The Paradise of Thorns (2024) TIFF Review: The cruelty of residing in avarice at a remote Thai durian orchard

In his feature debut, Director Boss Kuno masterfully crafts the story of a paradise that rapidly transforms into a raging hell hole. This is also unequivocally my favourite film from this year’s TIFF line-up.

In the remote luxuriant embrace of a durian orchard located in an isolated nook of a mountainous Thai village, this story is as multi-faceted and intricately carved as the breath-taking landscape it embodies. Somehow, Kuno artfully takes the audience through a journey of love, loss, denial, suffering and ultimately, war. This somewhat operatic expedition, serves as a rendition of the existence of the absurdity of actions caused due to stark poverty, selected homophobia and societal unacceptance of being queer in a traditional environment.

A same-sex couple- Sek (Pongsakorn Mettarikanon) and Thongkam (Jeff Satur) live in paradise, while cultivating a durian orchard from the ground-up. Five years later, the fruit of their labour is visible as the trees grow and begin to bear flowers. The two make a vow to spend eternity together as they manually pollinate the blossoms so they can grow fruit. Save for the final paperwork, they are married in every way. But everything changes when their sacred connection is tragically cut short.

Eventually, Thongkam is left alone in misfortune and forced to face the wrath that is Sek’s family- his mother, Saeng (Srida Puapimol) and her adopted daughter, Mo (Engfa Waraha). The legality of his marriage and, thus, his rights to the land, are called into doubt because the land deed for the durian orchard does not contain his name.

In the interim between the death and the commencement of the estate battle, there is a period of fractured anguish when both sides genuinely mourn their respective losses. But, as the deed is contested, so is Thongkam’s patience. Saeng and Mo are determined to get back the land that they believe is rightfully theirs. Mo makes it her life’s mission to invalidate Thongkam’s presence in the house, that is now occupied by her, her adoptive mother and Thongkam. Saeng even sleeps in Thongkam’s bed, saying it reminds her of Sek. Later, they are joined by Mo’s brother, Jingna (Harit Buayoi).

Thongkam, the prince of this story, is forced to confront his villainous nature, albeit against his wishes and slowly begins to plot his revenge, when all else fails. On that thread, the fine line between being compassionate and turning into Lady Macbeth, is drawn. The story transforms from a paradise-like beginning to a sinister fate.

The subtlety in the eloquent eyes of Jeff Satur, magnificently captures the true essence of his character, Thongkam. His eyes speak volumes throughout every scene in the movie, in tandem with Engfa Waraha’s desperate eyes as she embodies the orphan, Mo. Honestly, I have no words to describe the perfection in the casting of the actors by casting director, Aom A-tis T. Asanachinda. Coupled with the cinematography of Tang Tawanwad Wanavit, who aesthetically captures the serenity encompassing the enchanted countryside in Northern Thailand, this movie is irresistible. As if all this wasn’t enough, the original score and soundtrack is simply outstanding, even featuring a soulful song composed and sang by Jeff Satur himself.

The movie also enforces the importance of the newly passed law in Thailand that recognizes same-sex marriage. However, its political validation is questioned as it is still pending royal approval. The film carefully highlights the negatives of this factor early-on.

The lesson of this story is simple- Inequality exists and sadly, humankind is filled with cruelty. Even niceness can be more a bane than a boon. Innocence can be misconstrued. Ultimately, there’s a reason for cruelty. There’s a reason for the hardships faced by people who are exploited due to the disparity in society caused by preconceived prejudices against issues like same-sex marriages and economic standing. For those who experience it first-hand, it’s easier said than done to resist the want to keep moving forward no matter what.

Honestly, it’s hard to believe this is Kuno’s first full-length movie! This ride is so thrilling, sensational and unpredictable. Several moments would make your eyes pop, no kidding!