Taking place in 1870, Bronson and Delon lead a gang of train robbers who find the Japanese ambassador in a private car. Delon takes a specially designed sword, a gift to the President, for himself. One of the ambassador's samurai escorts is shot down by Delon. The other samurai, Mifune, promises to track down Delon and recover the sword in a week's time. Meanwhile, Delon has also turned around to ambush Bronson, leaving him behind while he and the gang run off with their loot. Bronson and Mifune form an uneasy alliance, tracking down Delon for their own reasons, gradually, and sometimes grudgingly, developing mutual respect.

One of the four writers credited for the screenplay was William Roberts, the man responsible for envisioning an Akira Kurosawa film with a motley band of cowboys instead of ronin. One of the Magnificent Seven was Charles Bronson. One of the other writers, Denne Bart Petitclerc, wrote the pilot for the television series, Then Came Bronson, pretty much suggesting that his participation in this film was someone's idea of a joke. Writer Lawrence Roman's best known film is McQ, the John Sturges directed attempt to re-invent an aging John Wayne in the mold of Clint Eastwood's character, "Dirty Harry". And Eastwood became an international star taking on the role originally done by Toshiro Mifune in another samurai film by Akira Kurosawa. One of Delon's most noted roles was as star in Le Samourai. Red Sun, to a certain degree, reflects some of the cultural give and take of that time between filmmakers.

As has been widely repeated, Red Sun was a hit almost everywhere except the United States. Toshiro Mifune and Alain Delon had already cemented their status as cinematic icons of Japan and France, respectively. Charles Bronson was still a couple of years from realizing major stardom in Death Wish. Red Sun also proved to be the last starring role for Ursula Andress, almost appropriately guided by the director of her first starring role in Dr. No. Maybe it was the heavily accented English that got in the way for most U.S. viewers. Mifune and Bronson's scenes are the best in part because they were unafraid of having their characters look foolish. Delon, in contrast, never looks like he's comfortable away from his more usual urban surroundings. As the prostitute Delon loves, Andress displays just enough skin to titillate the teenage boys in the audience, but she has often been an aloof presence on screen. Mifune's direction seems to have been to "play the gruff samurai", but he's game enough to be caught in his fundoshi, taking a cold water bath outdoors, and getting caught without his clothes or his sword by Bronson. Bronson, in turn, sees his abilities at bare knuckle brawling reduced to being Mifune's oversized rag doll, an introduction to Japanese martial arts consisting of Bronson tossed several times to the ground. Especially as Charles Bronson allowed himself to be typecast as a humorless agent of vengeance following the later films after Death Wish, Red Sun is one of the few times to see Bronson's comic side.

Terence Young probably got the job as director as he was Bronson's favorite director at the time. Too often, there are shots of the sun, sometimes with filters, as if Young, or his screenwriters, felt the intense need to justify the title of the film. There are enough scenes taking place in the desert to convey the heat and dust where much of the action takes place. The most visually interesting work is in the last twenty minutes when all of the principle characters converge. Especially striking is Bronson and Mifune barely seen, hiding in tall wheat, staking out the rendezvous point. Red Sun came at a time when interest in Italian westerns had tapered off. Somewhere, there must be some interesting stories regarding the making of, what on the surface, was a great idea for a film. Even if Red Sun isn't the film one might imagine, in no way does it diminish its team of legendary stars.

Unlike Wisit's previous films, "The Unseeable" was written by Kongkiat Khomsiri, writer of "Art of the Devil 2". It was all too easy for me to imagine what "The Unseeable" might have looked like had a director with lesser artistic aspirations been given the script. As it is, "The Unseeable" has the formal excellence of Wisit's first two films, but is also their opposite. The bright colors and flashy camera work or "Tears of the Black Tiger" and "Citizen Dog" are exchanged for shades of brown, white and burnt orange. The camera framing is crucial because of what what is seen, and either off screen or not easily identifiable.

Also unusual is that "The Unseeable" is a period film. Taking place in the 1930s, the story is about a rural young woman who is seeking the husband who disappeared on a business trip. The woman, Nualjan, has been given the address of a house in a remote area that offers lodging. In the main house lives the owner, the mysterious Madame Ranjuan, who is pining away for her own husband. The household is run by Madame Somjit, a strict older woman given to walking around in the daytime with an old fashioned oil lamp. One of Nualjan's housemates is a young woman, Choy, who provides comic relief with her sassiness.

At least one major plot twist can be anticipated after the first half hour if not sooner. While "The Unseeable" is relatively subtle and restrained by Thai standards at least during the first hour, comparisons to such films as "The Haunting" or "The Innocent" is very misleading. Wisit has stated that the look of the film was inspired by the artwork of Thai artist Hem Vegakorn. If any western frames of reference are more apt, I would consider "The Unseeable" closer in spirit, as it were, to "Carnival of Souls" with a nod towards Mario Bava's "Kill, Baby, Kill". Too often, the soundtrack blares to instruct the audience to be startled. As the film was made primarily for a Thai audience, the concessions genre conventions emerge strongly during the last half hour. And yet what Wisit achieves a more genuine sense of poignancy that a less capable director could only wish for. Unlike too many Thai filmmakers who think nothing of playing down to their perceived audience, Wisit aims a bit higher. Wisit's artistic aspirations may have hurt "The Unseeable" at the box office, but it made for a much better film.