Asian Cinema Fund 2018
2018 Post-Production Fund
Nakorn-Sawan is the story of a family taking a journey together to accompany the recently departed to "heaven". Parallel to this, there is a documentary of the director′s father, who lives alone in a rubber plantation and a portrait of her mother who passed away in 2017. After being away from home for five years, Aoey comes back to Nakorn-Sawan with her family. The recent death of a beloved affects the living ones. Pak Nam Po, the river in the city, is believed to be the path to send her mother’s cremains to the afterlife -- the heaven, they say. That morning, she boards the same boat along the river with her family, her father, her old friend, herself, and even her past. Until the end of the day, fiction and documentary drift along the river endlessly.
Death becomes more real when there is love. But we could just start to love when someone is gone forever. The question is, can we (re)create memories from the death? Despite many personal stories that I’ve never heard of about my family, there are some that were repeated and recreated. We all (re)construct our memories from fragmented stories, experiences and feelings, and we express it through some kind of a medium. I truly believe that personal stories, especially those that are related with families, are all a legacy of the universe. In Nakorn-Sawan, I try to collect my memories about my parents. I re-construct to see how it could work with my fiction. Do I write this fiction from my experiences or do I experience the fiction while writing the truth? During the production, I reflect on my memories: mother’s death, father’s existence, actors’ memories, experiences with crew, some political situations and myself during the lost time. Memories are (re)constructed to be remembered and forgotten.