2011年3月11日の東日本大震災を受け、河瀬直美監督が世界の映像作家に呼びかけて実現した短編集。ビクトル・エリセ（スペイン）、ポン・ジュノ（韓国）、ジャ・ジャンクー（中国）、アピチャッポン・ウィーラセタクン（タイ）、パティ・スミス＆スティーブン・セブリング（アメリカ）、桃井かおり（日本）ら21人の監督が「A Sense of Home（家という感覚）」をテーマにそれぞれ3分11秒の短編を手がけ、家族や故郷、祖国への思いをつづっていく。
監督： アリエル・ロッター、イサキ・ラクエスタ、アピチャッポン・ウィーラセタクン、ジャ・ジャンクー、カトリーヌ・カドゥ、桃井かおり、百々俊二、ジョナス・メカス、想田和弘、チャオ・イエ、西中拓史、ウィスット・ポンニミット、レスリー・キー、ポン・ジュノ、ソー・ヨン・キム、山崎都世子、モハメド・ナジブ・ラザク、ペドロ・ゴンザレス・ルビオ、パティ・スミス、スティーブン・セブリング、ビクトル・エリセ、河瀬直美

在泰国与缅甸边境的某处，住着一种被称为Nok Phii（幽灵鸟）的生物。又或者说，那儿曾经有过。如果真的存在Nok Phii，那么它会成为除了加拉帕戈斯群岛上的吸血鸟类以外的唯一一种靠吸食动物鲜血而生存的鸟类。在数个当地盛传的传说中，Nok Phii被描绘成一种具有强烈攻击性的夜间掠食动物，在有些故事中，它们甚至会袭击人类。2007年，泰国北部居民中有人在远山中目睹了一对雌雄Nok Phii。据推测，这很有可能是世界上仅存的一对Nok Phii。这种体型小眼睛大的鸟从来没有被捕获过，不管死活。也没有任何遗骸可考。在没有确切证据的前提下，这种鸟或许只是丛林中散发的危险有人气息的一个虚拟产物。“吸血鬼”只是对于这种鸟和它的习性的一种梦幻描述，电影中远航而寻求财富之人的虚幻印象而已。

阿彼察邦的《M 酒店》，以他拿手的遊蕩，把油麻地轉化成神秘領域。

Football seen through the eyes of some of the best directors of the world.

《亚洲幽灵》是阿彼察邦和克利斯泰（Christelle Lheureux）合作的录像装置作品，以那时发生不久的亚洲海啸为出发点。两位导演决定利用一个在泰国布满岩石的海岸线边游荡的被人发现的幽灵为主线，并且邀请了一些当地的孩子加入这部电影，为饰演幽灵的演员提供灵感，甚至去拍摄。基于幽灵这个介质的各种被激发的灵感，半真实半想象，孩子们的奇妙想法有了真实的载体而得以表达。孩子们的游戏被成年人们的拍摄“游戏”引导。

This film is an impression of a Jewelry collection by Victoire de CASTELLANE. It is also a tribute to a garden of the director’s mother, with wild orchid’s roots, bugs and various organisms.

一群逃离家庭来到丛林中寻找灵魂树的追寻者们，晚上他们唱起了一首歌，关于纯洁的爱和追求幸福的歌。这是一部实验电影，导演邀请了他的朋友Pimpaka Towira白天拍摄爱情故事，晚上则拍摄这首歌。

一行人坐着一艘船漂流在流经泰国与老挝边境的湄公河上，迎着风前行。在河的中央，女主人将骨灰撒进了河中，灰白色的粉末在河水中消逝。船在两国边境处调转头，船上的人尽力将船划回自己的世界。

In The Pilgrim Kamanita, a Buddhist novel written in 1906 by the Danish writer Karl Gjellerup, the protagonists are reborn as two stars and take centuries to recite their stories to each other, until they no longer exist.
Morakot is a derelict and defunct hotel in the heart of Bangkok that opened its doors in the 1980's: a time when Thailand shifted gears into accelerated economic industrialization and a time when Cambodians poured into Thai refugee camps after the invasion of Vietnamese forces. It was a hosting time. Later, when the East Asian financial crisis struck in 1997, these reveries collapsed.
Like Kamanita, the unchanged Morakot is a star burdened with (or fueled by) memories. Apichatpong collaborated with his three regular actors, who recounted their dreams, hometown life, bad moments, and love poems, to re-supply the hotel with new memories.

The teens are together in the village street and start to run, some of them kicking the smoking balls and throwing them into the moving crowd. The video is a celebration of exaltation and the release of tension, echoing Thailand’s political atmosphere.

'Empire' was the trailer for the Viennale 2010 and screened in over one hundred cinemas in Austria and during the festival in Vienna.

A macro view of the microorganisms that flock to lamps in the darkness.

Since she appeared in my film in 2009, Jenjira Pongpas has changed her name. Like many Thais, she is convinced that the new name will bring her good luck. So Jenjira has become Nach, which means water. Not long after, she was drifting online and encountered a retired soldier, Frank, from Cuba, New Mexico, USA. A few months later they got married and she has officially become Mrs. Nach Widner.
The newlyweds found a house near the Mekong River where Nach had grown up. She spends most of her day crocheting baby socks for sale, while he enjoys gardening and watching television (sometimes without the sound because most of the programs are in Thai).
Cactus River is a diary of the time I visited the couple—of the various temperaments of the water and the wind. The flow of the two rivers—Nach and the Mekong, activates my memories of the place where I shot several films. Over many years, this woman whose name was once Jenjira has introduced me to this river, her life, its history, and to her belief about its imminent future. She is certain that soon there will be no water in the river due to the upstream constructions of dams in China and Laos. I noticed too, that Jenjira was no more. –Apichatpong Weerasethakul

In semi-obscurity, we hear a few chords on the guitar, a man whispering into a microphone then into a recording device on the Mekong river bank, that will relay his voice…

这支录影拍摄了导演的伙伴Teem的晨间肖像。泰国冬天来临，Teem告诉阿彼察邦他要去冬眠了，直到2008年2月。结果他真的这么做了，这段时间里一直在睡觉。阿彼察邦观察着他，不时用电话搅扰一下Teem的冬眠大计。

Made for ‘Short Films for the King Bhumibol Adulyadej’s 80th Birthday’, 2007

Weerasethakul's contribution to an omnibus production exploring analogies between football and everyday life. The project was created by Mexican film director Daniel Gruener and originally broadcast during the 2014 FIFA World Cup.

今年電影節的《香港四重奏II》打破地域界限，加入東南亞導演，由四位亞洲導演拍下他們眼中獨有的香港風情。其中來自泰國的阿彼察邦韋拉斯花古，憑作品《波米叔叔的前世今生》獲康城影展金棕櫚獎；菲律賓導演布里楊文杜沙曾獲2009年康城影展最佳導演獎；此外，來自馬來西亞的何宇恆導演，去年執導的《心魔》助惠英紅奪得香港電影金像獎最佳女主角；香港導演關錦鵬，則為本地影壇的中堅分子，其作品如《胭脂扣》及《阮玲玉》早被譽為華語電影經典。
香港國際電影節策劃王慶鏘說：「香港是個了不起的城市，外表美麗而內心複雜。《香港四重奏I》有幸得到各地觀眾和電影人的支持。我們非常期待4部新作品，尤其今年除香港的關錦鵬外，另外3位都是當今最令人矚目的東南亞導演。布里楊文杜沙及關錦鵬已經完成拍攝，而阿彼察邦韋拉斯花古亦剛於今天在香港關機。」