This thesis analyses the use of slowness, stillness, and silence in Apichatpong Weerasethakul’s selected films: Uncle Boonmee Who Can Recall His Past Lives (2010), and Cemetery of Splendour (2015). As Weerasethakul is often categorised as one of the slow cinema directors, the thesis firstly explores the concept and the key characteristics of slow cinema in general by referring to the academic work of Matthew Flanagan, Jonathan Romney, Tiago de Luca, and Song Hwee Lim. In the following chapter, the thesis explores the cinematic context of Weerasethakul’s cinema by focusing on the historical and cultural context of ‘Isaan,’ the region where most of his films were set. By reflecting upon the slow cinema theories, and drawing the connection to Isaan background, it examines how Weerasethakul employs the cinematic devices recognised in slow cinema to build time and space where realism, surrealism, past and present coexist.