Screening tonight at the Institute of Contemporary Arts is Apichatpong Weerasethakul’s hallucinatory debut feature, Mysterious Object At Noon. The screening will be followed by a discussion with the Thai filmic legend himself, in conversation with Andrea Lissoni, Curator of Film at Tate Modern.

Mysterious Object At Noon (which translates to ‘Dokfa nai meuman’ in Thai – literally ‘Dokfa in the Devil’s Hand’) is by far Weerasethakul’s most transfixing feature. Made in 2000, it’s an experimental mix of documentary and fiction that weaves its way through the mindscapes and landscapes of rural Thailand.

This is the first UK screening of the film in new digital print, and aligns with Double Visions, the first UK gallery exhibition of Apichatpong Weerasethakul’s work, which kicks off this week at Anthony Reynolds Gallery London.

Here, the director reflects on the film and what, looking back, it taught him about fiction and youth.

Tempe Nakiska: Your film was released in 2000 and you have worked on many projects since. Having had almost 15 years away from it, how have your thoughts on what the film communicates changed?
Apichatpong Weerasethakul: Besides technological changes, not much actually. People still use new HD cameras like the way people used Super 8 camera. Film vocabulary doesn’t evolve much in my opinion. It’s still within a frame. I am excited about the Virtual Reality technology that is making a come back. This technology will force us to think of time, linearity differently.

TN: Where did the idea for the story come from? Real life, or fiction?
AW: Yes, from looking for stories, looking for memories. Then it’s about processing those memories.

TN: You worked with non-professional actors for this film, how was that experience?
AW: While I was making the film it was frustrating at times because I had a preconceived idea what acting was. But in the editing process I realised that it’s an illusion. Fiction and non fiction is an illusion. The act of acting, of shooting, of editing are beautiful and I shouldn’t try to conceal them.

TN: What inspired the interlocking vignettes structure of the film?
AW: Originally the concept was from the Surrealist technique, exquisite corpses. Gradually I just followed my instinct and added further layers of interesting narratives or moments.

TN: What did this project teach you?
AW: The beauty of youth! I was young, as well as my crew members. We were making this film without caring about logistics, money, audience, etc. It’s a recipe for disaster that can or cannot be fruitful. But importantly we love and enjoy what we do.

Mysterious Object At Noon screens tonight, 8th April, 8:40pm in Cinema 1 at ICA, The Mall, London SW1Y 5AH

Double Visions runs from 11th April to 17th May at Anthony Reynolds Gallery, 60 Great Marlborough St, London W1F 7BG