At the heart of Krit Komkrichwarakool’s Auganic lies a simple yet foundational question: what happens when an extraordinary circumstance forces a couple to confront their misaligned goals? Set against the backdrop of an isolated farm, this contemporary folktale sees married couple Kailan and Nick’s lives upended when they discover Kailan possesses an unusual ability, manifested during intimate moments, that could solve their financial struggles. Initially conceived as a comedy, what begins as a seemingly whimsical premise evolves into a deeply resonant meditation on the complex dynamics of modern relationships where support, compromise and personal dreams exist in a constant state of flux. Drawing inspiration from the classic Golden Goose fable while incorporating elements of his own artistic journey, Komkrichwarakool’s film acknowledges a fundamental but rarely expressed truth about romantic partnerships – that even the most loving relationships weather periods of imbalance and misaligned goals. Through careful collaboration with cinematographer Joseph Schweers, the film creates a visual language that mirrors its emotional journey, beginning with distant, theatrical framing before drawing viewers closer to the heart of this relationship in crisis. Auganic transforms its fantastical premise into a universal story about the ebb and flow of support within relationships and the courage required to remain true to oneself while building a life with another. Making its online premiere on DN today, we connected with Komkrichwarakool to discuss his approach when crafting this delicate balance between magical realism and grounded drama, the evolution of the film’s visual storytelling, and his deeply held commitment to expanding the boundaries of queer cinema beyond niche stereotypes to tell universal stories.
Auganic is such a beautiful, emotional drama with this fantastical modern folktale speaking to our reliance on money and the ever-present pressure it exerts over happiness. I want to know how you walked the line between grounded realism and the film’s high concept so it never felt absurd.
Going into this film, I was careful about how the story would be presented. While there are certainly absurd elements, our goal was to tell an authentic narrative about the struggles within a relationship and how these two men navigate them together. We focused on what felt real for this couple, even as everything else in their world was so out of the ordinary. I think the key was blending this fantastical concept with a genuine exploration of the queer experience. I wrote the script right after the pandemic, reflecting on my relationships, my financial situation, and the artistic integrity with my work. Many of those real emotions found their way into the story, and our actors, Kenny Brain and Matt Dejanovic, conveyed them beautifully.
While there are certainly absurd elements, our goal was to tell an authentic narrative about the struggles within a relationship and how these two men navigate them together.
This was your first time working with cinematographer Joseph Schweers, tell us more about the way you bring us closer to the characters and their emotions through the cinematography as the film progresses and how your working relationship developed.
I was really excited to work with Joe for the first time and we had several discussions about visual storytelling and our shared inspirations. The two of us quickly agreed on embracing the stillness to reflect the calm of their life on the farm and the slowness of their environment, by using a limited number of shots and movements. Both of us are visual thinkers, and we had a clear sense of what we wanted, which was invaluable on a fast-paced set where we often had to think on our feet. I already knew what Joe was capable of as a cinematographer before we met so it was easy to place my full trust in him. Now, as we work on our third film together, I feel very lucky to continue collaborating with him.
What was your setup to capture those deep, measured visuals?
We shot on the Red Komodo using three Zeiss CP.2 Super Speed primes (28mm, 35mm, and 50mm) along with a 1.71x speedbooster. Since some of our locations were tight, we wanted to maintain authenticity, and the speedbooster allowed us to achieve a wider field of view without resorting to a super-wide lens that could distort the image or give the wrong feel. Most of our gear was grab-and-go because we had a very small team; just the camera, grip, and gaffer, who were really the core three people. Despite the small size, they are probably the most efficient team I know!
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I really love the crucial scene in that awful hall, the camera peering over the top then panning out to the whole room and then we get right into their conversation. Could you walk us through shooting and then constructing this scene in the edit?
The first day of shooting this scene was definitely one of the most challenging. It was my first time directing such a large group of people, and there were so many moving pieces happening simultaneously; blocking, long dialogue, and the intimacy elements, for which we had the support of Principal Intimacy Professionals. This was the scene where we stuck most closely to our original plan, largely due to time constraints, but I also had to make sure the actors had the space they needed for the emotional climax. As chaotic as it sounds, I actually had a lot of fun in that hall!
The challenge didn’t end there, though. In the editing room, we had to adjust things further. Because of a decision made early in the process, a lot of the comedy was left out, which shifted the dynamic of how the scene ended. To resolve this, we included a couple of callbacks by adding back a few unused shots from earlier scenes, which I think helped the whole scene conclude more sincerely.
With so much comedic material cut during both the writing and editing stages, I was a little worried that the dry humor that remained wouldn’t translate.
Have you had audiences react in different ways? When I first saw the film I wanted to laugh when he said “You don’t have to cum gold for me” but it isn’t a funny moment then until that final reveal.
Yeah, there were definitely a few moments I didn’t expect the audience to laugh at that level, but they did. And honestly, I didn’t mind it at all. With so much comedic material cut during both the writing and editing stages, I was a little worried that the dry humor that remained wouldn’t translate. Hearing the audience’s reactions was a huge relief. Maybe next time, I’ll feel more confident diving into comedy, haha.
I was programming the other day and came across another great film where the couple at the centre of the film were queer but the story had nothing to do with their sexuality and I love that you are working to strengthen that shift.
My goal is to showcase queer cinema in as many aspects as possible and to move away from the narrow subjects that our stories are often pigeonholed into. I wanted to break free from the stereotypical representations and offer a more hopeful portrayal of our community. Everyday, mundane life can be a captivating story; not just because we’re queer, but because we are unique individuals. I imagine a world where we’re no longer seen as a niche genre and queer characters aren’t viewed as a political agenda. We are so much more than that and our stories deserve the same space as anyone else’s.
My goal is to showcase queer cinema in as many aspects as possible and to move away from the narrow subjects that our stories are often pigeonholed into.
Where are you going next with your work?
I’m currently wrapping up a new romantic sci-fi short film called Summer Fling and am in the process of sending out my completed psychological drama short, Palindrome. Hopefully, both will hit the festival scene this year. I’m also developing my first feature and venturing back into the grounded sci-fi world. Last year was a big one for me, with Auganic becoming Academy-qualified during its festival run, and I’m excited to see what this year has in store!
