What drives a person to lie in the name of faith – or to believe in something that can’t be proven? In The Stone, a directorial debut from Thai artists Arak Amornsupasiri and Vuthipong Sukhanindr, such questions take center stage. Known for their work in acting, music, and design, the duo steps confidently behind the camera to deliver a taut, visually rich thriller rooted in Thailand’s amulet culture. The film unearths a complex spiritual subculture where devotion and deception intertwine, and where belief can be both salvation and a weapon.

At its heart, The Stone tells the story of Ake, a young man driven to desperation by his father’s rising medical bills. Hoping to raise funds, he begins selling his father’s collection of sacred Thai amulets – objects believed to offer protection and luck, but which also carry immense monetary value in a thriving underground trade. This decision pulls him into a dangerous world of con men, collectors, and spiritualists.

Following the film’s international festival premiere at the 27th Far East Film Festival in Udine, we sat down with Arak Amornsupasiri, Vuthipong Sukhanindr, and producers Surawut Tungkarak and Paween Purijitpanya to talk about the film’s origins, the complexities of the Thai amulet trade, and what it took to bring such a spiritually charged story to life.

View of the Arts: The topic of amulets and their origins is largely unfamiliar to Western audiences unless one actively researches it. I appreciated how you brought this subject to the big screen. What inspired you to write the script and make this film?

Arak Amornsupasiri: As you know, the film is about amulets and their power. There are many different types, and some can be worth as much as 7.7 million euros, just for a tiny stone.

VOA: Why is that? Is it because of their age?

AA: Amulets have been made since ancient times. Some originals still exist in private collections, but even back then, there were fakes – good ones. The authentic amulets were created by masters whose knowledge was passed down from generation to generation. You can’t really prove their age scientifically because fakes were made during the same period, too. But the point of these amulets isn’t really about their monetary value. They represent something spiritual – we’re meant to pray, to strive to be better, to live according to Buddhist teachings. Sadly, the market is flooded with fakes now, and that’s what you see in the film – the chaos and deceit of that world.

VOA: Would you say this industry is primarily for tourists?

AA: Not at all. It’s for everyone. People make fakes for ten dollars and then sell them at a huge profit. That’s how the market works. That’s actually what pushed me to make this film. We all say we want to be good people, but then we lie to each other, face to face. The amulet world reflects that duality, and that’s why it was the perfect subject. I didn’t make the film to export the culture, but rather to share what’s really behind it. Amulets have two faces: the genuine and the fake. Just like people, some are kind to you, some will lie right to your face to make a sale.

VOA: Let’s talk about casting. Did you have specific actors in mind from the start, or did the characters evolve during auditions? Especially with Jinjett – his performance was superb.

Vuthipong Sukhanindr: Honestly, we had many actors come in for auditions. When we pitched the film to the studio, Jinjett wasn’t even on our radar. We didn’t know if we’d be able to get him. But when he came in to audition, he really stood out.

VOA: Once you had Jinjett as Ake, you cast Korranid Laosubinprasert as Muay. Their chemistry created something special on screen. How did you work on that with them?

AA: As an actor myself, I’ve realised that long workshops aren’t always necessary. So instead, we did small sessions focused on the characters. We rehearsed scenes thoroughly to make sure we captured the best performances.

VS: After we cast Jinjett and Korranid, we asked them to spend time together to build rapport. It really helped their on-screen relationship feel genuine.

AA: Of course, neither of them was familiar with the amulet trade [laughs], so we took them to a market to learn. They practiced how to handle amulets, use magnifying glasses – everything a real expert would know.

VS: I also want to add something about Korranid. In the film, she plays a strong-headed, fierce young woman. But in real life, she’s one of the kindest people you’ll ever meet. We had her swearing on screen, and it was a challenge for her, but she pulled it off brilliantly.

VOA: A question for the producers – producing a film is always a logistical challenge. How did you manage the scheduling and budgeting?

Surawut Tungkarak: Paween handled the creative side, while I focused on the budget. When we first received the story, we knew it was something unique. We did a lot of research and realised there was real potential – and a gap in the market for this kind of film. We shot it in just 16 days, so it was a very tight, intense schedule. Once we finalised the script, we built the shooting schedule around the budget and timeline. That’s how we made 16 days work.

Paween Purijitpanya: A big reason we managed to shoot that fast was the cast. Some scenes only needed one take. Having a veteran like Noppol Gomarachun was a huge advantage. Most of the time, we needed just two or three takes. But we rehearsed a lot beforehand, which made the actual shoot much more efficient.

VOA: Arak, you’re known as an actor and musician, and now you’ve stepped into directing. How did your background help you behind the camera?

AA: I learned so much – things I didn’t know before. But I had a great team, and with the support of my producers – my brothers – it was possible. Being an actor really helped me direct actors more effectively. And my experience with music helped me understand the rhythm of scenes and how to connect emotionally. I’ve spent a quarter of my life in this industry, but having Vuthipong handle the artistic side, like cinematography, meant I could focus on working with the actors. It was a real team effort.

Written and interviewed by Maggie Gogler

Featured image courtesy of Maddie Armstrong for View of the Arts

_{View of the Arts is an online publication dedicated to films, music, and arts, with a strong focus on the Asian entertainment industry. With rich content already available to our readers, we aim to expand our reach and grow alongside our audience by delving deeper into emerging platforms such as K-pop and Asian music more broadly. At the same time, we remain committed to exploring the vibrant and ever-evolving global landscape of film, music, and the arts, celebrating the immense talent and creativity that define these industries worldwide.}