“Human Resource”, Interview with director Nawapol Thamrongrattanarit

Director Nawapol Thamrongrattanarit discusses his film “Human Resource,” presented in the Orizzonti section of the 82nd Venice Film Festival. This marks his return to Venice after 12 years, a meaningful homecoming that fills him with joy.

From death to birth: exploring the cycle of life

Thamrongrattanarit highlights his shift in focus from death, as explored in “Die Tomorrow,” to birth in “Human Resource.” The film begins with a tiny dot, symbolizing the start of life, and later depicts a circle of ashes, representing its end. The director confirms this deliberate mirroring, explaining that the film stems from his reflections on whether or not to have children. This introspection led him to explore the very meaning of birth, symbolizing a return to the fundamental roots of human existence.

Taboos and motherhood in thai society

Thamrongrattanarit recognizes that topics like birth and death are somewhat taboo in Thailand. He anticipates that “Human Resource” might face a challenging reception at home, as it tackles these sensitive subjects and questions societal pressures around reproduction. He shares insights from conversations with mothers, revealing that even they sometimes find it difficult to articulate their reasons for having children, often attributing it to both instinct and societal expectations of maintaining the “perfect family.”

Creating a neutral protagonist

The protagonist, Friend, is portrayed as detached and enigmatic. Nawapol Thamrongrattanarit explains that his collaboration with the actress aimed to evoke this ambiguity, allowing viewers to interpret her character freely. He views Friend as a good mother, deeply concerned about the challenges of bringing new life into the world and ensuring her child’s well-being. This internal conflict is subtly conveyed through her expressions and body language, as openly voicing such doubts remains a societal taboo.

Toxic workplaces and finding hope

Laura Della Corte raises the issue of toxic work environments—a concern that resonates globally. Thamrongrattanarit draws from his own experiences working on commercials and from observing his friends’ professional lives. He notes that many people find ways to cope and even to discover hope amidst these challenging settings, often creating their own narratives for survival. He refrains from judging these coping mechanisms, acknowledging that individuals can sometimes find moments of joy even in toxic situations. This sense of neutrality is reflected in “Human Resource,” which deliberately avoids offering easy answers or solutions for its characters.

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