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Taking its title from the Bangkok slang for ‘high society,’ Aditya Assarat’s ponderous portrait revolves around a Thai actor (Ananda Everingham) and his relationship traumas.
First he alienates his bored American girlfriend; then, dating a local girl, he can’t connect with her either.
The ambitious structure rhymes the two symmetrical halves to tease out big, if obvious, themes of class.
Alas, Assarat’s style is contemplative to the point of somnambulist, consisting mostly of women waiting for something to happen. As a study of cultural ennui, it makes Lost In Translation look like an action movie.
