Movies with Meaning, by Brent Marchant, TGMN Movie Correspondent

Appraising the Price of Paradise

Successfully vanquishing global ills like environmental degradation, economic inequality, insufficient health care and armed conflict in order to purposely create an earthly paradise is undeniably an ambitious and virtuous goal that most of us would probably support. The benefits of creating a healthy, sustainably managed future are undeniable. But how far would we be willing to go to realize it? The cost of not taking any action is undoubtedly a high one, but what if we were to resort to questionably drastic measures to ward off the deleterious effects of social, economic and ecological complacency – would they be worth it? Indeed, could the ends truly justify the means? These are among the profound questions raised in the thoughtful new social science fiction release, “Can I Get a Witness?” (web site, trailer).

In a world of the near future in which the aforementioned goals are achieved, the planet has been transformed from a world on the brink to one that’s arguably a virtual paradise. This has been made possible by the adoption of principles outlined in the Universal Constitution of Human Rights and Responsibilities. This template for the future of the planet, apparently drafted and agreed upon by governments, corporations and other entities from around the globe, outlines what is required of everyone to maintain this utopian new world. But is it really everything it’s cracked up to be?

Considering that Earth was on the verge of collapse on multiple fronts, the parties behind this aggressive plan of global reorganization and rebirth concurred on the implementation of a series of bold measures to stave off what seemed like an almost-certain point of no return. And, in many regards, this daring blueprint proved to be exceedingly successful. However, in addition to the many laudable reforms that were put into place, an array of debatable principles and practices were implemented that might be looked upon as strong medicine that was a little too potent for its own good, measures comparable to those seen in another release from earlier this year, “The Assessment,” as well as a classic episode of Star Trek: The Next Generation, “Half a Life” (1991).

Some of the more modest measures – such as reduced resource consumption, reliance on non-polluting transportation sources, and practices aimed at conserving energy and water – arguably could be considered sacrifices of sorts, but they’re more realistically characterized as moderate inconveniences or acceptable lifestyle adjustments, not insurmountable hardships that make life unduly intolerable. Then there are the many sweeping initiatives focused on recycling and repurposing, including everything from household goods to articles of clothing, changes that might offend those in design and fashion conscious circles given that many items of everyday living now look like they were plucked from resale shops but that are fundamentally still useful enough to enable daily existence to go on. And those changes might well be generally seen as a small price to pay for a better world.

But then there are the more draconian measures, policies that infringe on personal liberties, such as travel restrictions and limitations on childbirth and access to health care. However, perhaps the most imposing change is the one with the greatest impact – the requirement that individuals in this brave new world are only allowed to live to age 50, at which point they must willingly give up their existence – regardless of the state of their health – for the good of the planet by engaging in EoL (End of Life) ceremonies. The reasoning behind this rite of passage (in the most literal sense of the term) is that allowing longer lifespans would unconscionably tax the planet’s resources, the very result that all of these progressive global changes were implemented to prevent. Thus the thinking behind this policy is that, if people were allowed to live longer, it would run the risk of taking us back to the point where our very survival would once again be placed in jeopardy.

As a result, social and environmental stewardship and personal sovereignty have unexpectedly come into discreet conflict with one another. On the surface, it would seem that everyone has willingly gone along with these changes. And, when it comes to the more modest measures, that might be true. However, as for turning in one’s life at 50, there’s undeniable pushback. Some individuals are unquestionably vocal about their resistance, but most others have quietly capitulated to with this practice, even if their agreement is anything but enthusiastic or sincere. It’s almost as if they have chosen to sit back and nod in concurrence that the emperor’s new outfit is truly stunning.

“Can I Get a Witness?” examines this cultural shift from a variety of angles, exploring its implications from an array of differing perspectives. The story is primarily told from the standpoint of a pair of “witnesses,” individuals charged with documenting compliance by 50-year-olds when their time is up. In an effort to make this mandate more palatable, officials have enabled individuals to choose the specific circumstances under which their lives are to be terminated, including everything from the time and place of death to the rituals associated with their transitions and even the fine points of their ceremonies like the food to be served or the music to be played, with all of the particulars scrupulously chronicled by the witnesses. But, even though everything may be carried out in a seemingly agreeable manner, it still amounts to little more than a form of involuntary suicide. Indeed, lipstick on a pig is still lipstick on a pig.

Serving as the witnesses in this story are Daniel (Joel Oulette) and Kiah (Keira Jang), a pair of twenty-somethings, the prevalent age range for those who perform this kind of work. Daniel, a perfunctory facilitator of termination sessions, has been a witness for some time. In addition to handling the administrative duties of these events, he’s also mentoring Kiah, a sensitive neophyte who, as a gifted illustrator, chronicles the outcomes in much the same way that sketch artists depict what transpires in courtroom dramas. (Illustrators like Kiah are employed for this practice, given that photography has fallen out of favor because of its resource-intensive nature.) And together they go about their daily rounds of appointments to see that their “clients” do what’s expected of them, a routine that provides them with exposure to an array of transition experiences and the attitudes of those passing on.

Given Kiah’s prior lack of experience with incidents like this, she understandably has many questions about them, both practically and philosophically. And, because she’s new to all this, she’s also quite impressionable when it comes to the answers she’s given and the events she witnesses, conditions that often leave her vacillating in her viewpoints. For his part, Daniel is charged with making sure Kiah performs by the book and willingly accepts the party line behind what she’s supposed to do. But then there are the diverse reactions of the clients, which vary from quiet acceptance to profound sadness to outright hostility. Under circumstances like that, it’s easy to see how one might not know what to think or how to respond, and that’s very much the case where Kiah is concerned.

It’s particularly important for Kiah to find clarity about this issue because her mother, Ellie (Sandra Oh), herself a former witness illustrator, is about to turn 50. Kiah is torn in her feelings and doesn’t quite know what to believe about her mom’s impending transition. And, to make matters more complicated, Ellie is also quietly ambiguous in her own feelings. Having once engaged in the work associated with witnessing, she’s well aware of what awaits her. What’s more, having lived through the time before the adoption of the Universal Constitution of Human Rights and Responsibilities, she’s also thoroughly acquainted with what the world was like in that troubled time. Her experience and those conditions made it possible to understand the supposed logic behind the practice of willingly giving up one’s life at age 50. But now, with that fateful final birthday looming, suddenly that youthful idealism she once freely embraced has become harder to live with, not only for herself, but also out of concern for her daughter, whose confusion, misgivings and doubt are written all over her worried and perplexed young face.

Considering what Kiah has been going through in her work and in her feelings about Ellie, it’s understandable how she, too, might not know what to think. Are these seemingly noble sacrifices everything they’re meant to be? Are they really necessary to maintaining robust planetary health and well-being? Do they truly represent the fulfillment of a greater good? Or are they a form of social control that most individuals are afraid to question or revolt against? In the end, everything depends on what one believes, and that’s important considering the role our beliefs play in the manifestation of the existence we experience. It’s unclear whether the characters in this story have heard of this way of thinking, but, considering the stakes involved, it’s imperative that they and others get a handle on the beliefs required in determining what’s genuinely needed for their own welfare, as well as that of the planet overall.

If the world were to ambitiously embark on implementing the kinds of changes that were made in this version of the planet, the reforms would truly be sweeping, requiring concurrence on an unprecedented global level. That, in itself, would probably strike most of us as a gargantuan (and likely unattainable) task, but, if we could create something that even remotely approximates what’s been accomplished in this story, it would rightfullly be acclaimed as one of mankind’s greatest-ever achievements, something for which we should all give ourselves a big pat on the back. But how do we go about it?

To realize a lofty goal such as this, we would need to begin with our beliefs about what we’re setting out to do, as they provide the foundation for what we manifest. This would require a clear sense of vision, one in which we have an incisive idea of what we want to end up with. And it would have to be one that we all share, given that this is a collaborative co-creation on a truly massive scale, an undeniably bold, supremely detailed conception for a world of our dreams.

In pulling off an undertaking like this, however, we must also be aware of the notion that the devil really is in the details. Indeed, how do we precisely determine the particulars for all of the areas in which we’re seeking to initiate change? Considering how many ventures are involved, coming up with a workable plan for just one of them might seem daunting enough in itself, let alone outlines for all of them. What’s more, how would we come up with a unified set of beliefs that all of us could agree on to make all of this happen? Many might see this as innately impossible. Yet somehow the global population portrayed in this film has managed to tackle and overcome the challenges associated with such an effort, an attainment worthy of praise for what it’s enabled in so many aspects of life. It really is a dream that could be fulfilled if we’re all united and committed to bringing it about.

But, as the rules of this new world reveal, can they all genuinely be characterized as viable solutions? Some of them might be, but then there are others that raise doubt, most notably the 50-year lifespan limit. It begs the question, what good is paradise if it can only be enjoyed for a strictly regulated number of years? That’s apparent in the reactions of many of those whose time is up. Is utopia worth it if someone in good health must voluntarily give it all up just to satisfy a slate of idealistic principles? From what’s depicted here, these beliefs generally don’t jibe, no matter how progressively minded one might like to think he or she is.

Many of us claim that we would like to create a paradise on Earth, but how deeply do we believe it, especially if it means making big sacrifices like those seen here? In fact, how many of us have even given thought to what we might have to give up – even of a lesser degree of sacrifice – to achieve results that represent only a mere fraction of what’s been sought here? In examining those considerations – and the nature of the beliefs we would need to embrace to enable their materialization – we might find we’re not as ready for utopia as we might think.

However, in light of these conditions, this is not to suggest that we should just roll over and give up. There is hope for creating a better world, but we must first realistically ask ourselves, “At what cost?” In doing so, we’re likely to find that certain options simply aren’t acceptable. But that’s where expanding the breadth of our vision – and the beliefs supporting it – comes into play. By thinking outside the box to overcome limitations in our beliefs, we could very well devise solutions that get us what we want without having to accept personally burdensome consequences. And therein lies the beauty of our beliefs – they can make anything possible when examined and employed thoughtfully, thoroughly and inventively. They’re at the core of being able to realize a brave new world, including one that suits us without having to resort to unacceptable measures. After all, what kind of paradise would that be?

Where our present-day world is concerned, many of us have come to believe that we’ve painted ourselves into a corner, and those contentions are admittedly hard to deny. But win-win solutions are possible; we needn’t have to settle for unpalatable trade-offs to make improvements in our lives and world at large. And that’s what this latest offering from writer-director Ann Marie Fleming is urging us to contemplate through her examination of the two sides of a very loaded coin. Are the worldly benefits we seek to achieve worth the cost of abruptly and unceremoniously truncating a life in its prime? Indeed, noble as those outcomes might be, should we unquestioningly accept the dubious means for attaining them? It seems that there should be a place for both sets of considerations to be addressed, and we should look for it before we start heading down a path of questionable social dogma from which it could be difficult to extricate ourselves.

“Can I Get a Witness?” examines these themes through a captivating, deftly nuanced narrative that explores its subjects from a variety of angles, many of which could simultaneously and ironically be seen as both inspired and heretical. The material is clothed in a stunningly gorgeous, skillfully blended palette of vibrant cinematography and inventive complementary animation, backed by an eclectic soundtrack, making for an intriguing mix of brilliantly colored sights and captivating sounds. And this package is topped off with a fine ensemble headlined by yet another stellar performance from Sandra Oh. To be sure, a few sequences are a little stretched out, and some viewers might find the ending a tad abrupt. But, considering everything this release has to say – particularly in its willingness to quietly but courageously raise issues that are seldom discussed on screen – “Can I Get a Witness?” thoughtfully covers ample ground rarely seen, matters that we might all have to face on multiple fronts one way or another someday. The film is available for streaming online.

Even with the best of intentions, it’s still possible to get things “wrong.” Focusing our beliefs on one goal so intently that we lose sight of the implications associated with it can lead to a variety of unexpected side effects. Circumstances like this essentially amount to a case of tunnel vision, of not being able to see the forest for the proverbial trees. And it can be made even worse when we willingly and indiscriminately allow ourselves to go along with the program, to blindly consent to what’s been ordered simply to keep from rocking the boat, even if we’re told that such sacrifices are ultimately for the greater good. Being a dutiful citizen of the Earth doesn’t mean giving up our capacities for autonomy and discernment just because we’re told we must do so. We always have our beliefs available to us to question suspect sanctions that go against our better nature, even if we must make some hard choices to assert ourselves in going against notions that are ultimately counterproductive to the welfare of our existence. The kind of courage and faith in our convictions required to step up and confront what’s being imposed on us is an attribute to be treasured and employed when circumstances warrant. And it’s qualities like that we should truly strive to witness – and to document for all to see.

A complete review is available by clicking here.

A Tremendous Honor

It’s with tremendous pride and pleasure to announce that I have been officially accepted as a new member of the Chicago Indie Critics organization, a group of professional film reviewers who celebrate the diversity in film and film criticism, especially in my favorite (and often-underappreciated) genres — arthouse movies, independent films, documentaries, LGBTQ+ cinema and foreign releases. This is a truly great honor, and it represents much welcomed, long sought-after recognition of my work in this area. I look forward to adding my voice to this esteemed chorus, as well as meeting and greeting a new circle of like-minded cinema peers. Watch for my continuing reviews on this web site, my own web site and social media, as well as my recorded radio segments on The Cinema Scribe on Bring Me 2 Life radio. 

New Life for Foreign Films?

 Movies about aliens are nothing particularly new, but this little-known recently re-released Swedish production could be a game changer in several regards. Writer-director Victor Danell’s 2022 action-adventure sci-fi offering “Watch the Skies” (originally titled “UFO Sweden”) (web site, trailer) tells the story of a rebellious teen (Inez Dahl Torhaug) who believes that her mysteriously disappeared father (Oscar Töringe), an ardent UFO researcher and leader of a cult-like group of eccentric investigators, is not dead but was, in fact, abducted by aliens, a claim she’s determined to prove. Armed with her dad’s research and aided by his band of onetime colleagues, most notably a former climate scientist (Jesper Barkselius), she sets out to fulfill her quest, one that often strains credibility and leaves her precariously teetering on the brink of the law.

The spunky protaginist’s impassioned odyssey is presented through a cleverly constructed narrative that feels like a cross between The X-Files and Scooby Doo, an enticing supernatural mystery peppered with delightful quirkiness, touches of camp, dashes of Spielbergian wit and whimsy, and heart-tugging period nostalgia given its decade-long setting beginning in 1988. In addition, the film successfully incorporates a combination of colorful characters, ample action sequences and gentle comic relief, playing very much like one of the adventurous romps of the time frame in which it’s set.

What truly sets this picture apart, however, is its highly effective use of a revolutionary new form of AI known as “immersive dubbing,” a technology that digitally adjusts the movements of the actors’ mouths to match newly supplied audio, making it appear as though performances originally delivered in Swedish look authentic when now spoken in dubbed-over English. Without a doubt, conventional dubbing is a production practice I’ve always seen as somewhat dubious, given its many inherent pitfalls, but the dubbing employed here is so seamlessly integrated that one cannot tell that the performances weren’t delivered in English from the outset.

This is a cinematic development that holds the great potential to dramatically change foreign language films for English-speaking audiences (particularly American viewers who generally loathe to read subtitles), thereby arguably opening an entirely new market for lesser-known but eminently worthwhile overseas releases that genuinely deserve wider domestic distribution. It’s difficult to say how readily this technology will be used by foreign filmmakers, but it gives them a new tool that may make their works more accessible and appealing to US audiences. Of course, immersive dubbing alone is no guarantee of artistic success for foreign offerings, as is even the case with this picture to a certain degree in light of the film’s occasionally slow pacing in the first hour. But, as this story plays out, it becomes increasingly engaging, especially with the inspired twists and turns that emerge. It’s also interesting to note that several narrative carrots are dangled for viewers, suggesting the possibility for sequel(s) to continue this story in intriguing additional ways. “Watch the Skies” may not be perfect as sci-fi pictures go, but it represents a potential watershed moment in the annals of filmmaking and the entertainment potential of this genre, and, on those fronts alone, it deserves a watch, particularly for fans of science fiction and foreign releases. In the spirit of storied franchises like “Star Trek,” this could represent a journey where no one has gone before – and one that offers new vistas for the future of the movies, especially those that might otherwise not receive much stateside exposure.

Putting Life Into Perspective

 

There are things in life more important than money, but sometimes we lose sight of that, unwittingly allowing our perspectives to become seriously skewed. Unfortunately, this usually happens most often when family-related considerations are involved. And those flawed perceptions, in turn, can become even further distorted when money is tied up with those familial matters, particularly when inheritance concerns loom. Such is the case for a Chinese-Thai family facing the prospects of what will happen to the assets of its terminally ill matriarch, as seen in the endearing domestic comedy-drama, “How to Make Millions Before Grandma Dies” (“Lahn Mah”) (web site, trailer).

Twenty-something M (Putthipong Assaratanakul) leads a somewhat directionless life. The university dropout and aspiring video game streamer is low on cash, which has forced him to continue living at home with his mother, Sew (Jear Sarinrat Thomas). Mom tolerates M staying under her roof, but she would really like to see him do something with his life other than playing video games all day, especially since she’s unconvinced that his dream of someday making a fortune off of it as a professional streamer is unlikely to materialize. So, to give him a nudge toward doing something more productive, Sew suggests that he become the caretaker of Mengju (Usha Seamkhum), his 79-year-old maternal grandmother (“Amah”), who had recently been hospitalized after a fall. M is not thrilled at the prospect, but he’s quietly hopeful that he’ll inherit her estate for his efforts.

However, even with this potential financial incentive, M does not look forward to caring for Amah given her demanding and often-blunt demeanor. Nevertheless, he proceeds to assume this role at the urging of his cousin, Mui (Tontawan Tantivejakul), who had worked in a similar capacity caring for their recently deceased wealthy paternal grandfather, an undertaking that paid off handsomely with a sizable inheritance. But, to help ensure he ends up like his cousin, M secretly lists Amah’s house for sale, a gesture that he hopes will aid in moving the process along.

Not long after M begins working as Amah’s caregiver, he learns that, while she was hospitalized, she was diagnosed with late-stage intestinal cancer and given only a year to live. That revelation changes the tenor of the circumstances, especially when he learns from other family members that her diagnosis hasn’t been revealed to her (a common practice with elderly patients in Asian cultures, as seen in such films as “The Farewell” (2019)). As someone who has taken on the responsibility of looking after Amah’s well-being, M is troubled that the news has been purposely withheld from her, partly for her own sake and partly because he suspects his relatives may be hiding this information as part of their plans to position themselves as the beneficiaries of her estate, their seeming attempts at compassion notwithstanding. So, to hedge against these agendas, he decides to tell Amah about her illness, something that she already suspected herself anyway. And, as a result of this, M learns that Amah is not as naïve as she has often been made out to be, that she possesses a certain degree of savvy street smarts that M’s relatives either don’t recognize or are unwilling to believe. This development, in turn, takes the relationship between M and Amah in an entirely new direction.

Before long, M and Amah become closer, and he feels increasingly protective of her, especially where other family members are concerned, worried about their motives behind their dealings with her. For example, Amah’s oldest son, Kiang (Sanya Kunakorn), a wealthy stockbroker, suggests that she move into his well-appointed home with him and his family, daughter-in-law Pinn (Duangporn Oapirat) and granddaughter Rainbow (Himawari Tajiri). It’s a proposal that Amah politely considers, but M can tell she has little enthusiasm for it. At the same time, M is also wary of the intents of his Uncle Soei (Pongsatorn Jongwilas), Amah’s youngest child, who’s saddled with a pile of gambling debts. M suspects that his uncle is looking to get his hands on the title to Amah’s house so he can sell it to pay off his obligations. And, through all this, M wrestles with his own feelings for having put Amah’s house on the market without her knowledge, a point driven home when a stranger shows up at the property to inquire about the status of the sale listing.

The questionable maneuverings within the family give M pause to consider how events are unfolding around him and Amah. That’s particularly concerning to him as Amah’s health steadily fails. He also questions the motives with which he launched into this endeavor now that he sees his grandmother slipping away and gains a new appreciation for the genuine love she holds for him, a far cry from the mean old lady that he thought she was. And so, with the end game increasingly coming into play, M struggles to come to terms with his feelings, putting matters into perspective, especially since his original intents for engaging in this undertaking now seem like they’re a million miles away.

So how will M and his family members come away from this scenario? That remains to be seen, but it’s a sure bet that he will at least come through the experience a changed person. And much of the credit for that will be attributable to his beliefs, a crucial consideration in light of the role they play in the manifestation of his existence. M may not have heard of this school of thought, but, based on how his reality has unfolded, it’s apparent that his beliefs have undergone significant changes compared to where he began, thanks to the influence of Amah and the beliefs underlying her intents. That’s a valuable life lesson, to be sure, one that he will undoubtedly be able to draw from in reconciling his feelings and outlooks about not only this particular situation, but also any others that come along in his life in the future.

Beliefs are truly powerful tools for shaping the existence we wish to create, despite their inherently intangible nature. Yet, when employed deftly, they can work wonders, especially when it comes to putting matters into perspective. And, even though Amah might not outwardly appear to be adept in this regard, she is quite skillful in making use of them to frame her existence, even if she herself may not be fully aware of her ability to do so or how such outcomes actually result.

At the core of her belief palette is her faith in the power of love to transform reality in the lives of others, and it’s a tool that can take on myriad forms. For example, she can see that her grandson is very much in need of getting his life on track, and it’s a project that he doesn’t seem particularly committed to tackling himself. He’s often unwilling to put in the effort and constantly looks for shortcuts to get himself to where he thinks he wants to be. Clearly, he needs guidance and mentoring, particularly in matters of perspective, and that’s where Amah comes in.

For starters, Amah can see that M would benefit from a hefty dose of tough love as a way for learning how to take on personal responsibility, and his service as her often-demanding caregiver provides the means for this. It also provides a valuable lesson in helping M to shift his prevailing perspective on what truly matters most in life, namely, his relationships with others and what he contributes to them instead of robotically pursuing a love of money and material success at all costs. Amah never overtly lectures M about these subjects, but her deeds speak volumes in bringing about these changes, adjustments driven by the beliefs underlying her intents and actions. Admittedly, Grandma may seem a bit old-fashioned in some of her thinking and outlooks (especially when M first begins caring for her), but it’s also obvious that she’s no naïve dullard, either. She’s amassed a lifetime of experience, wisdom and insights, and, through her beliefs, she’s learned how to employ those abilities in coaching M. She’s determined to use this opportunity to not only get her own needs met, but also to give her often-lost grandson valuable lessons in finding much-needed direction in life. And, as events unfold over time, it’s apparent that the message sinks in given M’s noticeable change in outlook, intents and behavior.

At the same time, Amah’s belief in love is also reflected in the generous (and unexpected) compassion she sometimes shows others. This surfaces over time as her relationship with M evolves, but it’s also apparent in her treatment of an undependable, self-serving family member whom many might say is wholly undeserving of her empathy, kindness and support. Indeed, some would contend that this individual needs a potent dose of tough love even more than M. However, in her infinite wisdom, Amah recognizes that there’s a difference between assertively but lovingly guiding someone through the errors of his ways (as with M) and unleashing a course of a cold, vicious punishment on a wrongdoer who commits shameful acts but who is also truly lost and in need of a lifeline (as with her wayward relation). In turn, this is where a sense of (and belief in) judicious discernment comes into play, an attribute that can ultimately make a big difference in terms of how events ultimately play out and over which Amah appears to have a firm grasp.

These undertakings are particularly important to Amah herself given the state of her health and the dimming prospects for her future. She realizes that her time is running short but that she has tasks to complete before she passes. And her willingness to devote her time, energy and manifestation resources to them when she could just as easily allocate them to other pursuits reveals just how crucial they are to her. This is both a selfless act toward others, as well as one that respectfully honors one’s belief in living out one’s authentic nature and fulfilling one’s destiny. This is a practice sometimes referred to as value fulfillment, the act of being one’s best and truest self for the betterment of oneself and one’s familiars. Indeed, what better way is there to show respect for oneself than embracing beliefs that make such honorable and noble outcomes possible?

In addition, by freely undertaking ventures like these, one can plant seeds that leave a legacy that’s carried forward through their impact on others. When Amah’s influence rubs off on M, she makes it possible for a part of her to live on through him in the time after her transition. That’s quite a gift to leave behind, not only for those directly affected, but also to the wider world in general. And that’s a result that money can’t buy.

Determining what matters most in life can be challenging for many of us, but, with suitable, insightful guidance, it’s possible to come to meaningful realizations that can help us figure things out. In that regard, writer-director Pat Boonnitipat’s debut feature represents an impressive big screen premiere, one that’s thoughtful, sensitive, incisive and touching without becoming schmaltzy, manipulative or overly sentimental. The picture’s finely constructed narrative and superbly written screenplay – one that wisely went through a number of rounds of revisions on its way to reaching its final version – tell an engaging story with a skilled hand, quite an accomplishment for a first-time filmmaker, yielding a production that’s evenly paced and knows precisely when to employ its dramatic and comedic touches for maximum effect. This offering’s gifted ensemble (including several newcomers in key roles), gorgeous cinematography and suitably atmospheric background score all combine to make the most out of the well-crafted foundation underlying this material. If there’s anything that could use some improvement, it might be in tweaking the picture’s slightly stretched-out closing act, which could have benefitted from some modest editing, but that’s an easily overlooked shortfall in light of all of the film’s other outstanding attributes.

“How to Make Millions Before Grandma Dies” is truly a cinematic gem that has somehow flown well below many moviegoers’ radar, despite its international success, eventually becoming the all-time highest-grossing Thai film worldwide. Its critical acclaim also helped it be selected as one of 15 pictures for last year’s shortlist in the Academy Awards’ Best International Feature category, the first film from Thailand ever to receive such an honor (and one that should have earned the picture a slot on the final list of nominees compared to some of the other candidates that actually made the cut). Thankfully, this release is now widely available for streaming online, one of those pictures genuinely worth a look, though you might want to keep the hankie handy while watching it. Boonnitipat’s initial outing truly serves up meaningful observations for those times when we might be on the verge of losing perspective and how to rectify matters.

In the crush of everyday living, with its myriad everyday challenges just to get by, it can be easy to lose sight of what’s really most important. Sometimes it takes a splash of cold water across the face to get our attention and to force us into refocusing, difficult though it might be. In the end, though, there’s a good chance that we’ll emerge from such circumstances as better people, wiser than we might have thought possible. And, because of that, we may also find ourselves rewarded in various ways, some of which could be beyond our imagination. Grandmothers seem to have a particular knack for generating such outcomes, and we should be thankful for their gift – and the many other gifts they may end up bestowing upon us as a result.

A complete review is available by clicking here.

Copyright © 2025, by Brent Marchant. All rights reserved.