Synopsis:
Blending psychological horror with spirituality, “Spirit Doll (2023)” is a Thai horror film that explores the unsettling aspects of animism and spiritual possession. The luk thep phenomenon—spirit dolls that are believed to contain spirits or spiritual energy—is also given consideration. The film is a disturbing, yet empathetically sorrowful narrative dwelling on obsession, haunting grief, and the ever-perplexing line separating life from death.
The story’s protagonist, Chanya, is an ex-television star whose career came to a standstill after the tragic demise of her daughter, Mali. The loss triggered severe depression and anxiety. The compounded grief leads Chanya into self-imposed isolation away from family, fans, and even the industry. The untreated sorrow spirals out of control, triggering a supernatural response none could fathom.
A friend introduces her to a highly controversial yet increasingly popular practice of spirit doll worship—a practice where people believe spirit dolls (or luk thep) can be possessed by the souls of young children and are able to bring blessings, protection, or companionship. Chanya, in a bid to connect emotionally, adopts a doll that is identical to her daughter.
At first, Chanya seems to find comfort in the company of the doll. She treats it like a real child by feeding, talking to, and even taking it out in public. She also seems to have a social media presence that went dormant. Now, she seems to post videos and photos of herself caring for the doll, which seem to attract attention, whether it be concern, ridicule, or curiosity. But, as they say, not everything that glitters is gold; a darker force was beginning to stir.
Chanya’s life seems to undergo strange changes. For example, objects begin to move on their own, doors seem to slam shut spontaneously, and she can hear whispers along with crying in the middle of the night. Perhaps more shockingly, she starts witnessing distorted visions of Mali that seem vengeful and unrecognizable. With each passing day, the doll’s influence seems to worsen Chanya’s paranoia and delusions. While some friends and former colleagues may try to intervene, she ends up pushing them away, insisting the doll is the only one who understands her pain.
Chanya’s account runs parallel to that of Kanya, a journalist interested in the phenomenon of spirit doll worship in urban Thailand. She uncovers Chanya’s case, particularly after several bizarre incidents associated with the doll come to light, including the death of one of Chanya’s friends who had ridiculed the practice. The backstory Kanya uncovers is chilling: the doll was owned by a mother who died under unclear circumstances.
The two paradigms of spirituality and psychology intersect in the film’s climax. Chanya, absolutely certain her daughter’s spirit is imprisoned in the doll and pleading to be set free, attempts a fraudulent ritual with knowledge scavenged from dubious spiritual services and online forums. Instead of freeing her daughter, Chanya releases an evil spirit that has been preying on her grief.
Chanya’s disappearance under mysterious circumstances marks the conclusion of the film. The doll, found abandoned and apparently devoid of life, triggers Kanya to warn the public of the danger. Yet in the last scene of the film, the viewer is confronted with the doll in a shop window, smiling faintly and awaiting a new owner.
Cast and Crew:
Nattasha Bunpratom as Chanya – Chanya’s character is the heartbeat of the film and Bunprachom’s performance captures it beautifully. She offers grief and exhibits an eerie, subdued hysteria suggestive of a mother on the verge of emotional collapse. Her sympathetic shift into a disturbing figure is profoundly affecting in its slow transformation.
Chicha Amatayakul as Kanya – Amatayakul pulls in international fame due to her role in Girl From Nowhere. She contributes a lively sharpness and curiosity to the character of the journalist investigator. Her subplot adds important flavor for understanding the supernatural elements of the film.
Thanapob Leeratanakajorn as Krit – Arguably the least prominent cast member, but still impresses with his portrayal of a skeptical family member who becomes the concerning doll’s dark energy victim.
Director: Tanit Jitnukul – Known as a pioneer in Thai horror cinema, Jitnukul uniquely blends folklore with modern horror aesthetics. In Spirit Doll, he avoids heavy gall and jump scares, meticulously halting narrative progression with tension, eerie silence, profound visuals, and potent symbols.
Writer: Pattaranan Techanarong – The screenplay is crafted beautifully with depth and commentary as it mixes the psychological disintegration of a mother with the modern dilemmas of spiritual commodification and pervasive loneliness.
Cinematography: Jarin Komjarin – The intimacy of Chanya’s framing with the doll and the dim color palette employed throughout the work is haunting due to the perpetual feeling of confinement and tension, enhancing the claustrophobic feeling. The dim lighting and color palette featuring subdued colors creates an atmosphere that gives the feeling of being perpetually haunted.
Soundtrack: Phonlawat Chaikul – The soundtrack is chilling, but subtle at the same time. It uses ambient drone noises along with traditional Thai instruments to enhance the spiritual discomfort and unease brought forward by the film.
IMDb Rating and Reception:
With a current rating of Spirit Doll sitting at 6.7/10 on IMDb in the early quarters of 2024, the movie is being successfully viewed across Southeast Asia who appreciate cultural references and conviction driven horror traditions. The psychological elements were also embraced internationally with audience’s appreciation regarding the psychological depth where the focus is largely on the grief alongside maternal despair similar to works like The Babadook or Hereditary.
Critics highlighted how the film thoughtfully delved into the emotional weaknesses that render individuals vulnerable to superstition and exploitation. Some reviewers noted that while the first act’s pacing can be tedious, the final third certainly delivers on the buildup. The stubborn refusal to provide a tidy resolution was also welcomed as praise since it remained faithful to the tone of unease and existential dread.
With that said, some criticism was targeted at the exposition-laden second act where much of the doll’s backstory is presented narratively rather than through exploration. Some felt that the film relied too heavily on cultural depth that most international viewers would not grasp without prior knowledge.
Conclusion:
More than just a horror film, Spirit Doll is a profound psychological study on bereavement, the innate desire to bond, and the often overlooked spiritual void modern society leaves. It incorporates elements of Thai culture into an unnervingly chilling story that feels both particular and universal. The film does not depend on overused tropes or excessive violence; rather, terror is rooted in atmosphere, emotion, and the unsettling notion that a treasured possession may become perilous when clutched too tightly.
Spirit Doll chillingly demonstrates, through Chanya’s supernatural fixation journey, that some comforting bonds have a dark price. It is a disquieting yet intricately crafted film that stays with the viewer even after the credit scenes.
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