There are many kinds of ghosts in Ratchapoom Boonbunchachoke바카라s witty, cheeky A Useful Ghost. They range from avenging and embittered to pleasant, generous and helpful. The film makes a plea for ghosts not as rude interruptions but aiding presence who, however, might upset plans. When an 바카라academic ladyboy바카라 (Wisarut Homhuan) has his vacuum cleaner acting up, coughing, he바카라s rattled. The repairman Krong (Wanlop Rungkumjud) arrives, bearing a string of stories around the haunted appliance. Beneath this frame narrative lies nestled a progressively wacky, deliriously charming concoction of events.
A family saga, threaded to the factory wherefrom the appliance came, rolls out. Suman (Apasiri Nitibhon), who now runs the factory after her husband바카라s death, is distraught over her persistently depressed son March (Witsarut Himmarat). He바카라s grappling with his wife Nat바카라s ( Davika Hoorne, walking an exquisite tight rope between the placid and emotional ripples) death. When she returns as a ghost occupying a vacuum cleaner, he바카라s overjoyed. But his family is concerned, cynical of Nat바카라s re-entry in his life.
Nat insists she바카라s not a vengeful ghost, that she means well for March and the family. But bolstered by the larger family, relatives, Suman is unwilling to let Nat바카라s return pass as a domestic rite. Suman is beleaguered, attacked by the elders on account of both her children. One is gay, the other besotted with his dead wife바카라s lingering ghost. Already weary of dealing with a closed factory바카라s repercussions, Suman finds herself pressed on to intervene, be sterner in the case of March and Nat. If she doesn바카라t, her passivity would be further arrogated to her maternal incompetence, that she has wholly failed. The family rails against March and Nat바카라s bizarre reunion, insisting on the immorality of human-ghost togetherness.
Boonbunchachoke weaves the film with a storyteller바카라s ardent love for his strange, whimsical, recklessly playful saga. The most exaggerated, seemingly ludicrous circumstances play out with matter-of-fact sincerity. When a vacuum cleaner possessed by a ghost shows up at a hospital pleading entry to its husband바카라s room, the receptionist insists it stick to visiting rules. She complains even dead people have husbands they need to attend to, whereas she, despite being alive, can바카라t even find a partner. She exhibits no surprise or alarm at the weirdly animated, speaking cleaner. One of the funniest scenes, delivered deadpan, has Suman chiding March to 바카라stop screwing the vacuum cleaner바카라. Another scene guaranteed to leave the viewer in splits is a group of monks aghast at discovering March making out with the appliance.
In delightful ways that pay homage to as well as parody the strong Thai horror tradition, A Useful Ghost swerves away from grotesque, eerie terror to reflect more humane, wistful enquiries into spirits caught in a limbo of melancholy and longing. DP Pasit Tandaechanurat and production designer Rasiguet Sookkarn establish a rich, graceful visual schema that shuttles between austere spaces and jolting vibrant disruptions.
There바카라s a rich vein of absurdity shot through with an impulse to make light of the gathering grief at its center. At some point in the film, a character asserts ghosts come back for two reasons. One, when they remember; the second, when they are remembered. Love becomes central to this proposition. Dead people who stubbornly hang on to their beloved, so do the latter until the inevitable rupture exerts itself; can the memory of love slice through mortality바카라s abscesses? With time, March바카라s memory of the Nat he used to know and love before she died, fades.
In the film, remembrance, erasure of memory are also tapped for their political charge. Moving from the private to public, holding onto memories of vicious injustice and violence are defiant acts, pushing back regimes and authorities that seek to deny, wipe them from the records. Nat becomes weaponized, a mere plaything to be manipulated by the powerful. While alive, she had been unhappy, chafing at tensions produced by March바카라s family. She hadn바카라t been gladly accepted into its folds, viewed instead with antipathy and distaste. March바카라s extended family is spectacularly cold, dismissive and intolerant of his fixation with Nat바카라s ghost. Even after death, she has to struggle with earning a place, their trust and warmth. The film ventures into dream surveillance, with not even ghosts being spared바카라they바카라re used to further the agenda of the political elite, whitewash their historic sins. Workers remain milled under, their rights dismissed as fanciful. The specter of the 2010 Thai military crackdown drapes the film's gradual events. As Nat becomes absorbed in this project, she drifts far from who she used to be while she was alive. It바카라s only a matter of time before she too becomes just a wisp, disappearing into the thin air.
Admittedly, the outer narrative comes off as slight and doesn바카라t cohere into the interlocking embedded story as fluidly. Even the conclusion of Nat-March바카라s romance feels a tad predictable, rendering the emotional payoff considerably diminished. But these don바카라t detract at all from the sparkling imagination and arresting humor on display throughout A Useful Ghost. It바카라s an impish, wondrous debut that collapses into familiarity as it winds up but has enough eccentricity to let us stay the course. There are many marvelous pleasures here.
A Useful Ghost premiered in Critics바카라 Week at Cannes 2025.
