Talking about and consuming Asian horror is a treat for anyone interested in exploring the distant paths of non-American and non-European film productions. Since Onibaba (SHINDÔ, 1964), numerous films of this genre have been produced in the Asian world. Those that gained greater international attention unfortunately underwent the process of American remakes, as did some European exemplars. During the 2000s, we witnessed this diaspora of American laziness with Ringu (NAKATA, 1998) and Ju-on (SHIMIZU, 2000), which, in the opinion of this writer, suffered greatly in the process. To understand this cinematic chaos, I recommend the books "Fronteiras do Medo - Quando Hollywood Refilma o Horror Japonês" and "A Aceleração do Medo - O Fluxo Narrativo dos Remakes de Filmes de Horror do Século XXI," both by Professor Felipe Falcão.
In 2004, the world turned its eyes to the eerie Thai film ตัวอย่าง ชัตเตอร์ กดติดวิญญาณ / Shutter (PISANTHANAKUN; WONGPOOM, 2004). With this, Pisanthanakun established his name in the pantheon of horror in the political east. Shutter spawned a sequel in 2007 (directed by the original directors) and an American remake in 2008, which at least retained the original name. Afterward, Pisanthanakun continued directing other films in the genre, participating in the anthology The ABCs of Death in 2012, alongside Srdjan Spasojevic, the absurd and pretentious Srpski Film / A Serbian Film (SPASOJEVIC, 2010), Xavier Gens, Ti West, Timo Tjahjanto, among others, totaling 26 directors. Years later, in 2021, Pisanthanakun introduces the world to the fantastic horror of ร่างทรง / The Medium, a mockumentary that follows a small village, its residents, and its culture. In the plot, the women of one of the families in the region are responsible for maintaining the spirit of the goddess Ba Yan, the deity worshiped by the local villagers. The origin of Ba Yan is unknown, with her main idol represented by a statue placed in the nearby forest of the locality.
The Medium (2021), directed by Banjong Pisanthanakun
The beginning of the plot focuses on Nim (Sawanee Utoomma), the human conduit of Ba Yan, aunt of Mink (Narilya Gulmongkolpech), and sister of Noi (Sirani Yankittikan), as she engages in her activities as a healer and shaman. At a certain point, Nim mentions that she was blessed by Ba Yan after Noi refused to undergo the possession process by the goddess. Following this, Noi turns to Christianity as a way to protect herself from the potential ancestral wrath of the deity. We gain a better understanding of the dynamics among the women in the family after the death of Noi's husband and Mink's father. This first act is constructed with elements of plausibility, allowing us to form connections with the characters on screen, staggering everyone with the pain and universal stigma of grief.
The Medium (2021), directed by Banjong Pisanthanakun
After her father's death, Mink begins exhibiting strange behaviors that later reveal themselves as manifestations of possession. During these moments, Narilya shines on screen with terrifying and bizarre physical performances, reminiscent of one of the few strengths of Malignant (WAN, 2021) with contortionist Marina Mazepa's body show, portraying the enigmatic Gabriel.
The process of Mink's possession is gradual, taking a significant portion of the film's over two-hour runtime. Excessive vaginal bleeding, a brief moment of alcoholism, and the accumulation of religious symbols and other items in the young girl's room (such as a sexual condom) set the tone for the character's psychological degradation. As gradual as Mink's possession is, so is the horror of The Medium. Unlike the characteristic jumpscares of early 2000s horror cinema, as seen in the 2004 film, in 2021, Pisanthanakun treats us to a filmic maturity of a unique spirit. Fears are constructed in a way that the viewer feels oppressed, forsaking cheap scares that last as long as the two seconds of Napalm Death's "You Suffer" song in grindcore music.
Shutter (2004), directed by Banjong Pisanthanakun and Parkpoom Wongpoom
The Medium (2021), directed by Banjong Pisanthanakun
To delve further into The Medium is to risk spoiling the potential for a rollercoaster experience, providing answers and additional hints to a plot that slowly suffocates the viewer, like a fear born from within.
However, not everything is perfect. The third and final act is a systemic boil and a pyrotechnic delivery of a rushed resolution. The documentary's argument lacks support in various situations during these last moments. The film becomes overly action-packed, showing too much and distancing itself from the subtle details. The ritual transforms into a megalomaniacal penchant for the macabre with an army of the possessed.
In the end, the closing scene elevates the esteem of the final moments of mundanity. The Medium bids farewell to the viewer with a perennial despair and an extremely human lack of faith, reminding us that our beliefs possess the noble capacity for total destruction.
The Medium (2021), directed by Banjong Pisanthanakun
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