Two decades ago, the release of Shutter marked a pivotal moment in Thai cinema and the horror genre. Directed by the then-upcoming filmmakers Banjong Pisanthanakun and Parkpoom Wongpoom, Shutter has since become a staple of horror. In 2024, to celebrate its 20th anniversary, the film returns to theatres in a remastered 4K version, reawakening a wave of nostalgia for audiences and reigniting the terror that made it a global sensation.
In the early 2000s, East Asian horror films dominated global screens, with Japanese films like Ringu (1998), Ju-on: The Curse (2000), and Dark Water (2002) leading the charge. Thailand, too, was making waves, and Shutter quickly became its most significant contribution to the genre. Critics worldwide lauded the film, which masterfully used photography as a conduit for the supernatural, a thematic device rarely seen in horror at the time.
Parkpoom Wongpoom, left, and Banjong Pisanthanakun.
Reflecting on the film's enduring popularity, director Parkpoom believes its lasting appeal lies in its innovative concept. "The unique use of photography as a central motif for horror was something nobody had done before in horror films at the time," he explained. This fresh approach, combined with the spine-chilling ghost imagery and disturbing revelations about the film's protagonist, made Shutter stand out in a crowded horror market.
The plot revolves around a couple, Tun (Ananda Everingham) and Jane (Natthaweeranuch Thongmee), whose lives spiral into supernatural chaos after a hit-and-run accident. Following the tragedy, strange images begin to appear in Tun's photographs, setting the stage for one of the most unsettling ghost stories. The idea of ghosts captured on film was deeply resonant, given the era's fear of the unknown, and tapped into a universal unease surrounding the unseen.
One of the most memorable aspects of Shutter is its twist ending. Throughout the film, Tun is plagued by debilitating neck pain, which ultimately reveals itself to be the physical manifestation of the vengeful ghost, Natre (Achita Sikamana), who has been perched on his shoulders the entire time. Banjong recounts how this twist ending was not an afterthought but a premeditated narrative choice. "We actually had the idea of this ending even before we finished writing the script. It's like we had a pre-written ending, and then we started writing the rest of the script to get to the ending we have in mind."
Shutter returns to cinemas again after two decades.
It's this shocking conclusion that cemented Shutter's place in the pantheon of horror classics. Audiences left theatres stunned by the realisation that the ghost was not only haunting Tun but was physically attached to him. Banjong humorously noted, "Until now, we hear people talking about it. Some even jokingly say that their shoulder pain from work might be because someone is sitting on their shoulders."
Despite being compared to the wave of Japanese horror films of the time, Shutter offered its own brand of storytelling. The directors admit the influence of J-horror on their work but emphasise their desire to make something distinctly Thai.
"If you asked how much Japanese movies like Ringu [1998] had an influence on Shutter, then I would say a lot [laughs]. It was an era where Japanese horror had a huge effect on the cinema around the world," Banjong said.
"The familiar tropes of a long-haired ghost crawling creepily on the floor or on the wall are seen everywhere. And we are both also big fans of those movies and admittedly embraced them with open arms. However, we also have our own way of storytelling to make it unique from others."
The cast and crew of Shutter discuss the movie after a screening on Friday at CentralWorld.
The narrative of Shutter takes its time unravelling the true source of the horror. What begins as a haunting connected to the car accident slowly reveals layers of moral complexity. Tun, who initially seems like a victim, is later exposed as someone complicit in the tragedy of Natre's life. He and his friends had participated in a horrific crime, and Natre's ghost is seeking retribution. This twist elevates Shutter from a simple ghost story into a grim commentary on guilt, complicity, and the weight of unresolved wrongs.
When asked if they knew they were creating something special back in 2004, Parkpoom reflected, "We were just 24-25 years old at the time and it was our first movie. At that time, we were already very grateful to have the opportunity to make a film. But when the film became so successful, it was something that surprised us a lot."
The film's success, both locally and internationally, was so unexpected that even a joke among the directors about Hollywood remaking the movie came true. "We were joking among ourselves that our movie would make a hundred million baht and Hollywood film companies would contact us. After Shutter was released in theatres for only a week, someone from Hollywood really did contact us."
When asked directly if there's anything they would change about Shutter, given advancements in technology and their growth as directors, Banjong gave a surprisingly candid answer: "We both talk about it all the time. Forget 20 years, I can't even watch the film I directed two years ago any more. As creators, we always spot flaws in our own work every time we rewatch. They somewhat make me cringe [laughs]. But we had to go back and rewatch Shutter again to do all the enhanced things with the visuals and sounds for this theatrical release. Plus, for me, Shutter is a complete piece. Of course, the technology we had back then was limited, and there were budget constraints, but that's what makes the film what it is. It's a product of its time, and that's part of its charm. If we tampered with it now, it might lose that rawness."
Parkpoom echoed similar sentiments, noting that while filmmaking has evolved and there are now more tools at their disposal, the soul of Shutter was in its simplicity. "We've learned a lot as filmmakers over the years, but that learning curve started with Shutter. It's a film we made when we were discovering ourselves, and changing it now might take away from the essence of that experience. There might be some details that I thought would be nice if we had executed things differently, but they were just minor things. At the same time, it's like a good memoir of two young kids trying to make their own films for the first time," he said.
In recent years, as reboots and sequels have dominated Hollywood, both directors have been asked whether they'd consider revisiting Shutter. While sequels are off the table, Banjong shared his reasons: "I think the concept of the ghost caught on film isn't relevant any more in the digital era. It wouldn't have such an impact as the one which did in the early 2000s any more."
However, Parkpoom shared that they've occasionally toyed with the idea of expanding the universe: "We considered a prequel, exploring more of Natre's life before she became the vengeful spirit. There's a lot of backstory there that we hinted at in the film, and that might be worth exploring." However, they remain firm that Shutter itself should be left untouched. "It's like opening a book that's already closed. There's no need to rewrite a story that's already been told," he added.
In the years since Shutter, both directors have continued to make waves in many different genres. Banjong, in particular, ventured into new territory with his film The Medium (2021), a mockumentary supernatural folk horror film which he co-wrote with South-Korean filmmaker Na Hong-jin. It's a supernatural horror that explores shamanism and spirits in rural Thailand. Reflecting on the evolution of Thai horror, he pointed out that while ghost stories remain dominant, there is room for greater diversity.
"While Western horror films can be divided into many types such as psychological horror, slasher, or monster films, in Thailand, people immediately think of ghost films or people who die and their spirits come back to take revenge. I think filmmakers should try to find new content to present all the time without worrying about whether the audience will like it or not."
The Medium, which blends horror with cultural exploration, represents this desire to push boundaries. Banjong admis the film received mixed reviews, but he firmly believes that horror must evolve. "I believe that it is worthwhile for filmmakers to try to present something new that breaks away from the old mould for the audience."
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