“Masterful work of cinematic rebellion.”

“A ghost is less hygienic than a speck of dust.”

The moment these words are spoken, we immediately understand that A Useful Ghost is not going to be a film that has even the vaguest interest in following conventions. In fact, Ratchapoom Boonbunchachoke (in his astonishing feature directorial debut) is focused on shattering the narrative status quo, and rebuilding it into something entirely deranged and outrageously entertaining. A darkly comedic blend of psychological horror and romance that is best described as the perfect intersection between Apichatpong Weerasethakul and Roy Andersson, the film follows a recently deceased woman who returns to her home as a ghost, possessing a vacuum cleaner in an effort to prevent her husband from falling victim to the same illness that killed her. In the process, she encounters a range of fascinating characters in the realm of both the living and the undead. These all reside in a state of suspended animation, patiently waiting to resolve their own unfinished business through becoming “useful ghosts”, intent on removing the stigma of the vengeful spirits that haunt the world. One of the year’s most surprising debuts, and quite possibly one of the funniest films in some time, A Useful Ghost is a tremendous achievement that proves that even the most outlandish concepts can become the foundation for truly effective works of social and cultural commentary, reaching unexpected emotional depths in the process.

You would be forgiven for taking a glance at the premise of A Useful Ghost and feeling that it is just another instance of sensationalising the plot of a film for the sake of stirring interest, and that it could not possibly be as outrageous as it seems on the surface. However, not only did Boonbunchachoke follow through on the promise established at the outset, but he actually found ways to still surprise the viewer by crafting an even more peculiar film than we imagined. Logic is clearly not a priority for the director, who certainly appears to prefer taking a more unorthodox route to exploring the central themes that govern this film. It leans quite heavily into the absurdity of the premise, and it doesn’t seem concerned with providing any rational explanation, a stark change of pace for a subject that is often weighed down by the constraints of having to explain its decisions. The ghosts in this film liberally shift between physical and spiritual form, freely navigating their surroundings and communicating with just about anyone. The boundaries between the living and the undead are not well-defined, but it’s this precise approach to the ambiguity of the premise that makes A Useful Ghost such an effective, thought-provoking work. Boonbunchachoke does tend to draw inspiration from Thai customs and traditions, and probably those who are well-versed in these cultural nuances may appreciate some of the references slightly more, but the overall impact is found in the discussion surrounding the razor-thin border between life and death, and how it affects each one of us quite differently.

While it is objectively a very funny film, filled to the brim with the most sardonic, deadpan humour imaginable (and the stoic, awkward comedy elicits some of the most genuine laughter of any film this year), A Useful Ghost is not entirely defined by its bizarre premise and unconventional execution. Peering below the surface, we find that there is a deep sorrow lingering beneath the outrageous exterior, with discussions around grief, trauma and revenge being just as prominent as the stone-faced, awkward comedy that draws the viewer in and captivates our attention. This is essentially a story about the process of mourning, but done from the perspective of the deceased, showing how they would process a loss. The film’s general approach is to propose that the transition between life and death is not as permanent as we have been told, and instead is far more malleable. It does require a significant suspension of disbelief, and those who are incredulous about these discussions of whether there is life after death will need to exercise some patience, since the film takes its time to make a specific point, which all unspools throughout the third act and ends in one of the most daring, provocative (and outrageously funny) sequences committed to film in the past decade. The director’s ability to handle so many different perspectives and the anticipated tonal shifts that come with every new layer of the film is one of the primary reasons A Useful Ghost is so incredibly effective and unexpectedly moving, even when it is at its most intentionally ludicrous.

A Useful Ghost is not a film that easily lends itself to written descriptions – to comprehend the scope of this film and understand what makes it so appealing, it has to be experienced firsthand. The director’s masterful command of both the visual aesthetic and the tone perfectly complements the narrative, which oscillates between off-the-wall wackiness and deeply sentimental charm, both of which are vital to realising the core themes that guide this film. The performances anchor the story and give it some semblance of plausibility (the ensemble is fantastic across the board, but highlights include Davika Hoorne as the ghostly protagonist who is adjusting to life after death, and Apasiri Nitibhon as the stone-faced mother-in-law who serves as the catalyst for some key events throughout the film), allowing the director space to make some fascinating observations on human behaviour and our relationship with life’s more peculiar mysteries. What starts as an offbeat dark comedy about disembodied spirits seeking another chance at life eventually becomes a subversive commentary on society and our varying beliefs, and the gentle, melodic compassion that simmers beneath the surface serves as a perfect complement to the unhinged absurdity that pulsates throughout the film. Boonbunchachoke is a clear talent in terms of both concept and execution, and we would be wise to keep an eye on his work going forward, as his willingness to experiment with form and challenge the boundaries of not only art but society, will undoubtedly result in future efforts that are just as brilliant and eccentric as this masterful work of cinematic rebellion.