Cannes Critics’ Week: Thai Director Ratchapoom Boonbunchachoke on Possessed Vacuum Cleaners and Dust Pollution in ‘A Useful Ghost’

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In the skilled hands of Thai director Ratchapoom Boonbunchachoke, what might initially seem like a typical horror trope – a haunted vacuum cleaner – becomes a subtle critique, exploring themes such as environmental pollution, power imbalances, and the financial struggles faced in Bangkok.

Boonbunchachoke’s first film, chosen for Cannes Critics’ Week, symbolizes Thailand’s reemergence at the esteemed festival following a ten-year hiatus.

Boonbunchachoke expresses his enthusiasm, feeling both thrilled and apprehensive, as the upcoming event holds significant importance for him. He considers Critics’ Week an excellent opportunity for the movie to gain global recognition.”

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“Boonbunchachoke reveals his mix of excitement and anxiety since it’s a major occasion for him. He believes that Critics’ Week offers an ideal stage for the film to make its worldwide debut.

In ‘A Useful Ghost,’ I find myself grappling with grief over the loss of my beloved wife Nat, who succumbed to the harsh realities of dust pollution. However, when her spirit unexpectedly inhabits our family vacuum cleaner, we’re thrust into an unusual partnership that challenges societal norms.

My family isn’t exactly welcoming, but Nat, in her new form, is determined to prove her worth and our undying love. She proposes a daring plan: to cleanse a factory haunted by the vengeful spirit of a worker whose untimely death halted operations. If successful, she promises to free herself from the vacuum and return to me in her true form.

This movie cleverly transforms a traditional ghost story into a witty romantic comedy with satirical undertones, marking a purposeful shift from the established horror cinema norms in Thailand. As Boonbunchachoke explains, “Thailand has a strong reputation for horror cinema, and we also have genres that may not be as internationally popular – like horror-comedy. However, with this film, I aimed to break away from both traditional paths. One of my initial thoughts was considering how a ghost could fit into modern society. Could they hold jobs? Since the cost of living here is quite high now.

As a cinema enthusiast, I find this film’s distinctive style showcases the director’s knack for comedy rather than fear-inducing elements. In his own words, “I lean more towards humor than toward terrifying audiences.

The movie tackles critical environmental problems, specifically dust pollution, that has escalated into a significant concern in Thailand over the past ten years. As Boonbunchachoke states, “Every winter we experience dust pollution. Residents in Bangkok and the northern regions often voice concerns about poor air quality.” The Thai title of the film holds two interpretations in local colloquial speech; it not only signifies ‘dust’ but also symbolizes ‘people with no influence.’

He notes that we dislike finding dust in our homes, just as we’d prefer not to have any spirits lingering around. He explains that ghosts are typically thought of as deceased individuals who should no longer be here, yet they seem to persist in the current time.

In the movie, the industrial workspace serves as a powerful symbolic stage for broader societal concerns. As the director explains, “The factory in the film is an eye-catching location that vividly portrays the exploitation of labor and the process of industrialization. It speaks volumes about the potential environmental damage resulting from manufacturing, and the dangers faced by workers due to their working conditions.

The movie was a joint production among Thailand (185 Films), France (Haut Les Mains), Singapore (Momo Film Co), and Germany (Mayana Films). This international cooperation, while not without its difficulties, proved beneficial. One unexpected advantage was collaborating with a Singaporean industrial designer on the film’s essential vacuum cleaner design. Boonbunchachoke acknowledged that he initially didn’t think working with an industrial designer would be ideal because they might prioritize functionality over aesthetics. However, this designer proposed some rather unconventional designs, leaving Boonbunchachoke astonished.

In the movie, Davika Hoorne plays the role of Nat, Wisarut Himmarat portrays March, Apasiri Nitibhon is cast as Suman, and Wanlop Rungkumjad takes on the character of Krong.

Boonbunchachoke, who has roots in Teochew-Hainanese culture, earned his degree from Chulalongkorn University’s film department. His short film titled “Red Aninsri; Or, Tiptoeing on the Still Trembling Berlin Wall” was recognized with the Junior Jury Award at Locarno in 2020. In his main occupation, he functions as a scriptwriter for television programs.

As a passionate cinephile, I’m thrilled to share that “A Useful Ghost” marks Boonbunchachoke’s debut feature film. My ardent hope is that this piece will rekindle global interest in Thai cinema. This film deviates from the conventional expectations of what Thai cinema might appear as, serving as a catalyst to broaden perspectives and reveal the boundless potential stories that Thai cinema can tell.

Moving forward, Boonbunchachoke is brainstorming concepts for his upcoming second movie. He mentions that if the first one fares well, the production of the second film might become less challenging.

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2025-05-17 14:47