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A fluorescent tube illuminates an empty playground in the evening. Nearby a flash of light is projected on a makeshift screen. This outdoor movie is a portrait of a village repeatedly struck by lightning. As night falls, the silhouette figures of young men emerge, they are playing with a football raging with fire. They take turns kicking the ball which leaves illuminated trails in the grass. The lightning on the screen flickers amid the fire and the smoke rising from the ground. The game intensifies with each kick that sends the fireball soaring into the air. Finally the teens burn the screen and crowd around it to witness the blazing canvas, behind which is revealed the ghostly white beam of a projector. Phantoms of Nabua is part of the multi-platform Primitive project which focuses on a concept of remembrance and extinction and is set in the northeast of Thailand.

Taking the recent tsunami in Asia as its starting point, the filmmakers have used the idea of a ghost seen wandering along the rocky coastline of a Thai island and, in a life-affirming gesture, they have invited some local children to direct the film for them, suggesting and filming the movements of the actor-ghost.

Created in celebration of the three-hundredth anniversary of the birth of Jean-Jacques Rousseau, this short essay centres on a monologue delivered by a reincarnation of the philosopher in twenty-first century Thailand.

The work is part of the Memoria Project, the first major series of work that is set outside of Weerasethakul’s home country. Given his affinity for the Amazon, of which Thai jungle tales were originally inspired, Weerasethakul has started to explore South America - and since 2017, has been developing a film based in Colombia. He is drawn to its topography, where active volcanoes and landslides ceaselessly transform natural landscapes. The Memoria Project presents both personal and collective memories, while retaining the artist’s fascination with illumination. A vital part of the video and photographic works is the presence of a lone protagonist on the beach. Weerasethakul worked with Canadian actor Connor Jessup who visited him during the filming of a documentary at Nuquí area in Chocó Department, western Colombia. Here, the actor is a spirit that contemplates the artist’s journey, his dream of both real and imaginary films.

Petch, one of the young men of Nabua, composes and plays this song about his village. One evening, he sang a song to Weerasethakul’s film crew regarding an August event when the former members of the Communist Party of Thailand gathered to commemorate the first shoot out in the field more than 45 years ago. Weerasethakul layers Petch’s song with an image of his friend, Kamgiang, whose grandfather was killed by the soldiers in the field not far from his home.

Invisibility displays Weerasethakul’s continued interest in the issue of perception and memory. The installation takes threads from his recent films, Cemetery of Splendor and Fever Room, both of which feature the same actors. Here, he takes them deeper into an imaginary world and ponders the future of shared consciousness. The videos depict a landscape where the protagonists are confined to a room, along with the viewers. With no way out, they infiltrate each other’s dreams. Invisibility mirrors the troubled state of Thailand’s politics. It proposes a decayed vision of the future where one needs to constantly evade reality. The viewing experience shifts between seeing and not seeing, fact and fiction, space and void.

For a Fiery Monkey Year.

In this video diary, Weerasethakul documents the set of Primitive Project in Nabua, Thailand, particularly the scene when teenagers are hypnotized and sleep inside a time machine.

Cactus River is a diary of the time Apichatpong Weerasethakul visited a newlywed couple near the Mekong River.

Made for the Venice Film Festival's 70th anniversary, seventy filmmakers made a short film between 60 and 90 seconds long on their interpretation of the future of cinema.