Week 10, I would like to update the status of my research project for this week’s reflection. I realised that the topic of interpreting Decoupage was more complex than I thought, even could not be done for a semester. Maybe the topic was too wide to could not be specifically look up Decoupage. (The history of Decoupage was way too long). So after brainstorming, I decided to come back to my familiar field – The Asian movies. Since I was young, movies had grown up with me. They were so entertained and inspired my ideology all the time, but maybe at that time, I only shallowly understood the plot of films and that was it. Actually, when you knew more the secret of film, you could mentally feel more things in the same scene. (Especially when I brought the idea of ”finding out” Decoupage into the scene, the colour, the background, the camera angle or even the dedicated camera movement were all seemed to be purposefully utilised in the scene. The biggest difference between Decoupage and Montage was the former focused on the implement of pre-preparation into the sequence of the scene and the latter was designed for going through post-production. Apichatpong Weerasethakul (Robin recommended me to investigate potential elements of Decoupage in his films. ). He is a Thai director and has a better international reputation than local Thailand. ” Please do not consider my tempo of films is slow. If I thought they were then I would cut them up”, he said. From this perspective, Decoupage seemed to be demonstrating a way to lead the audiences to feel the moment of every scene visually and mentally. The performers also play important roles in the structure of Decoupage, All the scene filmed by Apichatpong Weerasethakul were presented between dream and nature. (Natural without pretentious).