Sadness and ghosts are not a new area for any national cinema – and this may be particularly true in Thailand. However, a “useful ghost” is entertaining and moving – if it is somewhat sprawling – of love and loss that is not similar to anything you have seen before. The procedure begins to choose the Cantists Week when it buys “LadyBoy Academic Ladyboy” (Wisarut Homhuan), a vacuum cleaner, just to discover that the device looks component. Then a hot manpkkumjud appears, but this is not porn (although there is a sexual scene between the two whispers are sad and funny). It is present to present the main narration: The tragic story in the Witsarut Himmrat has lost in the sadness of his recent wife due to dust poisoning. It becomes clear that the husband is still largely present, although spying is in the form of an electric vacuum cleaner.
From “roundabout” to “birth”, the idea of loved ones who return to us in strange circumstances is a strong cinematic idea. A “useful ghost” represents one of the inner entries in that law. Part of the fun of the film is to see how others interact with the fact that March is keen to revive his bond with his wife, regardless of her new position as an electric device. Some of the best comedy in the film is extracted from the fact that it is less than the vacuum cleanliness and more, which has ever returned to the anger of the Mars family. Apparently, they never thought about it when she was alive and her ability to overcome the limits of death and did not help the afterlife to love her to the wife of IOTA.
Where the film gets a little chewing, and moving from fun modernity to something deeper, is the use of this context to explore the dynamics of the persecuted appeasement. Instead of rebellion against the family you treat very badly, the NAT void is trying to weaken them by proving itself “a useful ghost”: it will help them expel the similar souls from their factories, as it has killed other insecure working conditions who later returned as devices as well. This cooperation with injustice, instead of solidarity with the oppressed, makes Nat a complex heroine. But since it is very low in arranging the attackers – being dead and vacuum cleansers – you have a lot of sympathy for her ordeal.
All this works because there is something strange about the performance of the vacuum cleaner, despite the comic hypothesis by nature. You may expect the comedy here to come from a small, reverse machine that is reflected in things and flattened like a cute robot in the eighties. Or perhaps the inhabited electric vacuum cleaner is a evil thing, saturated with the threat of Plymouth Fury in “Christine” for John Carptter or endless porcelain dolls in BlumHouse Horror? One can easily imagine the shine hose, sapinin, full of evil. Instead, there is a generous and elegant thing about the vacuum, as it slips steadily with a strange loophole. It is an unexpected and delicious option, echoing the elegant physical of the actor Davica Horn, who depicts the human self of the haunted haunted.
When a handful of monks appear to summon the “feminist genital organ” emptiness, it is funny and strange in a strange way, and he called the protective instinct to the viewer – a approach that involves without being in a delegate similarly, but more than just indifferent work, although there is a different effect on the following, although there is an impact on what is passed. BONBUNCHACHOKE is more sympathetic, and the political project here must be correct: the goal is to draw attention to the Thailand record when it comes to the workers available and political coverage.
A more commercial film can allow the assignment of a “inhabited vacuum cleaner” to clean the “box office”. Unfortunately, to be a “useful ghost”, a “useful ghost” heading to the Arthouse audience, although his abnormal charm wins, as well as his successful transition to sadness, is photographed with a distinctive sense of pool.