For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

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。

《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。

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

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…

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

Apichatpong Weerasethakul new shortfilm distributed in Youtube.

在《俳句》中，阿彼察邦记录了在纳布亚进行的庞大项目 " 原始 "，特别是一些被催眠的青年睡在一个时间机器中的场景。此件作品曾于 2016 年在英国伦敦泰特现代美术馆“阿彼察邦·韦拉斯哈古之夜“，日本东京都写真美术馆以及开始于同年的全球巡回个展“狂中之静”中展出。

在向风光一时的泰国歌舞片致敬之余，更是泰国片强势回归前瞻之作。泰式黑玫瑰对黑玫瑰肯定辣过冬荫功。男扮女装怪鸡歌舞历险片。

A documentation of Nabua altered into a field of lightning. The film, in the manner of an old sci-fi or horror movie, shows a set of mini-explosions creating a synchronised series of bolts of lightning like a downpour of bullets from the sky. The flashes of light reveal the surroundings, then the ground with smoke, dust, and silence.

A few years ago I visited a temple near my home and a monk there gave me a little book called “A Man Who Can Recall His Past Lives.” In it, the monk wrote about Boonmee, who could recall his multiple lives in the cities of the northeast. In 2008, I wrote a screenplay inspired by the reincarnation of Boonmee, and started to travel in the region in search of his surviving offspring and relatives. I met his two sons who provided accounts of their father.
In Nabua in December 2008, I located several houses that I thought would be suitable as Uncle Boonmee’s house in the proposed feature film. This short film is a personal letter describing my Nabua to Uncle Boonmee.
The film is comprised of shots of the houses’ interiors in the evening. They are all deserted except one house with a group of young soldiers, played by some teens of Nabua. Two of them impersonate me by narrating the film.
- Apichatpong Weerasethakul

两个在小型敞篷火车中的年轻人正在彼此拍摄。分属于世界的不同地区，通过摄影机他们发掘彼此。大风的天气里，他们拉上车顶继续拍摄。就这样一点接一点，他们完整地记录了自己的生活。随着镜头的移动，一大片麦田和一组摄制人员进入了他们的视线。接着摄像机又再一次拍摄了道路和人们，就好像他们是一场电影拍摄现场的见证者一样。当摄影机再一次回到两个主角中那个浑身布满纹身的年轻人身上时，面对着伸向他的麦克风，这个年轻人扯起衬衫，擦了擦自己眼角流下的泪水。

在泰国，电影上映之前，都要播放一段短片，以祭神或赞美泰皇以保佑放映平安。
“赞美诗”因此得名
阿彼察邦的《赞美诗》中，便利用了电影的两种属性：静止和运动。它们不合时宜地出现，组成了一个影像装置，并以此向“电影之神”为他即将到来的作品祈福