The Global Market for Temples

Thailand’s selection of “9 Temples to Heaven (9 วัดสู่สวรรค์)” as its submission for the 99th Oscars’ Best International Feature Film category may appear a straightforward cultural endorsement. However, this decision by the National Federation of Motion Pictures and Contents Associations, a body composed of film directors, producers, distributors, and cinema operators, reflects a broader commercial calculation in the Asia-Pacific region concerning Buddhist sites. The film, one of 51 Thai entries meeting eligibility requirements, now carries the weight of a national brand.

Historically, temples have served as spiritual centers and communal anchors. Now, they are increasingly framed as economic assets. Consider Myanmar, where ancient temples and Buddhist pilgrimage sites are being leveraged to boost tourism, according to a July 2026 report. In Indonesia, the celebration of shared heritage at Prambanan Temple by Modi and Prabowo in July 2026 also points to the diplomatic and cultural capital embedded in these structures. Even in South Korea, Buddhist temple retreats are being marketed to singles seeking partners, as Reuters reported in July 2026. This repositioning is not without its complexities; Chinese prosecutors charged a former Shaolin Temple ‘CEO monk’ in March 2026, indicating the financial pressures and potential pitfalls accompanying the commercialization of sacred spaces.

For an everyday economy, the economic implications are direct. A film like “9 Temples to Heaven,” if successful, could drive cultural tourism, with tourists seeking out the depicted sites. This translates into increased spending on local transportation, accommodation, food, and souvenirs, impacting small businesses and daily wage earners. UNESCO itself noted in May 2025 the potential for 'Harnessing Heritage' at sites like Wat Prayoon in Bangkok, Thailand. The question for local residents is how much of this potential revenue translates into tangible benefits for their monthly budgets, beyond the immediate service sector.

However, the strategy carries risks. Relying on cultural artifacts for economic gain can shift focus from spiritual preservation to profit motives. The ‘CEO monk’ case in China serves as a caution against unchecked commercial ambition. Furthermore, while an Oscar nomination generates international attention, the long-term economic impact is not guaranteed. Thailand has submitted films to the Oscars before; merely submitting does not guarantee a win or even a nomination. The committee’s choice reflects their belief in the film’s potential to resonate globally, but the global audience’s reception is an independent variable.

The real test will be whether the film's international exposure can translate into sustainable, inclusive economic benefits for the communities around these sites, or if the temples become primarily backdrops for tourist photos, with their economic value extracted by larger industry players. The film's journey to the Oscars, therefore, is not just a cultural endeavor; it is an economic experiment whose outcome will reveal much about the market value of sacred heritage in the global economy.