A film once overlooked and misunderstood may have found its moment many years later, the work’s peculiar vibrations finally detected and at last appreciated.
Attaporn Thaihirun’s Konjorn (literally The Stray or The Vagabond) is one of the most unusual cases in local cinematic lore. Released in 1999, it was heralded as a pioneer within the independent film scene though most viewers scoffed at its aesthetics. The handheld camerawork; a reliance on point-of-view shots; the CCTV footage and out-of-focus hallucinatory sequences deemed disorientating; and a playful distortion of realistic details verging on the ludicrous — who could forget the shiny, avant-gardist…
