The Medium (2021)★ 6.7/10

A standout in the mockumentary genre, the film’s immersive first half sets the stage for a visually intense finale. The climax leans toward B-movie aesthetics and lacks true terror; it’s slightly less effective than the director’s earlier "Shutter." The overly visible presence of the cinematographer and camera undermines the mockumentary’s authenticity.

Despite prior preparation, my first experience with Thai horror still left me startled. The mockumentary style enhances the film’s realism, though it occasionally seems illogical. The gradual portrayal of possession—through physical discomfort, disappearances, and surveillance footage—was a clever choice. The seemingly ordinary yet masterfully executed cinematography reveals the meticulous effort of the director and crew.

It's not as astonishing as I hoped, but the overall experience is still satisfactory. Leveraging Southeast Asia's mysterious folklore elements (including locating it in the valley), the film unfolds a sinister story of possession with relentless brutality, depicting how an ordinary individual and family are gradually torn apart and ravaged by supernatural forces. The pacing is great. The mockumentary technique provides an excellent perspective into how outsiders observe and document local folklore, enhancing the audience's immersive horror experience.

It's my first time watching a Thai horror film, and despite being mentally ready, I was still spooked. The pseudo-documentary style generally lends authenticity to the narrative but it also feels illogical in certain scenes. The initial possession isn't accompanied by overt cheap scares but instead slowly reveals the characteristics of possession through physiological discomfort, disappearances, and surveillance footage. This approach deserves praise for its subtlety and buildup of tension. The climax is so intense and horrifying that one feels compelled to flee the theater!

Firstly, the decision to keep the camerawork static except for the surveillance segment is a misstep, as it fails to captivate the audience. Secondly, religious-themed horror films necessitate a more substantial cultural foundation than other horror genres. Examples like the obsession with Buddha's reincarnation and questioning of the Bible in Svaha: The Sixth Finger, references to Solomon's seventy-two pillars of demons in The Conjuring, and the ritualistic supernatural spectacles in The Wailing are commendable. However, this film opts for the easy route, choosing to focus on the angle of a medium, which ultimately falls short. While it seems culturally rooted, it's actually lazy, failing to even explain the origin of the evil spirits, morphing from a supernatural film into a zombie flick.

Firstly, the decision to keep the camerawork static except for the surveillance segment is a misstep, as it fails to captivate the audience. Secondly, religious-themed horror films necessitate a more substantial cultural foundation than other horror genres. Examples like the obsession with Buddha's reincarnation and questioning of the Bible in Svaha: The Sixth Finger, references to Solomon's seventy-two pillars of demons in The Conjuring, and the ritualistic supernatural spectacles in The Wailing are commendable. However, this film opts for the easy route, choosing to focus on the angle of a medium, which ultimately falls short. While it seems culturally rooted, it's actually lazy, failing to even explain the origin of the evil spirits, morphing from a supernatural film into a zombie flick.

The film presents a unique and rarely-seen challenge to Thai beliefs and the divine, especially in its conclusion. While the dark and despairing narrative is understandable, including the subsequent zombie plotline and the audience's mockery of the pseudo-documentary camera angles, some elements are hard to accept. There's an excessive challenge to societal ethical norms, even within the context of a horror film. Scenes depicting dog abuse, dog stewing, and dog consumption, as well as indirect matricide and child consumption, are nauseating and discomforting. Rather than disappointment, one leaves the theatre speechless with indignation.

es muy buena

Pisanthanakun manda bem até pelo menos metade do filme, ao nos convencer veemente que estamos acompanhando um documentário onde coisas sobrenaturais, porém, sutis acontecem. Então, gradativamente esses acontecimentos se intensificam, e o longa assume aquele perfil do terror de possessão convencional, como se o diretor tivesse se cansado de seu próprio projeto e acaba por se render a todos os clichês possíveis dentro do tema. Está acabada aí a graça do filme que tinha tudo pra ser tão bom quanto Shutter.

Um destaque no gênero mockumentary, a primeira metade imersiva do filme prepara o terreno para um final visualmente intenso. O clímax se inclina para a estética de filme B e não tem terror de verdade; é um pouco menos eficaz do que o anterior “Imagens do Além” do diretor. A presença excessivamente visível do diretor de fotografia e da câmera prejudica a autenticidade do falso documentário.

La primera mitad de la película, que es muy absorbente, prepara el terreno para un final visualmente intenso. El clímax se inclina hacia la estética de película de categoría B y carece de verdadero terror; es ligeramente menos eficaz que el anterior proyecto del director. La presencia excesivamente visible del director de fotografía y de la cámara socava la autenticidad del falso documental.

Apesar da preparação prévia, minha primeira experiência com o terror tailandês ainda me deixou assustado. O estilo de mockumentary aumenta o realismo do filme, embora, às vezes, pareça ilógico. O retrato gradual da possessão — por meio de desconforto físico, desaparecimentos e imagens de vigilância — foi uma escolha inteligente. A cinematografia aparentemente comum, mas executada com maestria, revela o esforço meticuloso do diretor e da equipe.