Interview: 'It Happened In August' Director Artima Sakulkoo On Queerness, Thai Culture & More

It Happened in August is a short film with a runtime of 15 minutes where we follow Aim, a Thai immigrant who has returned to New York with her younger brother whilst coping with their mother’s death and the demise of her career. She currently works as a server at a Thai restaurant to make ends meet, and it is during one of those shifts that she reunites with her ex-girlfriend, Sandra. And as they begin talking, we get a glimpse into something more that Aim has lost during this phase of her life. I sat down with director, writer, producer, and actor, Artima Sakulkoo for a virtual chat about her short film’s story, its themes, its songs, and more.

Film Fugitives: How did you come up with the idea for It Happened in August and what was the process of transforming it into this short film?

Artima Sakulkoo: This film came from my personal experience. I lost my mother in 2020, and while navigating grief, I was also dealing with creative burnout. At the same time, I was coming to terms with my queerness, and all of those emotions began to overlap. When I returned to New York in the fall of 2022 for my graduate program, I began piecing together memories and moments I had lived through but never fully processed. It took years of growth as a filmmaker to feel ready to tell this story honestly. This film is deeply connected to my mother, without her story, mine would not be complete.

FF: It’s clearly a very personal film for you. How do you strike the balance between processing your feelings through the narrative while also keeping things relatable for the general audience?

Artima: The relatability factor of the film comes from the fact that I have tried to view the story from the perspective of the audience. In doing so, I was able to constantly question myself if this is a narrative that people would like to see. While It Happened in August comes from my own personal experience, I have tried my best to treat Aim as a character so it wouldn’t look like an extension or version of myself. While my life experiences make Aim feel authentic, but subtle changes, like the way Aim responds and processes emotions, makes her come off as a version who I am as a person rather than an exact copy. For example, she’s the kind of person who hides her feelings, whereas I try to wear mine on my face.

FF: What was the decision behind using the moments where Aimme sort of spaces out to trigger a flashback sequence?

Artima: The beauty of memory is its subtlety. I wanted to create a lived-in experience for the audience, allowing memory to surface naturally on screen. I used a 4:3 aspect ratio when Aim slips into her memories and a wider 16:9 frame for the present day, helping the audience feel that shift intuitively. Aim’s moments of spacing out felt like the most honest way to enter memory, as grief and longing often hit the present at its random time. Since it is a short film, timing and clarity were especially important.

FF: What was the experience of directing your real-life friends and your father?

Artima: This movie gave me the opportunity to work with people who I know from real life, and that was incredibly meaningful for me. I have a habit of including my community in my work and, in the case of It Happened In August, many of the students that you see on the screen are being played by my friends and colleagues. The Thai restaurant staff mostly comprised those who I have met at restaurants in real life. And the most important part of the experience was working with my father, who I knew had to be part of the film. The story is a tribute to my mother, so it was essential for me to include him in the narrative. This was his first acting gig and yes, he was the hardest to direct.

FF: Were there any unexpected challenges that you faced while directing yourself?

Artima: Definitely! Being both the director and the lead actor is something I wouldn’t necessarily recommend, but it’s also something I would do again in a heartbeat. I owe much of the credit to my assistant director, Nyeem Greenwood, who stayed behind the monitor when I was acting. We developed a workflow that allowed me to remain present in character. Between takes, I’d share any notes with him, and he would communicate them to my co-stars so the process stayed fluid. I also placed a great deal of trust in my DP, Warut Snidvongs, which helped the set move efficiently. Most importantly, my producer, Nicholas Kennedy, who motivated and kept me grounded throughout the process.

FF: Is the use of a smaller aspect ratio for the flashbacks and a wider aspect ratio for the present day sequences just a stylistic choice? Or are you conveying the message that Aimme’s life was limited by something in the past and she’s much more free in the present?

Artima: From the writing stage, the shift in aspect ratio was an intentional choice. I used the 4:3 frame for the flashbacks to reflect inner thoughts. The way memories live inside us and held in a kind of capsule within the mind. They’re moments we can no longer access physically, but still long for. The wider 16:9 frame in the present day allows more room for movement and breath. That contrast isn’t meant to suggest that Aimme’s past was limiting or that she is freer in the present. Instead, I want it to highlight how she carries the burden of responsibility now, while holding onto the “what ifs” of the past as they shape her emotional landscape.

FF: Thai culture, queerness, and acting are integral parts of the narrative, and I’m sure it’ll be an inspiration for everyone who is finding it difficult to express who they are in the current socio-political climate in America. How important was it for you to highlight those aspects of your life through this film?

Artima: There are quite a few BIPOC and WLW stories out there. But most of them are being told from the perspective of White male creators, and that’s something that can not only diminish the authenticity of the queer experience, but also alienate the entire community. I am proud of being queer and Thai. During a 2025 festival screening, when a young queer Thai audience member approached me and told me how the film meant to her, it really warmed my heart. When people tell me that they can see themselves in the characters and the world that I have created, and that they feel less alone because of it, I realize why my work matters. It also means that I’ve done my job.

FF: What are some of the films that have inspired you to make movies?

Artima: Growing up in Thailand, I was obsessed with Academy Fantasia. When I came to the USA for college, I became a Marvel fan. The Sound of Music is in my Letterboxd top four. I was introduced to that movie by my mother, and to this day, it occupies a special place in my heart.

FF: Are there any specific films that have informed the visual storytelling of It Happened in August?

Artima: I love revisiting the production book I made while developing my film. Thai director Baz Poonpiriya’s short Girlhattan (2017) was a huge source of inspiration. Sarah Paulson and Cynthia Nixon in Ratched educated me about the importance of casting queer actors in queer roles. Saving Face taught me how to strike a balance between intimacy and representation. Past Lives lovers-but-not-quite-lovers narrative resonated with me deeply, while Frances Ha‘ relatability and honesty really inspired me. Lady Bird and Moonrise Kingdom’s use of color and editing informed by approach to visual storytelling.

FF: Were the songs used in the film original compositions? If so, will the full versions be available to the general public? 

Artima: Yes, I’m so glad you asked! I often create an original soundtrack for the films I direct and produce because music is a huge part of my filmmaking process. We composed two original songs for It Happened in August. Sandra wrote and performed Favorite Movies with Linsy Segarra, and the compositions were done by FerggDaRula and Nicholas Brathwaite. The Thai-language song, Come Back, was written and performed by E.P. Slattery. It was composed by Boubakar Djombana, and its sound engineer, Guito Galindo. E.P., who is also Thai and queer, worked closely with me to fine-tune Aim’s emotional landscape and her whole dynamic with Sandra. The full versions aren’t available on any platform yet. That said, I hope to share the music with the world as soon as my movie is released widely, either theatrically or digitally.