Focus on Asia Fukuoka International Film Festival 2020

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September 20th(Sun.) to 24th(Thu.) 2020



The Highlights of our official lineup of invited films Part 2

This is Part Two of Film Festival Director Yasuhiro Hariki’s highlights on our Film Festival this year. Part Two will cover our Special Feature on Anocha Suwichakornpong.


A Special Feature on Film Director Anocha Suwichakornpong

Basically speaking, there’s no right or wrong about the impression people get when seeing Anocha’s films. This is because there are as many interpretations to her films as there are people watching them. In short, these interpretations do not converge into one general impression. If anything, I think this is the most interesting way to watch motion pictures. And you could say that these films are interesting to watch. The interesting thing about Anocha’s films is the mystery, itself, within her motion pictures. You can add the fact that the film becomes complete only after the audience solves the mystery. Her most recent films do have a feminine touch to them. However, if you see her very first film “Graceland” or her first feature film “Mundane History”, it’s hard to tell the gender of the film director. This genderless sensitivity of hers is another reason that makes us feel she’s in the forefront of her profession.

Furthermore, you can say her films have a “story that doesn’t amount to a story.” The preparatory phase Anocha uses in building a film story is not centered on one person but undergoes a parallel shift to someone nearby. Her films so to speak have this “motion picture about filmmaking” that rejects the model of filmmaking which places the story or protagonist in the center. The films, themselves, are fragmentary. Yet the audience watching her films get inspired to mold their own story. Here and there in her films, I can feel her amazing filmmaking efforts at destroying pre-existing theories. In this sense of the meaning, Anocha’s films cannot be narrated, and thus must be seen.

It is not an understatement to say that Thai Art Cinema, represented by Apichatpong Weerasethkul, has become a driving force behind Art Cinema of the world. Anocha Suwichakornong is at the forefront of this world of Art Cinema. Her thoughts as a visual creator are in a totally different dimension when compared to post-Renaissance western thinking. You can say that she expresses herself with Buddhist views on life and death and has thoughts based on the distinctive identity of Thailand and Asia. This is a once-in-a-lifetime opportunity, so we highly recommend that you come down to the Film Festival to see the world of Anocha Suwichakornpong, the internationally recognized visual creator of Asia.

Krabi, 2562

By the Time It Gets Dark

Mundane History

“Graceland” from Anocha Suwichakornpong Shorts


Anocha Suwichakornpong’s Profile

Born in Thailand, Anocha Suwichakornpong graduated from a Columbia University MFA Film Program. Her thesis film “Graceland” (2006) was the first short film from Thailand selected by the Cannes Film Festival. She made her debut as a feature film director with “Mundane History” (2009), which won the Tiger Award from the International Film Festival Rotterdam among other awards. “By the Time It Gets Dark” (2016), her second feature film, won three awards at the Thai National Film Awards and was selected as Thailand’s Oscar entry for Best Foreign Film. Our film festival screened “Mundane History” in 2010 and “By the Time It Gets Dark” in 2017.

Film Director Anocha Suwichakornporg


★For our lineup of films we are showing, please click below.

★For our screening schedule, please click below



  • ASIA center
  • 芸術文化振興基金
Special Support
  • 西日本シティ銀行
  • 福岡地所株式会社
  • 株式会社福岡リアルティ

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