Korakrit Arunanondchai’s practice interweaves personal narratives and experiences with mythological references and sociohistorical accounts, with a particular focus on his native Thailand’s cultural and political realities. Songs for dying has a multilayered plot that links the artist’s mourning the death of his grandfather with South Korea’s 1948 Jeju Massacre, as well as the recent student protest of Thailand’s military-backed government. In the film, the processes of dying and decomposition make possible alternate forms of (co-)existence. The film speaks to how the artist makes use of speculative storytelling, a cinematic methodology that is freed from a paternalistic Western thought framework, whose preoccupations and pretentions function to artificially limit possibilities. He does so as a means for both healing past trauma and transforming relations between subjects that might otherwise seem disparate. For Arunanondchai, the act of breaking, or disrupting, dominant narratives is premised on the conviction that doing so makes space for stories untold.