Review: Shutter (2004)


Directed by: Banjong Pisanthanakun, Parkpoom Wongpoom | 93 minutes | horror | Actors: Ananda Everingham, Natthaweeranuch Thongmee, Achita Sikamana, Unnop Chanpaibool, Chachchaya Chalemphol, Samruay Jaratjaroonpong, Abhijata Meuk Jusakul, Binn Kitchacho, Jitrada Korsangvichal, Panitan Mavichinchak, Unnop Chanpaibool, Chachchaya Chalemphol, Samruay Jaratjaroonpong, Abhijata Meuk Jusakul, Binn Kitchacho, Jitrada Korsangvichal, Panitan Mavichinchak, Sivagarnum Punikramepatanchhan Panikanthrananchahrananchahrananchahrananchahrananchahara, Saifarnahran Nuttamara, Saifarnalumanakhananchhan, Saifarnalhampanchhan , Achita Wuthinounsurasit

This Thai horror film is the first production of the directors Pisanthanakun and Wongpoom, but that has not proven to be detrimental to the result of their collaboration. “Shutter” has become a film that looks forward to more films by this director duo because of the horror that is successfully evoked in it.

However, this is not because the blood of the victims is splashed off the screen. On the contrary, there is little evidence of bloodshed in this film, but instead it is about a successful build-up of tension in which an ever approaching, unstoppable and above all inescapable threat is central. And the various manifestations of this threat often appear only vague and briefly, sometimes even in a flash. So short that you, as a viewer, can barely record what just flashed by. Indeed, the directors allow the horror to be caused by, to a large extent, putting the viewer’s imagination to work. And it has turned out to be a choice with which, supported by effective camera work, successful scare effects, ghostly sounds and scary music, the desired result is achieved in terms of effective horror. The fact that the danger can literally emerge from any angle, in any form, at the most unexpected moments and seems to originate from the other side of the grave also contributes to the threat that is constantly present in this film and to an increasing extent. becomes palpable.

The characters are introduced extensively and the gradual disruption of their happiness in life with their accompanying increasing frustrations and fears is all the more uneasy than if the calamity had erupted in all fury from the start. It slowly becomes clear that not only the consequences of the car accident are troubling Tun, but also that something from his past is haunting him. With this, the story is largely devoted to the unraveling of the cause of the threat that plagues Tun and his girlfriend Jane. Whether this is the right choice for the developments in this film? Well, it is true that the attention and curiosity about the denouement in this film is increased, but as it approaches, the sympathy for Tun will diminish and will largely or even completely lie with the threat within the story. Something that can at least be questioned since it does not really benefit the horror in this film that is effectively evoked for a long time in the last phase of the story.

Despite this minor flaw, “Shutter” has turned out to be a successful horror film in its entirety. A film that is not out of place in the list of Asian horror films of the last few years and which, if you are a fan of these types of films, should certainly not be missed.

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