Taiki Sakpisit

Bangkok 2006, amid brewing political tension, a family, led by politician Parl, shares one final night together at the safe house before a coup d'état forces him into exile.

Apprehension Engine approaches cinema not merely as a medium for projecting images, but as a powerful cultural and ideological apparatus that shapes subjectivity and constructs “imagined communities.” At the same time, it examines how cinematic language across Thailand and Asia has articulated and enforced alternative modernities, and at times resisted them.

THE AGE OF ANXIETY meditates on fin de siècle Thailand. The film deconstructs the hallucinatory film footages of the Thai melodrama of the 80’s into thousands of frantic fragments, like the violent stabs of disturbing memories, perpetual nightmares and reinventing histories, that ascend the viewers into the mind-expanding horizon of a fragile nation on the verge of madness.

The Spirit Level meditates on the political conflicts, trauma, and violence in the troubled Thailand reflected through the artist’s road trips across the northeastern region of Thailand along the Mekong River.

Assembling moments of eruptive beauty from five films, all of which were made in the early 1980s, Time of the Last Persecution reanimates the force of metamorphosis in the rhythm of a soaring cadenza. The video is structured through the rapid montage and the close up, yet it observes the gliding pace of the circular slow motion.

A sensorial, left-field take on Thai political history that moves between a subdued past etched in the landscape of Khao Kho mountain, once a stronghold of communist insurgents, and a dynamic near-present marked by Bangkok’s 2021 anti-government protests.

Bangkok 2006, amid brewing political tension, a family, led by politician Parl, shares one final night together at the safe house before a coup d'état forces him into exile.

Bangkok 2006, amid brewing political tension, a family, led by politician Parl, shares one final night together at the safe house before a coup d'état forces him into exile.

Apprehension Engine approaches cinema not merely as a medium for projecting images, but as a powerful cultural and ideological apparatus that shapes subjectivity and constructs “imagined communities.” At the same time, it examines how cinematic language across Thailand and Asia has articulated and enforced alternative modernities, and at times resisted them.

THE AGE OF ANXIETY meditates on fin de siècle Thailand. The film deconstructs the hallucinatory film footages of the Thai melodrama of the 80’s into thousands of frantic fragments, like the violent stabs of disturbing memories, perpetual nightmares and reinventing histories, that ascend the viewers into the mind-expanding horizon of a fragile nation on the verge of madness.

The Spirit Level meditates on the political conflicts, trauma, and violence in the troubled Thailand reflected through the artist’s road trips across the northeastern region of Thailand along the Mekong River.

Assembling moments of eruptive beauty from five films, all of which were made in the early 1980s, Time of the Last Persecution reanimates the force of metamorphosis in the rhythm of a soaring cadenza. The video is structured through the rapid montage and the close up, yet it observes the gliding pace of the circular slow motion.

A sensorial, left-field take on Thai political history that moves between a subdued past etched in the landscape of Khao Kho mountain, once a stronghold of communist insurgents, and a dynamic near-present marked by Bangkok’s 2021 anti-government protests.

“Shadow and Act” navigates through the remains of Chaya Jitrakorn, once the most prominent photo studio in Thailand built in 1940 and was the only preferred studio of the dictator Field Marshal Plaek Phibunsongkhram. The film explores the studio’s 72-year archives and its owner’s personal photographs while representing the defunct studio like the corpse of the deceased Giant. The film experiments with the relationships between memory and space as well as the past and the future.

A love triangle between Chalika, Chariya and a man named Pran, who all come from broken families and find themselves trapped in a cycle of pain they continue to inflict on one another, repeating the same wounds passed down from their parents’ generation.

The Mental Traveller meditates on the passing of time, external behavior and sensory reality for five men on a psychiatric ward. The film was conceived from the director’s connections to his parents and companions as they went through states of sickness, impending death, dementia, grief and temporary insanity. At the same time, it echoes the turbulent years of political upheavals and repercussions in Thailand, resulting in a nation in a state of delirium, lunacy and trauma.

The Mental Traveller meditates on the passing of time, external behavior and sensory reality for five men on a psychiatric ward. The film was conceived from the director’s connections to his parents and companions as they went through states of sickness, impending death, dementia, grief and temporary insanity. At the same time, it echoes the turbulent years of political upheavals and repercussions in Thailand, resulting in a nation in a state of delirium, lunacy and trauma.

The wandering spirit enters a dying man’s dreams. She whispers and reveals the poems and prophecies that reflect Thailand’s state of mind during the past decades and the people who were hallucinated by the mystic power of illusions. The film reveals the visions that the “dead” perceives on the journey into the kingdom of death. The fragmented stream of consciousness of a mysterious woman intensified the final memories that are gradually vanishing from this world.