Synopsis
The Medium is a supernatural horror film from Thailand and South Korea, directed by Banjong Pisanthanakun and produced by The Wailing’s Na Hong-jin, a prominent figure in Korean cinema. The Medium weaves together found-footage style cinematography, shamanistic folklore, and psychological horror in a deeply unsettling narrative of possession, family legacy, and cultural psychosocial belief systems. The film is simultaneously meditative and terrifying, providing a deeply rooted Southeast Asian spiritual horror atmosphere.
The plot follows a documentary film crew investigating the practice of shamanism in the Isan region of Northeastern Thailand. They center their attention on Nim, a middle-aged female shaman whose life revolves around the possession of a spirit named Ba Yan who is said to bestow her family protection for generations. Nim views her role as a medium both as a calling and a burden, which she reluctantly inherited from her ancestors.
As the documentary progresses, we meet Nim’s extended family, which includes her sister Noi and her niece Mink. Noi was to receive the spiritual inheritance as her birthright; however, her rejection of it is what led Ba Yan to pick Nim in her place. Now, however, with Mink exhibiting peculiar behaviors such as strange emotional outbursts and disturbing visions, it seems that either Ba Yan is still on the hunt for a new vessel, or something much darker is afoot.
At first, the family alongside the film crew speculate that Mink’s condition stems from some form of mental illness, drug abuse, or perhaps some form of trauma she underwent. However, as her actions grow more violent and unpredictable, it becomes evident that she is being influenced by forces beyond this realm. The transformation from unsettling to terrifying completes as Mink visibly deteriorates, revealing her possession not by Ba Yan, but by a dark, malevolent spirit.
Nim attempts to alleviate the issue with traditional rituals and exorcisms, but nothing seems to work. As the family goes deeper, they uncover secrets of an ancestral curse involving dark elements such as murder, betrayal, and spiritual rot. What started as a documentary on an innocuous spiritual practice rapidly devolves into a harrowing account of diabolic incursion. The climax of the film erupts into supernatural carnage, featuring ritualistic disorder, multiple possessions, and the collapse of both physical and spiritual order.
The Medium uses its slow-burn framework to bolster the sense of dread, which prepares viewers for a climactic, disorienting, and tragically violent spiral. The documentary approach enhances realism, which, in turn, deepens the audience’s immersion into the narrative’s horror elements. This exploration of shamanism, along with possession, invites contemplation of inherited trauma, religion, and the delicate balance between mental illness and spiritual affliction.
Cast & Crew
Narilya Gulmongkolpech as Mink
In her breakout role, Narilya Gulmongkolpech gives an intensely chilling performance that is both captivating and unsettling. As Mink, the possessed teenager, she embraces the emotional arc with both frail vulnerability and explosive aggression. Her performance is essential to the film’s success since she portrays the character seamlessly as a diabolically altered victim and osmotically open vessel.
Sawanee Utoomma as Nim
With her extensive experience, Sawanee Utoomma’s portrayal of the shaman is both captivating and powerful. Thus far, the character Utoomma plays is Nim, who struggles to balance her responsibilities to the family spirit and her devotion to family. Utoomma’s performance is calm, which at the same time intertwined with a growing sense of dread as things begin to spiral.
Sirani Yankittikan as Noi
Yankittikan plays the roles of Nim’s estranged sister and Mink’s mother. Sirani’s performance offers a more grounded emotional core to the film. Her storyline where she grapples with guilt about abandoning the shamanistic way and powerlessness in confronting her daughter’s possession adds psychological complexity to the film.
Director: Banjong Pisanthanakun
Banjong Pisanthanakun is known for his earlier work on Shutter (2004), and has returned to the world of horror with a more intricate and ambitious film. The Medium showcases his restrained yet purposeful direction. He builds tension through naturalistic cinematography and a steady gaze towards the grotesque. He constructs a universe where the spiritual and the corporeal intersect, often in discomforting ways.
Producer: Na Hong-jin
The Wailing’s creator, Na Hong-jin, infuses this production with his trademark religious horror and cross-cultural mythology. His influence can be seen in the film’s philosophical ambiguity and descent into metaphysical chaos.
Screenplay: Chantavit Dhanasevi and Na Hong-jin
Integrating elements of Thai and Korean horror, the script incorporates elements of folklore, moral complexity, and intense emotional conflict. It sidesteps clichés by providing every character with personal and cultural motivations.
Cinematography: Naruphol Chokanapitak
The found-footage approach blends handheld work and camera wizardry to evoke realism, drawing viewers into the story. In addition to an opening montage that showcases the beauty of Thailand’s nature, Naruphol Chokanapitak also emphasizes dark and claustrophobic settings that capture the unfolding horror.
Music & Sound Design
The score consists of ambient sounds, ritualistic chanting, and other dissonant melodies that evoke tension, all of which are minimal yet haunting. The strategic use of sound significantly enhances the film’s psychological effects.
IMDb Ratings
With a score of 6.6 out of 10, The Medium received mixed reviews on IMDb. While viewers particularly noted its originality, atmosphere, and cultural depth, others pointed to pacing issues. Though horror enthusiasts appreciated the slow-burn style and explosive third act, casual viewers deemed the pacing too slow.
The criticisms have been directed towards the film’s structure and tone, similar to The Blair Witch Project, The Wailing, and Hereditary. Many reviews commend its authentic representation of Thai shamanistic beliefs, which are often overlooked in mainstream cinema. The documentary-ethnographic hybrid extreme horror film is both captivating and controversial, particularly for traditional audiences who may not be used to such storytelling.
Regardless of the divided reception, The Medium has swiftly established its place within international horror cinema as a bold film rich in culture, defying and expanding genre boundaries. It also served as Thailand’s official submission for Best International Feature Film at the 94th Academy Awards, highlighting its impact domestically and internationally.
Conclusion
The Medium uniquely combines Thai and Korean storytelling traditions to create a haunting horror film. It explores the terrifying consequences of spiritual inheritance and unresolved ancestral sins. Straying from simple possession narratives, the film offers a complex, disturbing, and deeply human tale of belief, guilt, and the supernatural, rooted in culture. Through visceral performances and an immersive found-footage aesthetic, The Medium stands out for those looking for psychological depth. It presents a nightmarish journey into the heart of spiritual darkness.
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