The Terrorists becomes a film of resistance through cinematic resistance. The struggle between deep darkness and faint light, the clash between image and language (via narration or subtitles amongst scenes of total silence), are some of the forms of ‘cinematic resistance’ this film exercises. Giving full attention to someone speaking an incomprehensible language, an expression of faith in the people who work as laborers all over Thailand and a son’s persistent interrogation of his father who currently rules Thailand, all establish this film as a film of resistance. The Trinity of ‘State-Religion-Monarch’ is the other name of the ‘father’ who rules the Thai people’s unconscious. And the madness of those obsessed with acting in the name of the father continues to be repeated from Chiangmai in 1976 to Bangkok in 2010. White Terror committed by right-wing extremists still haunts Thailand’s contemporary history and marks itself as a paranoia derived from a complex and deep-rooted anxiety and fear that permeates Thailand as the sole country in Indochina to evade the wounds of colonization and communism. A strong sense of queer eroticism running through The Terrorists expresses itself as a son’s struggle against the repeated death committed in the name of the father and the life force that dreams of a new Thailand. In this sense, The Terrorists is a beautiful and powerful political film that enweaves the problems of macroscopic and microscopic politics. (BYUN Seong-chan)