The Ministry of Commerce showcases Thai soft power at Cannes Film Festival 2025 through "Thai Night" and over 12 Thai films
CANNES, FRANCE - Media OutReach Newswire - 12 May 2025 – The Department of International Trade Promotion (DITP), Ministry of Commerce, continues its commitment to promoting Thailand's entertainment industry on the global stage by organizing Thai Night at the Cannes Film Festival 2025 on Thursday, May 15, 2025. The event, held during the world's most prestigious and influential film festival, aims to elevate the image of Thailand's entertainment sector and strengthen international networks. The opening ceremony was graciously presided over by Her Royal Highness Princess Ubolratana Rajakanya Sirivadhana Barnavadi.
CANNES 2025
Director-General of DITP, Ms. Sunanta Kangvalkulkij, stated 'The Thai film industry is growing rapidly, as reflected in its increasing production capabilities, entries into international film festivals, and rising interest from global markets. The domestic performance in which Thai films now command a market share of approximately 50%, rivalling that of international releases. This indicates a renewed local interest in Thai cinema. Thai Night serves as a platform to showcase the pride and quality of Thai films, and to propel Thailand's soft power through the film industry. It presents the charm of Thai culture, creativity, and identity to a global audience, while opening doors for business networking with international partners to support the sustainable growth of Thailand's film industry.'
Thai Night, which has been held annually for over 14 years since 2011, serves as a key platform to highlight the strength of Thailand's entertainment industry. It fosters collaboration between Thai entrepreneurs and international buyers and investors, helping to promote long-term growth and sustainability in the sector. More importantly, it also serves as a valuable opportunity to present Thailand's rich culture and soft power on a global stage. In addition to highlighting the capabilities of Thai cinema to a worldwide audience, the event features Thai Pavilion, where representatives from Thailand's film industry participated in business matching with global partners. The pavilion is located at Booth 22.01, Palais -1, at the Palais des Festivals et des Congrès de Cannes, and will be open from May 13–21, 2025.
Another highlight of the event is the presentation of Thai cuisine under the 'Thai Select' certification, which guarantees the authenticity and quality of traditional Thai flavors. These dishes will be served at Thai Night as part of a reception for international guests, reflecting the unique identity of Thai food as a widely recognized and celebrated form of soft power.
'The Thai Night event is yet another proof of the Thai film industry's potential, showcasing our readiness to compete and thrive on the global stage,' Ms. Sunanta concluded.
Hashtag: #DITP #ThaiNight
The issuer is solely responsible for the content of this announcement.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Vogue
2 hours ago
- Vogue
Balmain Resort 2026 Menswear Collection
Olivier Rousteing is still under 40. Yet he is also the third longest-standing non-founder creative director in ready-to-wear luxury fashion (after evergreen Véronique Nichanian at Hermès menswear and the mighty Ian Griffiths of Max Mara). So even as fashion cycles through its latest red wedding moment, Rousteing's combination of veteran experience and youthful potential allows him to take a pragmatic and sanguine view. Speaking in his office, he said: 'A designer needs to change: to develop through reinvention. So it's not just only a house becoming bored of a designer and looking to change—the designer him or herself should become bored if they do not change how and what they do. You keep your DNA, but you make very different albums.' At Balmain, Rousteing remains both signed to the label and committed to perpetual reinvention. The photography of these resort lookbooks reflected his intention to approach the collection from a fresh angle while deploying his deep expertise in the business to maximize its performance. In womenswear, a focus on bouclé pieces in pastel checks (a little Clueless), black, and some racier color-combos kept aside in the showroom reflected the fact that around over 20% of Balmain's ready-to-wear pieces are in tweed. A seasonal floral reworked from a Pierre Balmain original was present in some of the multiple new fabrications of a growing core line of Balmain handbags; the Anthem (belt buckle), the Sync (chain), the Ébène (par-baked croissant), and the tightly-waisted Shuffle. Knit bandage dresses and a split skirt floral aside, there was a notable step away from bodycon towards a focus on innovatively detailed oversized tailoring in wools including prince of wales check that often came cropped and placed in silhouette-skewing adjacency to matching microskirts and shorts. A coat so roomy you could put it on Airbnb came patterned with a felted Monet-esque print that reflected Pierre Balmain's artistic passions, Rousteing reported. His column-pediment wedge boots were delivered this season in a shearling fabrication as well as leathers and worn against lingerie dresses. Cocoon-like capes in peach or lemon cashmere were standout wardrobe pieces. Menswear played a radical-conservative gambit of contrasting extreme tailoring—either angular and fitted, or oversized and softer—against denim, leather, or jacquard sportswear. Formal shoes were elevated from banaility by raised soles and extruded metal welting. You could see both bourgeois French paradigms and street silhouettes transposed to tailored fabrications. Lurking in the showroom were many non-shot but still highly photogenic pieces, including labyrinth pattern shirt-and-short sets, leather and wool stadium jacket blouson hybrids, and bouclé overshirts. Said Rousteing: 'The real question is always what do you want to propose? And while my answer changes through the seasons, it also always relates to going back to the past and bringing it to the present in order to build the future. This is why I am always having this conversation with the original work of Pierre Balmain, and looking to express that dialogue in new ways.'


Vogue
2 hours ago
- Vogue
Balmain Resort 2026 Collection
Olivier Rousteing is still under 40. Yet he is also the third longest-standing non-founder creative director in ready-to-wear luxury fashion (after evergreen Véronique Nichanian at Hermès menswear and the mighty Ian Griffiths of Max Mara). So even as fashion cycles through its latest red wedding moment, Rousteing's combination of veteran experience and youthful potential allows him to take a pragmatic and sanguine view. Speaking in his office, he said: 'A designer needs to change: to develop through reinvention. So it's not just only a house becoming bored of a designer and looking to change—the designer him or herself should become bored if they do not change how and what they do. You keep your DNA, but you make very different albums.' At Balmain, Rousteing remains both signed to the label and committed to perpetual reinvention. The photography of these resort lookbooks reflected his intention to approach the collection from a fresh angle while deploying his deep expertise in the business to maximize its performance. In womenswear, a focus on bouclé pieces in pastel checks (a little Clueless), black, and some racier color-combos kept aside in the showroom reflected the fact that around over 20% of Balmain's ready-to-wear pieces are in tweed. A seasonal floral reworked from a Pierre Balmain original was present in some of the multiple new fabrications of a growing core line of Balmain handbags; the Anthem (belt buckle), the Sync (chain), the Ébène (par-baked croissant), and the tightly-waisted Shuffle. Knit bandage dresses and a split skirt floral aside, there was a notable step away from bodycon towards a focus on innovatively detailed oversized tailoring in wools including prince of wales check that often came cropped and placed in silhouette-skewing adjacency to matching microskirts and shorts. A coat so roomy you could put it on Airbnb came patterned with a felted Monet-esque print that reflected Pierre Balmain's artistic passions, Rousteing reported. His column-pediment wedge boots were delivered this season in a shearling fabrication as well as leathers and worn against lingerie dresses. Cocoon-like capes in peach or lemon cashmere were standout wardrobe pieces. Menswear played a radical-conservative gambit of contrasting extreme tailoring—either angular and fitted, or oversized and softer—against denim, leather, or jacquard sportswear. Formal shoes were elevated from banaility by raised soles and extruded metal welting. You could see both bourgeois French paradigms and street silhouettes transposed to tailored fabrications. Lurking in the showroom were many non-shot but still highly photogenic pieces, including labyrinth pattern shirt-and-short sets, leather and wool stadium jacket blouson hybrids, and bouclé overshirts. Said Rousteing: 'The real question is always what do you want to propose? And while my answer changes through the seasons, it also always relates to going back to the past and bringing it to the present in order to build the future. This is why I am always having this conversation with the original work of Pierre Balmain, and looking to express that dialogue in new ways.'


Geek Vibes Nation
6 hours ago
- Geek Vibes Nation
'Misericordia' Review - A Casually Chaotic Queer Dark Comedy
Logline: A tantalizing thriller unfolds against a pastoral country setting in the latest from French auteur Alain Guiraudie (Stranger by the Lake). Jérémie (Félix Kysyl) returns to his hometown for the funeral of his beloved former boss, the village baker, and decides to stay for a few days with the man's widow, Martine (Catherine Frot). Before long a threatening former rival, a mysterious disappearance, and an omnipresent priest turn Jérémie's short visit into a gathering of the unexpected. Even the nicest people have a breaking point. No matter how quiet, kind, or seemingly meek you assume someone is, just know that if you push the wrong buttons or strike the right nerve, a delicate and non-threatening Caesar mushroom can actually be a death cap. The analogy will make sense when you watch the film. Not only do people have a limit to how much nonsense they can withstand, but you never know what someone is going through. You may not have to worry about being their thirteenth reason, but you could be their first victim. Be kind and stay alive. 'I think he's completely crazy.' No matter how careful you are or how sneaky you think you're being, the secret will always eventually be revealed. Written and directed by Alain Guiraudie, Misericordia is a casually chaotic queer dark comedy. With a dash of mystery, a heap of suspense, and more subtle humor than you can handle, this fatal French subterfuge is the hidden gem you want to find. Championing genuinely hilarious and awkward moments along with an affinity for mushroom foraging, the film is loaded with subtext that gets increasingly more outrageous as the story progresses. Veiled in suspicion and clouded by uncertainty, everyone in this idyllic town seems to be hiding something. There's violence, manipulation, sexual tension, and more than a few lies. And just the narrative gets juicy and truths are uncovered, the most surprising one exposes itself in more ways than one. Our lead, Jérémie, has the most to hide, but with how his life has been going, also the most to gain. Furthermore, as we witness the mystery unfolding from his perspective, you're plagued with one moral conundrum after another. The first instinct is to cut and run, but if Jérémie is for the messiness, then so are we. Come for the drama but stay for the absurdity. 'You'll learn to love me.' Wrapped and thriving in a Shakespearean essence, this eerily calm enigma is as much about identity as it is about deceit. In some ways, they're intertwined. While some aspects of the film can be interpreted as battling the rejection of your truth, other parts can be seen as an outward projection of internal conflict. With an initial atmosphere and aesthetic that feels cold and aloof, by the end, you'll feel its warm, firm embrace. You'll be left both shocked and entertained. The talented performances drive the experience as the sophisticated yet approachable writing of Guiraudie breathes exuberance into its dry wit. There are some beautiful shots with a set and costume design that feature dark and muted colors, perfectly matching the tone. If you're a fan of Alain Guiraudie's work, this is sure to delight. Its rewatchability is medium. From (L to R) FÉLIX KYSYL as Jérémie, SALOMÉ LOPES as Young Police Officer, SÉBASTIEN FAGLAIN as The Policeman, TATIANA SPIVAKOVA as Annie, CATHERINE FROT as Martine, DAVID AYALA as Walter Pace & Pop This film maintains a curious pace and tone for the entire runtime. Combining comedy, mystery, and thriller sensibilities, you never quite know what's coming next. What popped for me was the diabolically reserved nature of Jérémie as casual chaos ensues. From (L to R) Félix Kysyl as Jérémie and Jacques Develay as The Abbot in 'Misericordia' Characters & Chemistry Starring: Félix Kysyl, Catherine Frot, Jean-Baptiste Durand, Jacques Develay This ensemble cast is amazingly effective. Their subtle and layered performances are the lifeblood of the film. The dry delivery, the hungry stares, and the loud, panicked nonchalance are intriguing and hysterical. Between the unraveling psyche of Félix Kysyl's Jérémie and the ever-lingering priest played by Jacques Develay, their performances awaken the film's dangerously adventurous and addictive qualities. Let me not forget the deeply curious and somewhat suspicious performance of Catherine Frot. Misericordia is now streaming on the Criterion Channel. Stay safe and keep an eye on the sneaky priest. Rated: NR Runtime: 1h 43m Language: French Director: ALAIN GUIRAUDIE Writer: ALAIN GUIRAUDIE Artistic direction: LAURENT LUNETTA Cinematography: CLAIRE MATHON Production design: EMMANUELLE DUPLAY Costumes: KHADIJA ZEGGAÏ Hair and make-up: MICHEL VAUTIER Assistant Director: FRANÇOIS LABARTHE Sound: VASCO PEDROSO, JORDI RIBAS, JEANNE DELPLANCQ, BRANKO NESKO C.A.S Editing: JEAN-CHRISTOPHE HYM Original score: MARC VERDAGUER Producer: CHARLES GILLIBERT