A drone shot flies over a ridge road that snakes along an ambiguous territory, the green softness of the curves whispering the muffled echoes of conflict. In the voice-over, Jai Sang Lod recounts how in 2001 he arrived in a displacement camp at the Thai border with his family, fleeing the fighting between the Burmese army and the Shan minority, and had to join the Shan State Army to do his compulsory military service. Nontawat Numbenchapol filmed him in this crucial moment of his existence, as this peaceful young man must accept, shortly after the death of his mother, to leave his young brothers and sisters behind and learn the military profession. Soil Without Landdoes not defend the cause of the Shan; the filmmaker reveals the harshness of the conscription, the fate awaiting deserters, the training of the corps and the dissolution of individual complexities. Jai Sang Lod himself seems to float, caught between sleep and awakeness, in a blurred mental space. His words, which sometimes become a rhetoric of justification, draw the portrait of a being held prisoner by an identity and a condition that he has not chosen.

Narrated by fictional character JoJo, #BKKY is based on interviews with 100 Thai teenagers who represent a diverse range of gender identities. The film shares their experiences and attitudes toward social life in Bangkok and reveals the different paths to discovering one’s true identity.

一个难民在泰国以性工作者的新身份谋生，并卷入一名客人的危险计划 — 而这有可能会让他过上更好的生活。

大學生小葛非常焦慮，因為她和自己暗戀的好友阿德必須競爭同一筆獎學金。阿德為了安撫她的情緒，請求小葛陪他一起到公主娘娘的神龕祈福，這位娘娘以賜福給情侶而著稱，但有一個條件：如果有人假裝成情侶向她祈福，她將會賜予死亡懲罰。不迷信的阿德堅持計畫，希望能讓小葛安心下來。他沒料到娘娘將策劃一場復仇遊行，意圖奪走兩人的性命。