Aditya Assarat’s second film stems from his personal experiences as a Thai returning home from living abroad, as well the stereotypical portrayal of the rich and well-traveled in popular TV lakorn. Whether or not you think hi-sos as a group really deserve an apologia, Hi-So is an accessible and lovely art film, a kind of cross between Uncle Boonmee and Lost in Translation, which offers an authentic and original perspective on its subject. Its meandering pace, quietly looming metaphors, intermittently awkward and warm interactions will ring true with many, as multiculturalism and a disassociation with the past becomes the cornerstone of modern experience.
In the first half of the film, Ananda (played by a refreshingly down-to-earth Ananda Everingham) is newly-returned from America, with an American girlfriend, Zoey (Cerisse Leang), in tow, and is trying his hand at acting. The movie is being shot at an eerily unpeopled resort during low season, where he plays an amnesiac starting a new life after the tsunami (pretty symbolic of the diaspora experience). Zoey looks on, partially bored, partially fascinated with his transformation into someone less American. Though there are moments of affection, it’s clear their relationship will not survive as he moves closer to his Thai identity (though never completely inhabiting it) and she’s relegated to socializing with the hotel staff. In the second half of the film, which takes place in Bangkok, when the movie has gone into post-production and promotion, Ananda has a new (Thai) girlfriend, May (the gorgeous Sajee Apiwong), and the two are cohabitating in a dilapidated apartment building belonging to Ananda’s absent mother.
Nothing much happens—even the break up with Zoey happens off-screen. But through symbolic locations, some great dialogue and long takes, Assarat is able to convey the mundane rootlessness of someone whose privilege and access has ultimately caused a break with his past.
Those who prefer more action will find this soporific. But Hi-So is a sensitive and melancholic film by a smart director. A beautiful handling of an unbeautiful experience that will feel very relevant to a certain Bangkok audience.