The otherwise mesmerizing town of Venice becomes horribly distorted and hazy as Marina Abramović stumbles through, her entire surroundings thrown into tumultuous chaos as her soul begins to depart her body. In her final moments, Marina’s mind is consumed by confusion, desperately searching for an unanswered question that will bring her eternal peace. Overwhelmed by a grievous desire for truth, Marina’s spirit embarks on an afterlife journey to Thailand, a land renowned for its spiritual pursuit.

“The Spirits of Maritime Crossing,” which premiered at Switzerland’s St. Moritz Art Film Festival last month marks Professor Apinan Poshyananda’s directorial debut. The inspiration was sparked by his experience of travelling to Rome to present the Phra Malai Scripture to the Vatican. “The idea has stuck with me since its conception in Rome, and over the years, I have pondered and contemplated it,” recalls the artistic director of the Bangkok Art Biennale. However, the project only came to fruition when BAB hosted the “Chaos and Calm” exhibitions earlier this year, providing ideal opportunities for the footage to be set among highly acclaimed installations, including the late artist Montien Boonma’s sculptures.

Although Marina has never before ventured into acting, she accepted the role with alacrity when approached by her long-time friend, Prof. Apinan. Her commanding presence in the movie makes the audience feel as though they are witnessing her live performance. With her deep fascination for spiritual transcendence, the iconic artist truly becomes the embodiment of a drifting apparition perpetually seeking equilibrium in the mind.

After departing the physical world, Marina’s wandering soul finds itself in Bangkok, accompanied by an endearing young money (played by Mona Khunchun) who guides her through the city of angels.

“The little monkey is but a reflection of Marina herself—a shadow of her troubled and inquisitive mind ensnared by delusions,” remarks Pichet Klunchun, the esteemed contemporary Thai dancer who portrays the chieftain of the monkeys. His enduring confrontation with Marina echoes the cornerstone of her performance art which explores the mental and physical boundaries of the human body.

Meandering from one place to another, from revered Indian shrine to the holy Buddhist temple, and from the immaculate tattoo parlour to the once-regal but now dilapidated trading outpost, her journey finally leads her to Wat Pho. The serene ambience of the sacred temple’s courtyard sets the stage for the ultimate revelation as she walks past Anthony Gormley’s captivating artwork “Contain” (2022) which symbolizes impermanence and mindfulness. More conspicuously, Marina’s immersion into Montien‘s masterpiece, “Arokhayasala”(1994) gives off a potent yet soothing energy that appears to alleviate the sufferings of all sentient beings.

Prof. Apinan’s deliberate choice of landscapes, juxtaposing Venice and Bangkok, serves to underscore the poignant yet provocative memories of bygone eras when these maritime trading hubs fueled the insatiable greed of mankind. “Unless we find an exit, we are repeatedly trapped in an endless cycle,” notes Pichet, emphasizing the eternal quest for liberation.

Perhaps Marina’s odyssey between these parallel worlds is poised to inspire countless restless minds to embark on their own spiritual journeys.

“The Spirits of Maritime Crossing” will grace the screen at House Samyan in November.

By Thai PBS World Feature Desk