How to Make Millions Before Grandma Dies is the highest grossing Thai production ever in Indonesia, Singapore, the Philippines, and Malaysia among other markets. It’s the highest grossing Thai film of 2024 and these packed screenings have helped it land on the Oscar shortlist of 15 films advancing in the race for Best International Feature. Director Pat Boonnitipat presumably won’t have to resort to the same scheme that his young protagonist resorts to while doting on his ailing grandma, vexing for a substantial inheritance.
Predictably, M (Putthipong “Billkin” Assaratanakul) is not the only relative with his eyes on the house his grandma, Menju (Usha Seamkhum), still lives in all by herself. His hardworking mother, Sew (Sarinrat Thomas), and her brothers, deadbeat drunk Soei (Pongsatorn Jongwilas) and overeager stock trader Kiang (Sanya Kunakurn), suddenly shower their neglected mother with attention. Although she is the last one to be informed about her terminal cancer diagnosis, the sprightly and stubborn elder is well aware that her family cares more for her wealth than her well-being.
Of course, neither Boonnitipat, who based the sentimental story on personal experiences, nor his co-writer Thodsapon Thiptinnakorn are so ruthless and realistic as to not have Menju warm to the ncreasingly sincerity of her grandson’s commitment. Conversely, M gradually sheds his indifference and reluctance, rekindling a close connection lost over the years. At the core of the original outline lies a time-tested trope, revived by careful combination of gentle humour and sentimentality. The latter is slightly overplayed in the final chapter but the well-rounded characters and sincere performances, especially by Seamkhum and Thomas, carry the tragicomic plot through to the literal end.
While it comes off as both a bit too contrived and calculated, How to Make Millions Before Grandma Dies still provides a nuanced view of family relations. While Menju’s grown kids and grandson first appear rather greedy and callous, small moments reveal how the inheritance doesn’t simply present financial gain but rather proof of an affection of which none of the siblings feels sure. Although the milieu is middle class, there is at least a hint of the realisation that economic strain can force people to be cold and competitive in family affairs. More of this realism would benefit Boonnitipat’s next picture.