THE NEW YORK TIMES (Critic’s Pick) by JEANNETTE CATSOULIS : Don’t Come Back From the Moon (2019)

“Children forced too soon to become adults act out and draw inward in scenes that some may find aimless and metaphorically strained. Yet the movie’s emotional potency is undeniable, its slow crescendo of wounded feelings and shimmering photography leaving unexpected imprints on the eyes and heart.”

VARIETY by JOE LEYDON : Don’t Come Back From the Moon (2019)

“Chananun Chotrungroj’s relentlessly roaming hand-held cinematography enhances the overall sense of spontaneity and discovery.”

CHICAGO SUN-TIMES by RICHARD ROEPER : Don’t Come Back From the Moon (2019)

“From its opening moments through its pitch-perfect closing notes, “Don’t Come Back from the Moon” is a stunning and stark and beautiful thing to behold.”

LOS ANGELES TIMES by ROBERT ABELE : Don’t Come Back From the Moon (2019)

cinematographer Chananun Chotrungroj’s tactile, restless visuals roaming the desert’s beauty and its inhabitants’ restiveness.

VARIETY by JESSICA KIANG : The Third Wife (2018)

Though it’s almost painterly, in the pellucid watercolor palette of DP Chananun Chotrungroj’s glistening bamboo-green, aloe-scented imagery, and authentic to its period setting down to the quietest silken detail, by focusing with unwavering empathy on the interior life of teenage bride May (Nguyen Phuong Tra My), the remarkable “The Third Wife” feels newborn and ineffably modern.

SCREENDAILY by BY JOHN BERRA : The Third Wife (2018)

Making exquisite use of natural light, cinematographer Chananun Chotrungroj captues routines and rituals, such as the gentle massaging of bodies, the preparation of delectable dishes, and a river funeral, in an observational manner that placidly notes all the time-honored practices. Her evocation of time and place exudes a languid texture, although tension cuts through the hazy surface once May becomes painfully aware of her limited agency.


Throughout, the thoughtful framing of Chananun Chotrungroj’s camerawork is at one with the writer-director’s sensibility, lending a subtly surreal touch to images of the skyward city, the misty countryside and the unlikely traveling partners.

VARIETY  by Maggie Lee, Chief Asia Film Critic : POP AYE (2017)

DP Chananun Chotrungproj tracks the trip up north to Isan, passing through the provinces of Chaiyaphum and Phetchabun with detached long shots depicting the Thai rural landscape in a plain, almost monotonous light. Her lensing of Pop Aye’s madcap actions, however, demonstrates genuine resourcefulness.

THE NEW YORK TIMES Review : Yosemite (2015)

Working with the cinematographers Chananun Chotrungroj and Bruce Thierry Cheung, Ms. Demeestere (who previously worked with Mr. Franco on the anthology movie “The Color of Time”) offers up a slow-paced series of carefully composed, meticulously uncluttered shots.

THE HOLLYWOOD REPORTER Review : Yosemite (2015)

Shot on a RED camera with limber mobility and cool clarity, this is an understated film that evinces a keen sense of place amid the leafy suburbs bordered by wilderness

VARIETY Review : MOTEL MIST (2016)

For all its grubbiness, “Motel Mist” often achieves an undeniable sleazy charm — it’s too silly to feel properly exploitative. The presence of a former child star having a breakdown and communing with aliens in the room next door to all the sexual antics adds to the sense that none of this neon-soaked pulp fiction is meant to be taken too seriously.

KINOKULTURA New Russian Cinema Review: SEIDE (2015)

Both the cameraman and the production designer have found, together with the director, an interesting visual solution for the border of white, light grey and light blue, rendering the entire charm of a winter landscape that allows us, the spectators, to feel the coldness of the weather, but not as a biting cold: it is a pleasant frost.