The Terrorists



ผู้ก่อการร้าย Poo kor karn rai (2011)

Documentary-experimental / 103 minutes / 2011 / GERMANY-THAILAND


2011 The 61st Berlinale, Germany

2011 The 13rd Buenos Aires Festival International de Cine Independente, Argentina

2011 The 2nd Distrital Cine Y Otros Mundos, Mexico

2011 The 6th Tel Aviv International LGBT Film Festival, Israel

2011 The 5th Cinema Digital Seoul Film Festival, South Korea

2011 The 11th Era New Horizons International Film Festival Wroclaw, Poland

2011 The 32nd Durban International Film Festival, South Africa

2011 The 15th Queer Lisboa, Portugal

2011 The 3rd DMZ Korean International Documentary Festival, South Korea

2011 The 17th Festival de Film LGBT de Paris, France

2011 The 40th Festival Du Nouveau Cinema Montreal, Canada

2011 The 6th Porn Film Festival Berlin, Germany

2011 Festival Cine//B-4, Chile

2011 The 29th Torino Film Festival, Italy

Director: Thunska Pansittivorakul

Producer: Jürgen Brüning

Co-producer: Thunska Pansittivorakul

A segment of the film includes a story by Panu Trivej

Director of Photography: Thunska Pansittivorakul, Samart Suwannarat

Sound: Nopawat Likhitwong, Sarunyu Nernsai


A black cloak of forgetting, suppressing and covering has descended on the events that took place in Bangkok in spring 2010. Black as the night of complete darkness in which the film opens. Two men are in a fishing boat talking. One feels more than one sees that the seawater around them is warm and smooth, teeming with brightly-colored fish. By night, the rubber plantation also comes across as enticing and full of secrets, until lurid reminders of the bloody massacre flash up. This film arose from of a state of shock – about the news, about the subsequent repression in the authoritarian kingdom but also about the debilitating passivity that followed the pro-democracy Red Shirt uprising. It is a radical personal assessment in 17 episodes. An angry protest in the form of a diary, where sexual resistance and erotic fantasies are juxtaposed with thoughtful rummaging through the director’s family album, creating a confusing pamphlet. As a young boy in the 1970s, Thunska was already forced to flee Bangkok for the south with his mother. The film poses questions without knowing the answers, providing an unusual insight into an extremely traumatized society.