Roman Hien’s review published on Letterboxd:
Here's another example of transcendental filmmaking at its best. Malila: The Farewell Flower is wonderfully slow and meditative in pace, like country life, like running water, like death, but Malila's imagery is still rooted in Buddhist beliefs, which is different from the disease-free groan of Thanatos Drunk. The snake is fear, the corpse of the child is a shadow that cannot be walked out, the bouquet of worship is to remember and accept, the rotting corpse on the roadside is the test and reconciliation and the river is the washing of sin and the continuation of life. The protagonist’s eyes are still in play and Anuquyd Sapanphong is indeed the Thai version of Leslie Cheung.