Director Krit Komkrichwarakool’s Auganic shares the story of a couple who are financially struggling when one night they discover an unusual phenomenon that ultimately tests the boundaries of their relationship, bringing them closer than ever. This beautifully peculiar film has qualified to be considered for the 97th Academy Awards after winning the qualifying award at the Deadcenter Film Festival.
We spoke to Krit to find out more…
What has been the response from audiences to Auganic? How do you feel about the film’s reception?
When I watched the film for the first time in the theater, I was very nervous about what people might think. The film has a very specific tone and humor, and I wasn’t quite sure how well it would connect with the audience. However, after hearing and seeing the reactions in person, it actually worked out quite well. It was an amazing experience to see the film well received in a full theater. Something every filmmaker hopes for.
You have received recognition for your past films, like Freefall and Plantonic. How do you feel Auganic fits into your body of work and how does it further explore your vision as a filmmaker?
With Freefall and my other early work, I was primarily exploring surrealism and how to incorporate it into storytelling that still feels true to human emotions. In Plantonic and now Auganic, I delve into magical realism in a more prominent manner; those elements have become the main plot. The difference with Auganic is that I find myself willing to show a bit more restraint, allowing the stillness of storytelling to serve this narrative well.
What message do you hope viewers, especially LGBTQ+ audiences take away from Auganic?
There’s power in quietness and slowness, as well as in being honest with your feelings. Only when both Kai and Nick finally express exactly how they feel do they find common ground in their relationship. Many of Queer folks grew up guarded, making it difficult to tear down the walls we built to protect ourselves. I hope this film shows that communication is the best healing, and does so in a lighthearted way.
Do you hope Auganic contributes to a broader conversation in Queer cinema?
I do, and I don’t. I believe any film can spark a conversation, and I hope Auganic elevates those discussions by showcasing a more hopeful side of our community. However, I also hope we reach a point where queer stories are not viewed as a niche or separate genre, and these conversations become so broad that they normalize queer narratives in cinema, much like straight relationships. This doesn’t necessarily make our community less special; it makes it universal.
With its very unique and provocative concept, Auganic pushes boundaries – how important is it for you as a filmmaker to challenge norms?
Two questions I never want to ask myself when finishing my work are, “So what? What is new about it?” I believe everything has been done in some form, and it’s our job as artists not only to present our perspectives on those subjects but also to introduce something fresh. So whenever I consider a film idea, those questions push me to incorporate something unique into the human stories I want to tell.
Did you face any challenges or feel any restraint due to the short film format of Auganic?
I’ve heard many seasoned filmmakers say that making a good short film is harder than making a good feature. The more I do it, the more I find this statement to be true. It’s very challenging to tell a fully realized story with a complete arc in such a short amount of time. Additionally, there’s an expectation for short films to be very tight, regardless of the stories they aim to tell. It took me some time to figure out a formula for my work while also allowing myself to explore beyond conventional short film structures.
How did you decide what to prioritise in terms of story and character development whilst maintaining the short run time?
I don’t believe story and character development are two separate things in storytelling. In my opinion, a compelling story should include character development, no matter how subtle. Whether it’s a situational film or a character study, the anchor character(s) should experience some change. This nuance adds depth to the narrative and it shouldn’t just be about getting from point A to point B. To me, the runtime shouldn’t dictate priorities as much as what the story requires.
The emotional core of the story lies in the relationship between the two protagonists. What were the key qualities you were looking for in the actors when casting these roles?
Auganic is about a married couple deeply in love, so chemistry between the leads was a primary focus early in the casting process. I had previously worked with Kenny Brain, who played Nick, and I wrote that character with him in mind. Once he signed on, it took some time to find our other lead. However, when Matt Dejanovic’s audition tape came in, I immediately saw Kai in him. It was during the chemistry test between Kenny and Matt that I was convinced they could portray a married couple.
Could you talk about your collaboration with your cinematographer and production design team to create the film’s distinctive aesthetics.
The keyword I used frequently with my team was ‘stillness,’ which I wanted to permeate every aspect of the film. Working with my cinematographer, Joseph Schweers, whom I have long admired, we aimed to shoot the film with a limited number of shots and minimal movement. The beginning felt almost like stage blocking, with the audience observing the situation from the outside. As the film progressed, we moved closer to the characters and allowed the audience to engage with their emotional journey. In terms of production design, we ensured that the couple’s personal lives were reflected in the details of their home, with Kai as an artist and Nick as a farmer. My production designer, Skye Dyken, went above and beyond to infuse personality into that limited space.
Were there any specific colour pallets or themes you used to represent the characters emotional journey?
We aimed for a clear contrast between the farmhouse, the ballroom, and the clinic, both in production design and color-grading. The house is always warm, with the bedroom bathed in golden light, while the other locations are kept relatively bleak and cold. This contrast emphasizes the warmth and vitality of the house and the farm, symbolizing what is worth saving—just like their relationship.
Looking forward to seeing this movie over the weekend! I’ve read so much good stuff about it