Krabi 2562: Review

Krabi 2562

It’s interesting how one’s perception can change during a pandemic. People wandering around in hazmat suits, once unusual, begin to look ordinary. Things that may have appeared unfamiliar only a few months ago, seem quite normal now. Krabi 2562, no relation to Beverly Hills 90210, refers to the current year in the Thai Buddhist calendar.

It’s the type of film where nothing much appears to be happening, but you’ll be thinking about it for days afterwards. A man with not much to say and nowhere to go; a forgotten wardrobe assistant; a guide’s commentary drowned out by a boat’s motor; and a wandering woman in search of something mysterious, that is not a fertility elixir. The curious mix of what appears to be both documentary and fiction keeps you questioning what it is exactly that you’re watching, appealing to a desire to understand what is indeed the truth.

If you can get beyond needing to classify by genre, then Krabi 2562 is both an intriguing look at the way people may interact in and around the southern Thai town of Krabi, as well as a series of amusing discords and daily banalities. It incorporates the substance that makes up the life of a community, with the occasional cultural contrast, while exploring the landscape and stories.

The eclectic characters merge with stunning images including an enigmatic woman slowly disappearing into the mouth of a cave, and birds fleeing a desolate cinema. 

Krabi 2562 is Anocha Suwichakornpong’s third feature film as writer-director. Mundane History (2009) being the first, along with five shorts and the omnibus movie Breakfast Lunch Dinner (2010).

Ben Rivers is a director and cinematographer, known for The Hunchback (2016), Un sort pour éloigner les ténèbres (2013) and Two Years at Sea (2011).

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An Australian who has spent most of her adult life in Paris, Louise is a sometime photographer, documentary-maker, writer, researcher, day-dreamer and interviewer, who prefers to start the day at the local cinema’s 9am session.


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