Director Anocha Suwichakornpong, far from 'Mundane'

Bangkok resident Anocha ‘Mai’ Suwichakornpong’s debut feature "Mundane History" (Jao Nok Krajok) is the first film in Thai cinematic history to be awarded a 20+ rating, and has received worldwide praise since appearing in a string of overseas film festivals.

On the surface it tells the story of the reluctant relationship between a recently paralyzed young man (Phakpoom Surapongsanurak) and his new nurse (Arkaney Cherkham) as the prelude to a visually stunning contemplation about our place in the universe. The independent filmmaker, and co-founder of Electric Eel films, talks to CNNGo about the ongoing political unrest in Bangkok, as well as her experimental and captivating movie.

CNNGo: What do you think about the political situation and protests happening right now in Bangkok?

Anocha: I hope that peace and reconciliation will not become just two empty words. Both the government and the protesters should have more tolerance towards each other and value human life above all else. I’m disappointed with the stance that the government has taken. As a government, they have the power to set the agenda and negotiate with the protesters, especially now that it’s apparent that a crackdown is not the answer.

Moreover, they should allow freedom of speech by lifting the ban of websites and TV stations that are critical of their administration. Suppression is not a solution for long-lasting peace. It only breeds contempt and will prove fatal in the long run.

CNNGo: You describe the family in “Mundane History” as a microcosm of Thailand and the film as reflecting its ongoing political struggle. Do you think these aspects are accessible to those not familiar with Thai politics?

Anocha: Thailand is, by and large, a patriarchal society. It is men who control the power in this country, especially when it comes to politics. Right now, we are in the midst of a political crisis that has put the country on hold for the past four years.

It is true that the film had a particular resonance with audiences when it was screened in Bangkok, but although some of the nuances might escape those not familiar with Thai politics, I think that there are other themes in the film that have universal appeal. You can have no knowledge of Thai politics and still come away with something to think about after the film ends.

CNNGo: Why did you include such an explicit depiction of male masturbation?

Anocha: I was staying true to the character’s emotions. The masturbation scene is important to the narrative. When we did the research for the film, I was struck by how open the patients were in talking about their sex lives. If you’re telling a story about a young man who’s just been made paralyzed from the waist down and you don’t mention anything at all about his sexual needs it’s dishonest.

CNNGo: Did you struggle demanding scenes of such a sexual nature from your actors, or do you simply consider it part of their job to deal with it professionally?

Anocha: Directing that scene was not problem at all. Phakpoom is young actor but a very mature person. We discussed the scene right from the beginning when I decided to cast him. He understood very well what it meant in the context of the narrative. When it came to the actual shooting, we kept a smaller crew than usual in the room so he could be more relaxed. We did it in a few takes.

CNNGo: The choppy nature of the scenes takes some getting used to -- why did you present the story in such a way?

Anocha: Human thoughts are not linear, they are fragmented. I wanted to make a film in which the structure reflected the human mind itself. But I also wanted to illustrate the cyclical nature of time according to Buddhism -- a central theme of the story. In the film, cause and effect switch places, so the same scene was repeated and sometimes the aftermath shown before the actual event. 

It might seem like an obscure approach but for me it is more honest because it de-dramatizes the plot, and each moment takes on its own significance. You have to pay attention closely to what’s going on in the scene. It can be quite demanding, but I respect my audiences and I have trust in them.

CNNGo: Did you allow for improvisation and interpretation on set?

Anocha: I improvise with my actors when we rehearse the scenes during pre-production. During that period, we try all sorts of things. We keep doing this until we have the scenes locked down. So when I go on the shoot, we rarely improvise.

CNNGo:Was the soundtrack specially written?

Anocha: No, I only used pre-existing music. I think a good soundtrack should add another layer to the film, so that it’s apart from the film, not a part of the film. If it integrates too well it just becomes mood music. The music was by Thai band The Photo Sticker and a Malaysian band, Furniture.

CNNGo: The film’s final scene -- a graphic Caesarean birth -- suggests the trauma of life. Was your ultimate message intended to be optimistic or more of a warning about human nature?

Anocha: I’d rather it be left to the audience to decide. People have quite different interpretations of this ending. I think what the ending means to you depends on what kind of a person you are.

CNNGo: As a filmmaker you have power to influence others -- how large a responsibility is that?

Anocha: An independent filmmaker in Thailand doesn’t have much power. I think you’d have a better chance if you were a TV soap actor! Seriously.

The best you can hope for if you’re making an indie film here is that there would be enough audiences to go see the film so that it doesn’t get taken off the program after one week.

"Mundane History" opened 2009’s Bangkok Film Festival and has screened in Rotterdam, New York, San Francisco, London, and Hong Kong. The film has yet to be awarded a general release date here but Anocha is hopeful it will be in cinemas later this year.