Summary:
“Spirit Doll (2023)” is a Thai horror film that fuses psychological horror with spirituality, captivating themes of animism and spiritual possession. Special focus is also given the luk thep phenomenon – Spirit dolls which are believed to contain a spirit or have spiritual energy. The film is a disturbing yet empathetically sorrowful tale that lingers on themes of obsession, haunting grief, and the disconcerting boundary of existence and oblivion.
Chanya, the story’s protagonist, is an ex-television star whose career came to a halt after losing her daughter, Mali, who tragically died. The loss sent Chanya into depression and deep anxiety. Along with the grief, Chanya pulls herself into self-imposed exile from the family, industry, and fans and leads to compounding untreated grief. This unchecked sorrow spirals into supernatural territory which becomes the centerpiece of the story.
A friend of Chanya introduces her to a highly controversial but growing practice of Spirit Doll Worship, the idea that dolls (or luk thep) can bless or protect because it is believed that the souls of young children possess them. In a bid to connect sentimentally, Chanya adopts a doll that looks exactly like her daughter.
At the outset, Chanya appears to derive some pleasure from the doll’s company. She appears to take it out in public while feeding and even talking to the doll as if it were a real child. She also seems to have a social media presence that went dormant. Now, it looks like she has shifted to post videos and pictures of her caregiving actions toward the doll which, for whatever reason, seems to engender some level of concern, ridicule, or pure curiosity. But like they say, not everything that shines is gold; a more sinister force was starting to brew.
Chanya’s life appears to undergo some peculiar transformations. For instance, furniture starts relocating by itself, doors seem to slam shut on their own, and she claims to hear whispers and crying in the middle of the night. Perhaps more alarmingly, she begins to see rage-filled, distorted visions of Mali that look increasingly recognizable. It appears that with every passing day, the doll’s control over her seems stronger, pushing Chanya deeper into paranoia and delusional beliefs. Although some friends and former colleagues may want to step in, they have little choice but to endure her isolation from the world, claiming the doll is the only one alleviating her suffering.
Chanya’s account runs parallel to that of Kanya which overlaps with the Australian spirit doll worship phenomenon. It is Kunot’s chilling story that accompanies chanya’s case, especially after strange phenomena regarding the doll, including the untimely death of Chanya’s friend who poked fun at the practice.
The narrative both Kanya and Kunya Chanya have uncovered, while chilling, takes a bizarre turn when the mother who owned the doll dies under unknown circumstances. The dual occurrence of spirituality and psychology within the film occurs during its climax. Chanya, fully convinced that her daughter’s soul resides within the doll and asking to be let out, attempts a mock exorcism. Instead of freeing her daughter, Chanya releases an evil spirit that has been preying on her grief.
The film ends with Chanya disappearing under mysterious circumstances. Her claim marks the start of Kanya warning the public of the danger. But during the last scene of the film, the audience is left looking at the doll in a shop window grinning faintly.
Nattasha Bunpratom as Chanya – The character of Chanya is the lifeblood of the film, and Bunprachom captures the essence of it beautifully. She shows grief while also displaying a subdued mania—or strange hysteria—suggestive of a mother at the precipice of an emotional meltdown. Her sympathetic metamorphosis into a deeply disturbing figure is profoundly affecting in its gradual transformation.
Chicha Amatayakul as Kanya – Amatayakul pulls in international fame owing to her role in Girl From Nowhere. She gives warmth and curious sharpness to the character of the journalist investigator. This character’s subplot adds essential flavor for understanding the dominating supernatural aspects of the film.
Thanapob Leeratanakajorn as Krit – This is probably the least prominent cast member, but he still impresses by portraying the skeptical relatives who turns out to be the concerning doll’s dark energy victim.
Director: Tanit Jitnukul – Jitnukul is known as a pioneer in Thai horror cinema. He combines folklore with modern horror aesthetics. In Spirit Doll, he avoids heavy gall and jumps scares. Instead, he painstakingly halts narrative progression through mounting tension, eerie silences, profound visuals, potent symbols, and, most importantly, masterfully crafted silence.
Writer: Pattaranan Techanarong – The screenplay is incredibly sculpted – blending the psychotic breakdown of a mother with spirit marketing and the archetypal loneliness of contemporary society.
Cinematography: Jarin Komjarin – Chanya’s framing of the doll, combined with the garnished lighting in the work, evokes a sense of pure doll-like parlors, giving off an unnervingly haunting feeling of controlmes and tightness, increasing the claustrophobic feeling. The dim lighting and color palette featuring subdued colors creates a pervasive mood that feels haunted.
Soundtrack: Phonlawat Chaikul – The soundtrack of the film is hauntingly chilling, yet subtle. Droning sounds used alongside Thai traditional instruments build the spiritual horror and discomfort sought by the film.
IMDb Rating and Reception:
As of now, the film has a rating of 6.7/10 on Spirit doll’s imdb page as of early Q1 2024. The Horror is aptly being consumed across Southeast Asia which culturally appreciates and conviction driven horror traditions. The psychological aspect of the movie was embraced worldwide. Audience’s appreciation zoomed in on the deep psychological layer that revolves grief and maternal despair as seen in The Babadook or Hereditary.
Critics emphasized how the film provided a careful consideration of the emotional frailties that make people susceptible to manipulation and superstitious delusions. A number of critiques mentioned that while the pacing of the first act may be slow, the payoff in the final third is worth the build up. Receiving muted strokes of praise is the unyielding decision of abandoning closure that remains true to the discomfort and existential horror of the film.
That said, some critiques focused on the slow-witted exposition of the second act where much of the doll’s backstory is told instead of explored through environments. Others felt the film depended on cultural nuances that many international audiences would need pre-existing context to fully appreciate.
Conclusion:
Spirit Doll is not simply a horror film. It is a profound analysis of grief, the primal need to connect, and the profound chasm most societies neglect – the void of spirituality. Spirit Doll embodies aspects of Thai culture into an eerily haunting narrative that is strikingly universal. With no reliance on bloodshed or cliched plot devices, the film masterfully delivers dread through emotion, atmosphere, and the horrifying thought that a cherished object can, when held too tightly, transform into danger.
Through Chanya’s supernatural fixation journey, Spirit Doll frighteningly illustrates that some bonds which offer comfort come at a sinister cost. It is an unsettling film that is meticulously crafted and haunting in its aftermath.
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