Lahnma is making serious noise as Thailand’s official entry for Best International Feature Film at the 97th Academy Awards. Directed by Pat Boonnitipat and backed by a killer team, it’s a statement piece that’s ready to shake things up. You’ve got Tossapol on the script, Jira Maligool and Van Waranitdee producing, and a cast of Thai cinema’s finest—Billkin, Grandma Ussa, Doo Sanya, Jia Sarinrat, Puak Phongsathorn and Tuu Tontawan. Thailand’s been eyeing that Oscar for a while, and Lahnma feels like it could be the one to finally make it happen.

Billkin Putthipong isn’t slowing down either. Fresh off from winning the Rising Star Award at the Marie Claire X BIFF Asia Star Awards 2024 held in collaboration with the 29th Busan International Film Festival (BIFF 2024), he’s everywhere right now. Sharing the spotlight with Dahyun, who stars in the Korean adaptation of You Are the Apple of My Eye, Billkin and Pat Boonnitipat made a notable appearance at the BIFF for the Lahnma premiere, welcomed by a sea of excited fans. Safe to say, the spotlight is on them and it’s not moving anytime soon.

Thai cinema’s been cooking something big for years now. Bad Genius (2017) came through with that high school heist energy and smashed it on the international stage, showing off Thailand’s ability to pull off slick, tense narratives that hit just right with a global audience.

Then you’ve got The Blue Hour (2015), a dark and eerie exploration of guilt, sexuality and the supernatural. This was Thai cinema showing it can do haunting and introspective like no one else, and it left a lasting impression.

And of course, Uncle Boonmee Who Can Recall His Past Lives (2010), the Palme d’Or winner that put Apichatpong Weerasethakul on the cinematic map. With its surreal exploration of life, death and reincarnation, it left audiences everywhere in awe and fully redefined what people thought Thai cinema could be.

Before that, Syndromes and a Century (2006) came through with its hypnotic vibes, blending memories and reality into something quietly powerful. It didn’t need to shout to make an impact—it was a masterclass in subtle storytelling.

Then there’s The Overture (2004), which took a deep dive into Thai traditional music, connecting past and present in a way that resonated deeply with its audience. It was emotional, raw and had people realising the richness of Thailand’s cultural storytelling.

Now with Lahnma on the table, Thailand’s got its eye on the prize. This is the moment everyone’s been waiting for. The question is, will this be the film that finally cracks the Oscars? Stay tuned, because Thailand’s ready for that win.