Pen-Ek's film is about a Japanese chef in Macau, who is also the lover of his boss's wife. Sent on a cruise to Phuket by his boss, the chef, Kyoji, finds himself literally adrift, where he meets one of the few passengers, Noi, a woman with her own secrets. As in Last Life in the Universe, not all of the characters are who they claim to be. With the notable exception of a scene taking place in the boss's home, the settings for Invisible Waves are ramshackle, if not simply shabby. A major part of the film takes place on the decrepit boat. Whether battling an errant shower head, or a folding bed that won't stay down, Kyoji seems to be waging a losing war against the mechanical world. The deadpan humor of the sequence is reminiscent of a Jim Jarmusch character lost in the world envisioned by Jacques Tati.

Invisible Waves was written by Prabda Yoon who had also written Last Life in the Universe. Both films also had Tadanobu Asano as the lead character. In the latter film, some of the same ideas of identity are explored, but the narrative is stripped down, rendering the film more abstract and elliptical. Some of the more dramatic events are off screen, heard but not seen, or barely suggested by one or two quick shots. Adding to the effect of abstraction is that all of the settings are depopulated. Spaces may be cluttered with things, but there are very few people.

With a cast including the Korean Kang Hye-Jeong and Hong Kong mainstay Eric Tsang, whatever interest there is in Thailand or Thai identity is incidental to Invisible Waves. I had to wonder if the Thai committee responsible for making the film the official entry last year had actually seen the film or had based their decision on Pen-Ek's reputation with three previous entries. The replacement entry, Ahimsa: Stop to Run, is almost as unconventional in its story about a young man encountering karma in the form of a guy in a red track suit. What makes this choice stranger is that the film was released in Thailand in 2005. Pen-Ek wasn't considered for this year's Oscar race as Ploy was almost banned in Thailand due to sexual content. Those who have some awareness of Thai film were the least surprised that Chatrichalerm Yukol would have his film chosen to represent Thailand. Aside from being more traditional, the story about King Naresuan is a celebration about Thai identity. Additionally, Prince Chatri is a member of the Thai royal family which explains why the release of his two films on Naresuan were considered national events. When some film critics ask why certain films are anointed for Oscar consideration, it is not that the waves are invisible, but that closer observation is required.