In Thai cinemas: Ghost Ship, Love Arumirai

It’s Halloween weekend, so studios, distributors and theater chains have all conspired to cram horror films down our throats whether we want them or not.

Along with a mixed bag of tricks that includes Scouts Guide to the Apocalypse, the nu-horror Regression and yet another Ju-on movie, there’s a couple of Thai films.

Among the local offerings is Mon Son Phee (มอญซ่อนผี, a.k.a. Ghost Ship), which has venerable Thai studio Five Star Production getting back into the water.

Set aboard a cargo ship, the story plays on that ancient nautical notion that women are bad luck at sea, and the superstitious crew have much to fear when they find the corpse of the captain’s wife boxed up in the hold. Spooky stuff starts happening as the boat heads into a storm.

It’s the feature debut by Achira Nokthet, who previously served as an art director on Tanwarin Sukkhapisit’s It Gets Better and the horror-comedy films of Poj Arnon (he even helmed a segment of Poj’s Tai Hong Tai Hian).

Sean Jindachote stars, along with Phuwadon Wetchawongsa, Akkarin Akaranithimetrath and gay-film cult actor «Fluke» Pongsatorn Sripinta.

The other Thai entry in local cinemas is Love Arumirai, which seems to be taking a page from the recent Amazon series Red Oaks, which had an honest-to-goodness body-swap episode.

The story has to do with the seven-year marriage between Geng (Phisanu Nimsakul) and fashion model Bella (Cheeranat Yusanon) turning stormy. The bickering husband and wife face their toughest test yet when they wake up one morning and get a shock when they go to the mirror.

Seree Phongnithi is the screenwriter on this feature from start-up shingle Munwork Production.

Apart from the spooky offerings, Thailand’s new Documentary Club offers a demonstration of counter-programming that is also complementary, bringing in the Oscar-winning 2008 documentary Man on Wire, which is the story behind the death-defying 1974 high-wire stunt by Philippe Petit at New York’s World Trade Center. It’s a slice of history that has made a comeback thanks to Robert Zemeckis’ The Walk, which is a dramatization of Petit and his stunt. But while the phobia-inducing 3D camerawork of The Walk earned accolades, the movie bombed at the box office and was slapped by a backlash from critics, who urged viewers to instead seek out Man on Wire.

That new release and others are covered at the other blog.


Wise Kwai’s Thai Film Journal

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