“Well, it seems Apichatpong beat me to it. That was my initial impression upon hearing his new album, Metaphors. I was struck by its resemblance to async. However, I shouldn’t sing my own praise too much. After all, the sound and music in cinema have always shared similarities with async. I simply followed suit.

In this album, I discovered a totality of sound and music: mysticism, history, dreams, swaying leaves, birds, insects, dawn, crowds, steam from a warm breakfast, the flow of the river, breaking glass, motorcycles, and so on. I found a beautiful film encapsulated in sound.”
— Ryuichi Sakamoto, 2017

Apichatpong Weerasethakul is recognised as one of the most original voices in contemporary cinema today. His nine feature films, short films and installations have won him widespread international recognition and numerous awards, including the Cannes Palme d'Or in 2010 with Uncle Boonmee Who Can Recall His Past Lives. Compilation album 'Metaphors' contains 14 soundworks carefully selected from his past cinema and other visual works since 2003, which includes Uncle Boonmee Who Can Recall His Past Lives, Syndromes and a Century, Fever Room and more.

Apichatpong Weerasethakul has regularly worked with the same sound designers since 2003 and has always given importance to the personality of on-location sounds giving his films a sense of continuity. In post-production, he's fascinated by the manipulation of these 'live' sounds in order to express 'reality'. This reality doesn't necessary represent the actual sound of the places, but more a representation of the world in layered memories. Similar to the way he treats images, Apichatpong sometimes calls attention to the physicality and the fragility of the audio (and its apparatus) and to the process of audio manipulation itself.

In his cinema, Apichatpong prefers natural sound sources over music. Nevertheless, he often boldly incorporates popular songs that were persistent during the shooting. He doesn't shy away from using tunes that relate to his own personal memories. In this sense, Apichatpong values the spirit of authenticity much more than rigid manipulation of audio and weaves a complex and dreamlike soundscape in his cinematic repertoire.

Born in Bangkok, Apichatpong grew up in Khon Kaen in north-eastern Thailand. He began making films and video shorts in 1994 and completed his first feature in 2000. He has also mounted exhibitions and installations in many countries since 1998 and is now recognised as a major international visual artist. His art prizes include the Sharjah Biennial Prize (2013) and the prestigious Prince Claus Award (2016), the Netherlands. Lyrical and often fascinatingly mysterious, his film works are non-linear, dealing with memory and in subtle ways invoking personal politics and social issues.