Still not having accepted the loss of their son in a tsunami disaster, Janet and Paul Behlmer are back in Bangkok. Hanging onto the fact that his body has never been discovered, Janet desperately clings to the idea that pirates might have kidnapped their kid in the confusion that followed the catastrophe. Looking for someone to guide them in the Thai underworld, they bribe their way to a mysterious Mr. Gao, who takes them to Ranong, where a mercenary supplies them with a boat and crew to explore the pirate-infested shores of Burma. Slowly, they will lose themselves into a strange child-infested jungle and to their inner demons.

BD: In 2004 you made a huge impact in the horror world with CALVAIRE, how did that film come to be?

FdW: CALVAIRE comes from my love of the genre. In this particular film, I’ve tried to experiment, to explore the horror genre. I wanted to break clichés and to go through the subject to find something new. I won't say I succeeded, but I tried. Without any restrictions or inhibitions, I try to take a step forward. That’s why CALVAIRE is so particular, that’s his strength and also his limit.

BD: CALVAIRE seemed to be inspired by films like TEXAS CHAINSAW MASSACRE, did that or any other films inspire CALVAIRE?

FdW: Many films inspire CALVAIRE. Two films particularly; PSYCHO and TCM. PSYCHO because I’m obsessed with Hitchcock’s style, it’s unfailing and fascinating for a young director. TCM because after seeing this film, I decide to make horror films. But in fact, even when I was 13, I’ve always seen TCM as an Art film. To my point of view it was the perfect combination between extreme cinema, grotesque poetry, modernity and exploitation.

With CALVAIRE, I’ve tried as a young painter to reach my own style between those two influences, to find my own way and my own style.

BD: Where did the idea of CALVAIRE come from?

FdW: CALVAIRE was made a few years ago, and honestly I didn’t remember or don’t want to remember. Old story. All I can say, CALVAIRE is a Christmas fairy tale. It's "Marc Stevens in Wonderland." With porks, calfs and a lots of loves songs…

BD: Now, you’re finishing up VINYAN, another horror film, where did this idea come from?

FdW: VINYAN is not exactly a horror film. It’s another experimentation. It’s something between a ghost story and a psychological thriller. I’ve tried to settle VINYAN in a fine line, where the Belhmer’s couple slips down slowly into a strange, poetical and violent world. Maybe a death zone?

In a mainstream ghost story; the ghosts enter in the real world, in VINYAN, it’s the opposite. Here it’s the living people who enter into the “ghost” world. A world infested by wild children, the quest of their obsessions…

In fact, VINYAN is the story of deliverance. Grief’s deliverance…

BD: The trailer makes the film look very complex, what can you tell us about the film’s plot and what type of reflection on society we might see (if any)?

FdW: The story is about an English couple in Thailand who are mourning the death of their son and then go deep into the jungle in search of the son who the mother thought she had recognize on a videocassette. From the very realistic opening scenes based on the aftermath of the tsunami in Thailand, we are plunged into the couple’s decline, these two increasingly alone and vulnerable characters that gradually become ghostlike figures.

VINYAN is also a contrast between two worlds: the East and the West, comparing in particular the idea of death in our world, where it is a real taboo, to that in the East where it is seen as part of life.

BD: Is there a little bit of LORD OF THE FLIES in VINYAN?

FdW: Yes, “LORD OF THE FLIES”, “ QUIEN PUEDE MATAR EL NINJO” by Chico Serrador”, “THE BROOD” by Cronenberg, “DON’T LOOK NOW” by Nicholas Roeg and a lots of jungle films…

BD: Where does the terror/horror come from in the film, is it the children?

FdW: You have to discover that by yourself. All I can say is that it’s not exactly terror or horror; VINYAN is a strange journey, a baroque opera with an uncomfortable feeling growing, a little bit like CALVAIRE… It’s more an immersion and psychotronic experience than your usual gore flick… You’ll see by yourself.

BD: Just how bloody/gory will VINYAN be?

FdW: Not much. VINYAN is not a gory film, nothing to do with the “Splat pack” or “porn torture”. More than gore or blood, I’m especially interested in style…

BD: Was it difficult working with so many children?

FdW: Directing 150 Thaïs children covered with mud and who were hooked on trees was quite difficult – but a great experience…

BD: Are you a big fan of horror? Is this a genre you see yourself working for a long time?

FdW: Well, I love cinema. Horror is my first love and it’s only the first love that counts really… more particularly, I want to make aggressive and spectacular movies.

BD: What’s next? Another horror film? Can you reveal any details?

FdW: I’m working on a book adaptation called “L’Île aux trentes cerceuils” (Coffin Island), it’s a period movie quiet gothic. A great story. Still in process… We hope that start the production next year.

BD: Is there anything else you’d like to share with our readers about VINYAN that we might not have covered?

FdW: My love for Thailand. Great people. Great crew. Beautiful ladies. Amazing food. Wonderful locations…

BD: Thanks so much for you time!