Each year, I am pleased to see an increasing number of people recognizing the consistently exceptional films that are emerging from Southeast Asia.

This year, an Asian director, Pham Thien An, won the Golden Camera Award at the Cannes Film Festival for the first time in a decade. His film, Inside the Yellow Cocoon Shell, cleverly captured seemingly disjointed daily moments with impressive camerawork and innovative dialogue, all while maintaining a lengthy three-hour running time.

Thailand also presents remarkable works with beautiful cinematography. Patiparn Boontarig’s Solids by the Seashore of the New Currents section exquisitely portrays a female couple in southern Thailand in a picturesque beach village, scene by scene, like postcards.

On the other hand, Nontawat Numbenchapol’s Doi Boy of the Jiseok section captures the dark world of host club men in Chiang Mai with a paradoxical beauty. These films don’t just use LGBTQ themes as superficial subject matter, they integrate them into their narratives as complex elements.

Ismail Basbeth's Sara from Indonesia portrays the conflicts experienced by an MTF transgender individual within their family and community, raising awareness regarding their approval in society and whether personal happiness can coexist with these struggles.

This year, the Special Program in Focus: Renaissance of Indonesian Cinema features a diverse selection of films that are entertaining and emotionally moving. 24 Hours with Gaspar, by director Yosep Anggi Noen, focuses on entertainment while effectively exploring themes of human mistrust and unity.

Personally, I enjoyed the couple Kamila Andini and Ifa Isfansyah's Cigarette Girl the most. The film is set against the backdrop of the growth of the tobacco industry in 1960s Indonesia, and after the initial 20-30 minutes, it becomes a captivating journey filled with a variety of entertaining elements. The film delves into the story of how a woman attempts to achieve her dreams of self-realization as she navigates a conservative society. It offers elements of drama, romance, and thriller, all of which keep the audience engaged. Additionally, the cinematography and editing are meticulously executed, showcasing the skills of experts.

Tales of the Otherwords by BW Purba Negara is a masterpiece that depicts the life of a 95-year-old grandmother who lived through Indonesia’s Dutch colonial era, independence struggles, political turmoil, and even a coup. The film revolves around her journey to find  her husband's gravesite. What makes this film exceptional is the profound impact conveyed through the subtle expressions and changes in the protagonist's gaze.

Impetigore was directed by the master of horror films, Joko Anwar. Rather than solely relying on extreme fear, the film provides occasional moments of respite, making it accessible even to those who may find the horror genre challenging.

What They Don′t Talk About When They Talk About Love by Mouly Surya and Posesif by Edwin both explore unconventional teenage romances. Each film deals with themes of disability and obsession while maintaining a easy-to-follow viewing experience. These films skillfully navigate the complexities of conflict and reconciliation within relationships and are highly recommended for a general audience.

Thai director Phuttiphong Aroonpheng, who won the Orizzonti Award at the Venice Film Festival with his debut film Manta Ray, explores themes of coexistence and reconciliation between the past and present in his second work, Morrison. The protagonist, who has a U.S. veteran father who served in the Vietnam War and a Thai mother, is portrayed by the well-known global singer Hugo. Meanwhile, Ali Topan by Sidharta Tata is a modern-day take on Romeo and Juliet.

Women from Rote Island, directed by Jeremias Nyangoen, leaves a deep impression with its powerful conclusion on human rights. Ten Years Myanmar, which is the latest film of the Ten Years series that originated in Hong Kong, was successfully produced despite incredibly challenging circumstances. The film will leave a lasting impact and be remembered long after the film has ended.

This year, get ready to be captivated and thrilled by films from Southeast Asia this year. What's more, since most of these films have their directors and actors visiting Busan, audiences moving between screening venues may have the fortunate opportunity to encounter them.