In May, New York’s Lincoln Center opened The World of Apichatpong Weerasethakul, a festival dedicated to the filmmaker’s ambulatory docu-fiction work stretching from his 2000 feature debut, Mysterious Object at Noon, to the 2021 Tilda Swinton-starring Colombian-jungle set Memoria, in which the main character is plagued by a single sound only she can hear. Increasingly present in the gallery as much as the cinema, Apichatpong saw over seven hours of his short films exhibited across Kiang Malingue’s two Hong Kong premises at the start of the year (the dealer went on to take them to various art fairs, including a screening at Art Basel Hong Kong). Yet Apichatpong is perhaps most comfortable on set, among the lush landscapes he had made his own, and in August he returned to the forest, specifically the jungles of the Yucatán Peninsula in Mexico, to lead a ten day Herzogesque workshop for emerging filmmakers; next year he will be in Sri Lanka, making a film inspired by Arthur C. Clarke, cowriter of the screenplay for 2001: A Space Odyssey (1968) and longtime resident of the country.