Before Thai filmmaker Apichatpong Weerasethakul (Tropical Malady, Syndromes and a Century) won the Palme d’Or at the 2010 Cannes Film Festival for his feature film Uncle Boonmee Who Can Recall His Past Lives, he created a related short work entitled A Letter to Uncle Boonmee.

Some thoughts: it’s an inquisitive and nostalgic piece, one that – among other things – explores the community of Nabua as a place where the notions of inside and outside appear to co-mingle. The walls of houses function as divisions between the domestic interior and the natural exterior, but the film’s steady stream of camera movement reveal these physical structures to be rather thin layers of illusive separation as opposed to grounded barriers of containment (or exclusion). There is, of course, the fact that these structures are made of the materials that make up the jungle surrounding them, and this provides another layer to Weerasethakul’s evocation of a space where “public” and “private” blur into a curious liminality.