As the film begins, a bewildered young woman is being shown to her room by a strangely attentive hotel staff in what seems to be luxury Thai resort. She is there to visit her Thai boyfriend, recently returned from study abroad in America and now it seems the star of an upcoming motion picture. Ananda, born and bred in Thailand but brought up in an affluent, bilingual family converses with his girlfriend in English but with everyone else in Thai. He is obviously busy with film work and his girlfriend is largely left to her own devices in the otherwise entirely empty hotel. As time moves on the geographical shift seems to have exposed the cracks in the couple’s relationship – the crew complain about Americanisms creeping into Ananda’s on screen performance and his girlfriend soon gets bored of all the attention that goes with dating a film star. It soon becomes obvious that she’s in the way, a distraction and unwelcome intrusion of the outside into Ananda’s life in Thailand.
Soon after she returns home the film seems to jump on a few months and Ananda is now living in an apartment in Bangkok with a woman from the PR company. Although the couple seem happy, or at least happier, Ananda still seems restless – perhaps more so now that his film work is finished leaving him with little else to do. Evidently Ananda’s family were fairly wealthy – the apartment the two share is one of many in a previously luxury but ‘under renovation’ apartment block owned by Ananda’s often absent mother.
In telling episodes of symmetry, Ananda never really seems to fit in anywhere. Constantly at odds with himself he seems to be a Thai in Thailand and an American in America. Whilst filming he rejects his American girlfriend leaving her forced to alleviate her isolation by inviting herself to a hotel employee’s birthday party where she can’t communicate because she doesn’t speak Thai and the hotel employees only have basic English skills. Moving forward, where it seems Ananda might have become reconciled to his life in Thailand with May, a visit from his American university friends leaves May equally isolated and sidelined as Ananda parties American style with his college buddies. Whilst in ‘Thai’ mode, Ananda seems like a quiet, respectable and respectful young man but with his American friends he’s loud and energetic, youthful and extroverted.
It’s very clear there are two Anandas each in constant struggle with the other. A privileged upbringing rich in overseas influence and an extended period abroad have led to an intense feeling of disconnection with his native culture, yet once abroad Ananda is Thai and forever a foreigner. His inability to be more than one thing at once, to be a complete person at any one moment seems to be tearing his life apart. In unwatched moments he appears intensely melancholic, frustrated and more than a little lost. He drifts from one thing to another, not really doing anything or taking anything seriously enough to fully commit to it.
Hi-So, short for High Society – the slightly aimless world in which Ananda and many others like him are living, is a very interesting film about the crushing ennui of the modern, monied man. Though it touches briefly on the collective trauma of the tsunami and the country’s rapid economic growth, this is very much a film about one man’s cultural confusion and ultimately how it’s left him feeling even as an outsider to himself. Undoubtedly this is one of those films where some will say that nothing really happens and others will reply that’s because everything is happening but for those willing to look deep enough Hi-So is certainly worthy of attention.