Sayombhu Mukdeeprom is best known for his regular collaboration with Thai director Apichatpong Weerasethakul on such films as Blissfully Yours, Syndromes and A Century, and Uncle Boonmee Who Can Recall His Past Lives. His international profile has grown as he was cinematographer on Miguel Gomes’ Arabian Nights Trilogy (2015) and on Luca Gaudagnino’s Call Me By Your Name (2017) and Suspiria (2018). For the latter two films he won consecutive Independent Spirit Awards for Best Cinematography. His other films shot in Thailand include Iron Ladies 2 (2003), Sayew (2003), Midnight My Love (2005), Happy Birthday (2008), Bitter Sweet (2009), Sawasdee Bangkok (2009) Hellgate (2011) and Last Summer (2013).

After studying in the United States, Lee Chatametikool returned to Bangkok in 2001 for Apichatpong Weerasethakul’s second feature, Blissfully Yours, marking the start of two decades of collaboration with Thailand’s new generation of filmmakers. He has worked with Apichatpong on six of his features. His debut feature film, Concrete Clouds (2013), premiered in Busan and was screened in competition at Rotterdam, Taipei, Shanghai and Edinburgh. It won Best Film, Best Director and Best Supporting Actress in the Thai ‘Oscars’, the Subhanahongsa Awards. In 2002, Chatametikool founded his own post-production company, Houdini Studio and in 2010 White Light Post to do colour grading and finishing for Thai and regional feature films. He has received numerous awards for editing and his recent projects include Dao Khanong/By the Time It Gets Dark (2016), Kraben Rahu/Mantaray (2018) and Wang Xiao Shuai’s So Long, My Son (2019).

Angélica Perea is a fine artist with a long career in arts. This has given her a distinctive vision as production designer and aligned her to films that she recognises as interesting and unconventional. Some of her most recognised work has been with director Ciro Guerra as production designer on Los Viajes del Viento/The Wind Journeys (2009), El Abrazo de La Serpiente/Embrace of the Serpent (2015), for which she received two awards (Premios Macondo y Premios Platino) for best Production Design, and Pájaros de Verano/Birds of Passage (2018). Perea has also worked as production designer on various art installations and in the theatre.

Akritchalerm Kalayanmitr has worked on all Apichatpong’s features and art installations since Tropical Malady. In 2008, he founded an open art space, SOL (Space of Liberty) with his frequent sound collaborator, Koichi Shimizu. They were invited to create Anat(t)a, a sound installation, for the 37th Rotterdam International Film Festival in 2008. His recent credits include Apichatpong Weerasethakul’s Cemetery of Splendour (2015), Pimpaka Towira’s The Island Funeral (2015), Anocha Suwichakornpong’s By the Time it gets Dark (2016), Prabda Yoon’s Someone from Nowhere (2017), Daniel Hui’s Demons (2018), Kondej Jaturanrasamee’s Where We Belong (2019) and Alyx G. Arumpac’s Aswang (2019). He has been sound designer on Apichatpong Weerasethakul’s touring live theatre performance Fever Room which has been presented internationally throughout Europe and Asia.

Raúl Locatelli began an investigation into sound production during university in Uruguay, culminating in his thesis The Sound Structure in Cinema. The first opportunity offered to him to work in cinema was in 2004 on Amat Escalante’s Sangre/Blood, which awakened his passion for cinema. He has worked on more than forty feature films, among them La Jaula de Oro (1987) by Diego Quemada Diez won Ariel and Fénix Awards for Best Sound, He also won Best Sound at the Havana Film Festival for Lux Silenciosa/Silent Light (2007) by Carlos Reygadas and Yo (2015) by Matias Meyer.

Sompot Chidgasornpongse graduated with an MFA in Film/Video from California Institute of the Arts (CalArts). He’s been working closely with Apichatpong Weerasethakul as assistant director on many projects, including Tropical Malady, Syndromes and a Century, Cemetery of Splendour and the live performance Fever Room. His short films were shown at various festivals including Oberhausen, Rotterdam, Viennale, Visions du Réel, Indielisboa. His first feature documentary, Railway Sleepers (2016), was selected by the Berlinale, Busan and many other festivals worldwide. He is currently working on his second feature film 9 Temples to Heaven.

Santiago Porras has been an active participant in many areas of Colombian film making. Some of his most recognized work has been with Franco Lolli working as his casting director on both Litigante/Une mère incroyable (2019) and Gente de Bien (2015), as well as first and third assistant respectively on these two films. He has also worked as the logistics manager on Pájaros de Verano/Birds of Passage (2018) by Ciro Guerra and Cristina Gallego and was the field producer on Jorge Navas’ Somos Calentura/We are the Heat (2018). Porras has also been casting director and 1st assistant on many short films, including Madre/Mother by Simón Mesa, nominated for best short film in Cannes in 2016.