Tanaseth Tulyathan is a filmmaker from Bangkok, Thailand, best known for his upcoming feature film “The Chameleon Woman”, which has been selected for the Asian Project Market (APM), and his short film “Morlam“, which had its world premiere at the Shanghai International Film Festival 2024. He is an alumnus of Ross School in East Hampton, New York, and holds a BFA in Film and Television from the Savannah College of Art and Design in Savannah, Georgia. Tanaseth′s diverse works have been selected at film festivals such as the Atlanta Film Festival, International Film Festival of the Province of Buenos Aires, Newport Beach Film Festival, the National Film Festival for Talented Youth, the Savannah College of Art and Design Film Festival, Shanghai International Film Festival, The Emmy Awards, The Telly Awards, the UK Music Video Awards, and Vancouver Asian Film Festival.
On the occasion of “Morlam” being reviewed as part of our Submit Your Film initiative, we talk with him about the inspiration behind the movie, corruption and the situation of handicapped people in Thailand, casting Vithaya Pansringarm, the Thai film industry and other topics.
Morlam review and interview are part of the Submit Your Film Initiative
What was the inspiration behind the story of the movie? Did you research the topics the film revolves around? (corruption, handicapped kids etc) How do these kids end up on the streets?
The inspiration came from my experiences growing up in Thailand. As a teenager, I often wandered around the streets and alleys, where I frequently encountered disabled individuals—ranging from children to adults—stationed at busy intersections and corners with high foot traffic. One day, while observing their behavior, I noticed they were all concentrated in specific areas. That night, I found myself wondering, “Where do they sleep? How do they get home? Who is responsible for them?” So, I decided to wait and saw a van transporting them somewhere. At that 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 at the end of 2022, I found myself in the same situation, encountering similar scenes. I decided it was time to share this story. Unfortunately, due to widespread poverty in Thailand, disabled individuals can still be found in various circumstances—whether in care centers, on the streets, or even competing in the Paralympics it’s all depends on their fate.
How close to reality are the events depicted in the movie?
As you may know, human trafficking in Thailand is a significant and complex issue involving various forms of exploitation, including forced labor, sexual exploitation, and child trafficking, prevalent in many cities across the country. Thailand serves as a source, destination, and transit country for trafficking victims, affecting both Thai citizens and migrants from neighboring countries like Myanmar, Cambodia, and Laos. Since this is a short film, we could only address a small, specific aspect of human trafficking in Thailand. While the core story is based on true events, we had to make minor adjustments to fit it within the limited runtime of just a few minutes.
Can you give us some info regarding the songs heard throughout the movie?
A fascinating aspect of the film’s music is that one of our friends, after reading the script, suggested a song that perfectly aligns with the story. The song metaphorically describes a person struggling to thrive and find their place in a harsh, urban environment. Its title, “Grass Flower in a Concrete Jungle,” symbolizes resilience and perseverance amidst adversity and challenges.
Check the review of the film
How did the casting work and how did you manage to have Vithaya Pansringarm in the movie?
All the lead roles were cast individually by me and the producers. We were incredibly impressed by the performances we had seen in their previous work. It was a significant risk to bypass a full casting process, but we were grateful and fortunate that each actor fit their role perfectly. We personally met with Chananticha Chaipa and Pratya Patong 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 reached out to him privately on Facebook. Initially, we thought he might decline, but he surprised us by calling back and telling the Director, “My wife used to coach your cousin in ballet.” Who would have thought that this random connection would lead us to work with the incredible Vithaya Pansringarm.
Can you give us some details about the cinematography? In general, what was your goal in the visual aspect of the film? How did you shoot the dream scenes?
Our Directors of Photography, Pithai Smithsuth and Thonthan Suvithayasiri, collaborated closely to achieve the desired cinematographic style. One of the key questions we explored was, “How can the cinematography depict how blind individuals perceive sound?” This led us to draw inspiration from the Oscar-winning international feature “Son of Saul”. We aimed to convey warmth in a cold, broken world, as portrayed by Anuman 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 distinct 1.33 aspect ratio. This approach allowed us to convey a visual experience that mirrors how the visually impaired perceive sound.
How did the editing work?
The editing process was quite straightforward for us and only took two months. I had a clear vision and arranged the shots in a precise and structured sequence.
What is your opinion of the Thai movie industry at the moment?
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 Thailand is experiencing its second golden age of cinema. However, if the government and industry continue to suppress 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 issues, in my view, is that we are often treated as a third-party vendor rather than fostering a robust domestic film industry. This practice undermines local crews, who deserve standardized pay rates and a 12-hour workday cap to ensure sustainable and fair working conditions.
Can you tell us a bit about your feature project?
My first feature, “The Chameleon Woman”, is one of the most personal works I’ve ever created. It is inspired by my real-life caretaker, who was with my family for over fifty years, my own personal journey and the often unspoken aspects of Thai culture, social classes and history.
