Gateway | Gateway
The region referred to by the title of Ben Rivers and Anocha Suwichakornpong’s quasi-ethnography is a coastal town in Thailand whose primary sources of sustenance are the travellers who frequent it. Set in a seemingly surreal space where local myths, foreign film crews, and prehistoric cavemen all interact, Krabi, 2562 attunes itself to the bewildering, often amusing, and never less than stimulating contradictions that arise from its singular world.
Rivers and Anocha not only see the comedy in this place’s peculiarities but they also tap into the current of melancholy that runs through their film’s pictorially stunning landscapes. As foreign companies and other outsiders flock to this place for its exotic aura, one can’t help but feel the slow, perpetual erosion of the cultures indigenous to this setting.
It’s no surprise, then, that Krabi, 2562 works as a veritable tourist trap of a movie: come for the bizarre histories and sun-dappled vistas; stay for the poignant commentary about the irrevocable impacts of capitalism.