Phuttiphong Aroonpheng returns to Venice with ‘The Burning Giants,’ highlighting ethnic cleansing in Thailand, but critics note its dense narrative.
Phuttiphong Aroonpheng's latest feature, ‘The Burning Giants,’ has made its debut at the Venice Film Festival, with a review published by Variety on September 9, 2026. This film marks Aroonpheng’s third feature and revisits themes of ethnic cleansing within the context of an indigenous community in Thailand.
According to Variety, the film is described as a "woozy dystopian mystery" characterized by fog-laden forests and unsettling imagery captured through the lens of cinematographer Emo Weemhoff. The narrative explores the violent eviction of an indigenous community, reminiscent of Aroonpheng’s earlier work. The review suggests that the film's haunting visuals are accompanied by a complicated and elliptical storyline that may leave viewers confused rather than clear on its message.
While Aroonpheng is often placed alongside post-Apichatpong Weerasethakul filmmakers, his latest work appears to both strengthen and challenge this classification. Critics note that the film's disorientation is powerful yet problematic, raising questions about its pacing and rhythm that might hinder viewer engagement.
Set against the backdrop of significant historical events, ‘The Burning Giants’ draws inspiration from the murder of Indigenous rights activist Porlajee “Billy” Rakchongcharoen. The narrative echoes this tragic episode, illustrating the forced assimilation of the Karen community in Thailand. The film begins with the harrowing scene of a man being detained by armed police amidst a mysterious and potentially toxic fog, symbolizing broader themes of oppression and state-sanctioned violence.
Aroonpheng does not hold back on depicting the consequences of these actions, yet the variety of narrative threads—from a thriller framework to a romance—could blur the film’s overall message. Critics have remarked on the film's ambitious nature, but some find that it loses focus amidst its multifaceted storytelling techniques, which may require deeper understanding from non-Thai viewers.
While the film features striking visuals and a rich, albeit cryptic narrative, some reviewers argue that it lacks the coherence needed to resonate effectively with a broader audience. The review highlights that many viewers may benefit from familiarizing themselves with the historical and cultural context that informs Aroonpheng’s narrative choices, specifically the recent history of the Karen community in Thailand.
The premiere at Venice's Orizzonti sidebar signifies Aroonpheng’s continued exploration of challenging and relevant themes in cinema. However, the mixed reviews have raised questions about its potential impact and resonance with international audiences.
Aroonpheng’s ‘The Burning Giants’ not only seeks to shed light on pressing social issues in Thailand but also reflects the complexities of storytelling in film. As critics debate its effectiveness and clarity, the film represents a significant artistic endeavor that navigates the intersection of history and narrative ambiguity. Its reception may influence how future Thai cinema engages with social and political themes on international platforms.
For more on Thai cinema, check out our previous coverage of Phuttiphong Aroonpheng's work in his award-winning film Manta Ray. Additionally, explore our article on Duncan Kenworthy to Receive BAFTA Fellowship in October for insights into upcoming awards and recognitions.
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