Looking at Thailand’s reaction to the passion of the first J-Horror controllers, Shutter caused a sensation at the checkout in his homeland in 2004. Like a shutterbug next year on the 23rd. The April premiere in North America was preceded by a terrible reputation, and the rumbling of an American remake was already in full swing. Although this supernatural story shares the recurring J-shaped horror of a long-haired female ghost seeking revenge in white, it offers originality in the form of unreliable narrators and dark moral complexities. Shutter has told a fascinating story that focuses on characters who are not afraid to go all the way when their fears are well-filled.
First film by Parkpoom Wongpoom and Banjong Pisantanakun, the story revolves around the photographer Toon (Ananda Everingham) and his girlfriend Jane (Natthaweeranuch Thongmee). They are happy lovers, but they open the door to a supernatural torment when a derivative Jane accidentally runs over a woman on her way home from a friend’s wedding. A drunken tuna persuades Jane to run away and leave the woman alone in the middle of the street. As a result, strange pictures appear in Tun’s pictures, and strange things happen to the couple. It is clear that their evil deeds have led to justice and punishment from behind the grave, but history does not rush to unravel shocking truths.
It is the structure of the story and the work with the characters Shutter shares. Everingham plays with charm and almost provisional sweetness and sells Tun quickly as a morally weak but well-meaning person. It is a depiction of Everingham and the central romance between Toon and Jane, which places him in the role of protagonist with deep interest. Something that turns out to be a bright red herring.
Wongpum and Pisantanakun rely on the fantastic conventions of the J-Choir to rock the spectator and then bring him down. First you have to do everything at once and let the accident happen as a rebellious event, a visible reason for the vengeance of the evil spirit. Then Toon’s friends, who he first feasted with, start killing themselves. The weeping interrogation of his grieving wife before Jane sows the seed of doubt. Tun’s harbor is a mystery, and it could threaten not only his relationship with Jane, but also his life.
Then the spirits become stronger. There are traditional fears of ghosts, but Wongpum and Pisantanakun weave a lot of ingenuity in the department of fear, making full use of photography. Ghostly Natre (Achita Sikamana) reveals his presence in professional photography, in a dark room and even in a cunning fear of the toilet that ends with an inviting lightness. It’s another night meeting behind the wheel that threatens to get your pants dirty; Natre is one of those serious evil spirits for a reason.
As in many other stories, Toon and Jane eventually followed Natra’s journey to her hometown to learn the truth about her fate and ensure that she had calmed down in hopes of suppressing her unrest. It is accompanied by important discoveries about the relationship between Toon and Natre and the culminating confrontation between the living and the dead. All this would set a solid record for supernatural horror. But it was during the happy – after the false – end that Wongpum and Pisantanakun finally showed the rest of their hand; Toon was never the main character. He and his friends deserved everything that happened to them, including Natra’s conviction in Thun. This is the final turning point in this kind of progress and the point that produces a satisfactory result. Justice has been done, and Natra is a curse created only for the monster who created her.
From a narrative point of view it breaks with the standard horror spirit G. Sadako and Kayako were spread indiscriminately as supernatural diseases. In Thailand the belief in spirits and ghosts is very common and they are often considered friendly. There are also evil spirits, often from terrible deaths. There is a well-known Thai proverb about this: You may not believe it, but you won’t hurt the ghosts. A small donation or sanctuary can be important for peaceful coexistence.
Despite his sinister appearance and effective scare, Nathar is friendly. She hunts down and claims only those who have harmed her directly, and their atrocious deeds are desperately needed to be punished. For Jane, there was no malicious intent, only the truth.
The best horror films skillfully balance fear and action. They cause a lot of chills, but at the same time they let us communicate with carnal figures and stories. Shutter is both doing surprisingly well, taking trophies out of a terrible trend with his own culture and making something much more out of it.shutter movie thai,shutter japanese movie,shutter thai full movie,shutter (2008),shutter full movie,shutter ghost on shoulder,shutter film review,shutter netflix