Interview with Tanaseth Tulyathan: Human trafficking in Thailand is a large and complex problem

Tanaseth Tulyathan is a filmmaker from Bangkok, Thailand, best known for his upcoming feature film “The Chameleon Woman”, which was selected for the Asian Project Market (APM), and his short film “Morlam”, which world premiered at the 2024 Shanghai International Film Festival. He is an alumnus of the Ross School in East Hampton, New York, and holds a BFA in Film and Television from Savannah College of Art and Design in Savannah, Georgia. Tanaseth’s diverse works have been selected at film festivals including the Atlanta Film Festival, International Film Festival of the Province of Buenos Aires, Newport Beach Film Festival, National Film Festival for Talented Youth, Savannah College of Art and Design Film Festival, Shanghai International Film Festival, The Emmy Awards, The Telly Awards, the UK Music Video Awards, and the Vancouver Asian Film Festival.

To mark the occasion of the review of “Morlam” as part of our Submit Your Film initiative, we speak to him about the inspiration behind the film, corruption and the situation of disabled people in Thailand, the casting of Vithaya Pansringarm, the Thai film industry and other topics.

What was the inspiration behind the story of the film? Did you do any research on the issues the film is about? (corruption, disabled children etc.) How do these children end up on the streets?

The inspiration came from my experiences growing up in Thailand. As a teenager, I often wandered the streets and alleys, where I often came across disabled people – from children to adults – standing at busy intersections and corners with lots of pedestrian traffic. One day, while observing their behavior, I noticed that they were all concentrated in specific areas. That night, I wondered: “Where do they sleep? How do they get home? Who is responsible for them?” So I decided to wait and saw a van taking them somewhere. At the time, I was still a student and had no power to share this story with a wider audience. A few years later, I went abroad to study film. When I returned in late 2022, I found myself in the same situation and encountered similar scenes. I decided it was time to share this story. Unfortunately, due to the widespread poverty in Thailand, disabled people are still found in different circumstances – whether they are in nursing homes, on the streets, or even participating in the Paralympic Games, it all depends on their fate.

How realistic are the events in the film?

As you may know, human trafficking in Thailand is a significant and complex issue involving multiple forms of exploitation, including forced labor, sexual exploitation, and child trafficking, which occurs in many cities across the country. Thailand serves as a source, destination, and transit country for victims of human trafficking, which affects both Thai citizens and migrants from neighboring countries such as Myanmar, Cambodia, and Laos. Since this is a short film, we could only cover a small, specific aspect of human trafficking in Thailand. Although the core story is based on true events, we had to make minor adjustments to fit it within the limited running time of just a few minutes.

Can you give us some information about the songs heard in the film?

A fascinating aspect of the film’s music is that one of our friends, after reading the script, suggested a song that fits the story perfectly. The song metaphorically describes a person struggling to thrive and find their place in a harsh urban environment. The title, “Grass flower in a concrete jungle,” symbolizes resilience and perseverance in the face of adversity and challenges.

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How did the casting go and how did you get Vithaya Pansringarm into the film?

All the lead roles were cast individually by me and the producers. We were very impressed with the performances we had seen in their previous work. It was a big risk to bypass a full casting process, but we were grateful and happy that each actor fit perfectly into their role. We met Chananticha Chaipa and Pratya Patong in person to get to know them and their parents, as they are among the few emerging young Thai actors and actresses. As for Vithaya Pansringarm, our associate producer contacted him privately on Facebook. At first we thought he would decline, but he surprised us by calling back and telling the director, “My wife used to train your cousin in ballet.” Who would have thought that this random connection would lead to us working with the incredible Vithaya Pansringarm.

Can you give us some details about the cinematography? What was your goal in general in the visual aspect of the film? How did you shoot the dream sequences?

Our Directors of Photography, Pithai Smithsuth and Thonthan Suvithayasiri, worked closely together to achieve the desired cinematic style. One of the main questions we explored was: “How can cinematography reflect how blind people perceive sound?” This led us to take inspiration from the Oscar-winning international feature film “Son of Saul”. We wanted to convey warmth in a cold, broken world, like the one Anuman portrayed to his children. For the dream sequence, we used a baby lens to create a contrast between the illusory reality and the surreal dream. To capture this unique perspective, we shot with an Arri Alexa Mini LF and anamorphic lenses, positioning the camera vertically to create a clear 1.33 aspect ratio. This approach allowed us to convey a visual experience that mirrors how visually impaired people perceive sound.

How did the installation work?

The editing process was quite simple for us and took only two months. I had a clear vision and arranged the shots in a precise and structured order.

What’s your opinion on the Thai film industry right now?

In my opinion, the Thai film industry is currently thriving with a diverse range of emerging talent, alongside established auteur filmmakers making a strong comeback. I believe that Thailand is experiencing its second golden age of cinema. However, if the government and the industry continue to suppress us and fail to support us with proper funding and resources, unlike other successful film producing countries, we may not reach our full potential. One of the biggest problems, in my opinion, is that we are often treated as an external supplier instead of fostering a robust domestic film industry. This practice undermines local crews, who deserve standardized salaries and a maximum of 12 hours per day to ensure sustainable and fair working conditions.

Can you tell us something about your feature project?

My first feature film, “The Chameleon Woman”, is one of the most personal works I have ever made. It is inspired by my real-life caregiver, who was with my family for over fifty years, my own personal journey, and the often unspoken aspects of Thai culture, social class and history.