Ming (Nuttamonkan Srinikornchot) is able to see and speak with ghosts. Unlike the typical ghost seer in movies, she isn't afraid of your typical ghost, but in fact seeks out their company. She moves from place to place, always on the look-out for hauntings. She doesn't just try to help them cross over to be reincarnated, she seeks their protection from the one ghost she fears. Ming doesn't know who he is, but is quite sure he has something to do with some terrible memory she has repressed.
The ghost isn't the only one following her around, though. There is also the victim of a vengeful haunting who wants her help in getting rid of his troubling ghost. She has repeatedly refused to help him, but he doesn't take "no" for an answer.
Although Ming doesn't know about it, a third man is trying to locate her. It's her childhood friend Budd (Anuchit Sapanpong) a young forensic doctor obsessed with finding out the truth about his father's mysterious death many years ago. His questions will lead Ming to the truth she was trying to forget.
The Spiritual World isn't so much a horror movie as a very effective melodrama utilizing ghosts. The script is strong and intelligent, with both Ming and Budd heavily traumatized by their past and now obsessed with death. Ming is yearning to cross over to the other side to find peace, while Budd is talking to uncaring corpses to find the truth, ignoring how close he brings himself to destruction.
I was impressed by the intelligent way the film handles its characters. Sure, there is something of a twist ending, but it's not of the kind that destroys (or even disrespects) the characters for a cheap shock.
The horror scenes themselves are actually the biggest weakness of the film. Director Tharatap Thewsomboon mostly uses long shots, creative camera angles and shots of dilapidated locations to build atmosphere (which works well), but as soon as a ghost appears, we are treated to ugly digital filters, fish lenses and highly irritating jump cuts. This would be a death sentence for a more shock oriented film. The Spiritual World's different focus helps it survive these moments of creative emptiness quite well.
Another, more problematic flaw lies in Anuchit Sapanpong's performance. He is obviously trying hard to perform a difficult role, but he sometimes comes over as moping pretty boy instead of traumatized and obsessive pretty boy.
Fortunately, the movie's focus lies on Nuttamonkan Srinikornchot, who plays an equally difficult part very convincing.
There aren't many genre films that show such a deep understanding of broken people as The Spiritual World does. The understanding even goes as far as making a very harsh ending unnecessary - I found the belief in people's ability to live with their wounds very comforting and truthful.
So, all in all, this is far from your stereotypical horror film.
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