Emmy Award–winning filmmaker Nuk Suwanchote, a prominent voice in Seattle’s independent film scene, directs An Old Friend, a short film that has been resonating with audiences and critics across the international festival circuit. Starring Tom Skerritt and Jason Faunt, the film blends fantasy and emotional realism to explore themes of memory, companionship, and the passage of time.
The story follows an imaginary friend who discovers that his sole purpose is to bring happiness to the child he protects—only to realize that this “child” is now a 90-year-old man nearing the end of his life. Suwanchote’s sensitive direction transforms the fantastical premise into a deeply human drama, guided by restraint, tenderness, and universal emotion.
That vision has translated into strong festival recognition. An Old Friend has been selected for prestigious events including the Hollyshorts Film Festival, Oxford Film Festival, and Newport Beach Film Festival, while also earning major awards such as Best Drama at SISFA 2025 and Best Actor for Jason Faunt at the Puerto Aventuras International Film Festival—further solidifying Suwanchote’s reputation as a filmmaker of emotional depth and international reach.
“An Old Friend” blends fantasy with a deeply human emotional core. What was the first image or feeling that sparked the idea for this film? Was there a personal moment behind it?
The film was brilliantly written by Dan Martin but the visuals were sparked directly from “A River Runs Through It” which Tom Skerritt starred in. It felt so fitting to do that time period and that sort of tone.
Working with Tom Skerritt and Jason Faunt — two actors with such different trajectories and energies — must have been unique. How did you guide the chemistry between an “imaginary friend” and a man facing the end of his life?
I simply gave Jason and Tom their backstories and they brought their characters to life, all from their own lived experiences. This is especially true from Jason’s experience as he let us know he recently lost his father, so he felt very close to the character.
The film deals with themes like memory, childhood, and farewell. What was the biggest challenge — technical or emotional — in balancing fantasy with human delicacy without slipping into sentimentality?
I think the balance between memory and childhood was the most difficult technical challenge because we wanted to stay true to a child’s imagination but we were limited on budget. Showcasing fantasy without bounds was the goal to really stay true to how it feels to be a child but it was difficult due to the limits of a small crew.
You’re a strong figure in Seattle’s independent film scene and an Emmy winner. What does this short represent in your evolution as an artist? Has it opened new creative paths for you?
Yes, this has opened up a lot of potential for my evolution as an artist because it’s provided me with a successful narrative calling card — which I am hoping brings in more collobration with other producers and directors. I have already worked on planning some features and TV shows for the next year. Specifically, our Asian American sketch comedy show called “Thai Guys” that flips cultural stereotypes on their heads in the same vein as MadTV, SNL, and the Dave Chappelle Show.
The story offers a sensitive perspective on time. During filming, was there a moment or insight that shifted your own understanding of aging?
There is a scene where Tom Skerrit says his last line and he somehow married the idea of being a child while also being at the end of your life so poetically that it hits the heart so deep and so memorably.
The film has been selected and awarded at several festivals. What has surprised you most about how audiences connect with this story?
I am surprised by how so many people connect to this situation in particular and were so relieved and appreciated by the film’s viewing.
If you could send a message to your childhood self based on the soul of this film, what would it be?
Appreciate the time you have with your parents no matter what. There is not as much time left as you think.
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