Wichanon Somumjarn’s autobiographical debut concerns a young man who passionately wants to make films. By Edward Lawrenson
“Don’t tell it so directly.” The comment is directed at Thai director Wichanon Somumjarn, and it’s made by his brother during a remarkable interview included in Somumjarn’s Tiger entrant,
In April the Following Year There Was a Fire. It’s an apt advice. The film is heavily autobiographical, but blends fiction and documentary, reconfiguring the material Somumjarn drew from his life experience into a moving, enigmatic, contemplative mood piece.
The director’s feature debut revolves around Nuhm (Nantawut Phoopasuk), a figure closely modelled on Somumjarn himself. Having left his job in constructions in Bangkok, Nuhm returns to a village in the North East of Thailand – where Somumjarn is from – encounters an old flame and talks about his desire to make films.
Comprising resonant fragments from Nuhm’s life story, the film emphasises atmosphere over narrative. “I write in a stream-of-consciousness way,” says Somumjarn. “Images pop into my head when I’m working on the screenplay.” At one point, Somumjarn includes documentary footage of his family – which is when his brother speaks to him. “The documentary element grew while I was editing the film,” he explains, adding that the post-production process was around eight months. His brother was not an especially willing participant. “He didn’t like being interviewed,” says Wichanon, “that’s why his back is turned for most of this scene.”
Further thickening the film’s mix of autobiographical and imaginative elements is a moment at the start of the film when Nuhm encounters a movie being shot called
In April the Following Year, There Was a Fire. It’s an indie film, Nuhm is told by the assistant director, and it will only be shown at international festivals. Somumjarn’s own film is likely to face similar difficulties in getting screened in its home country. “The audience for art cinema in Thailand is small,” he says.
Raising the small budget through a combination of private funds, loans from family and some money from the regional government, Wichanon – whose short film 'Four Boys, White Whiskey and Grilled Mouse' played at the IFFR 2010 – is grateful for the Hubert Bals support he received. “It was during post production,” he says. “We were running out of money so it helped pay for a good sound mix and grade.”
More about In April the Following Year, There Was a Fire here.