
Life, Kong Rithdee, Published on 21/05/2019
» Even on the ground at the Cannes Film Festival, what people seemed to be anticipating most on Monday was, well, the final episode of Game Of Thrones. No, it wasn't being shown at the festival (how unbecoming that would be), but isn't it a sign of our times that a TV episode has the Valyrian-steel nerve to dominate global discussion and upstage the world's biggest film showcase?
Jim Jarmusch's zombies open Cannes
Life, Kong Rithdee, Published on 16/05/2019
» 'Infernal hipsters and their irony." So says a very unhip character in The Dead Don't Die, and of course, what else could it be? Jim Jarmusch's zombie comedy opened the 72nd Cannes Film Festival on Tuesday night with a sort-of infernal hipness that both literalises and subverts the zombie formula -- with mixed results.