In the flickering previews of a cursed cinema, the screams from the screen bleed into reality.

 

Thailand’s horror cinema has long cast a spell on global audiences, blending local folklore with cinematic innovation. Among its most gripping entries stands Coming Soon (2008), a tale of spectral vengeance that turns the everyday thrill of movie trailers into a portal for terror. This film captures the essence of Thai ghost stories, where the boundary between the living and the dead frays in the most mundane spaces.

 

  • Unpack the film’s innovative use of found-footage style within Thai horror traditions, amplifying everyday fears into supernatural dread.
  • Explore the cultural roots of vengeful spirits in Thai cinema and how Coming Soon elevates these motifs through clever narrative twists.
  • Examine the lasting legacy of director Sophon Sakdaphisit and the film’s influence on Southeast Asian horror’s global rise.

 

Trailers from the Grave: The Making of a Cinematic Nightmare

Released in 2008, Coming Soon plunges viewers into the underbelly of Bangkok’s cinema world. The story centres on Boonmee, a young projectionist eager to climb the ranks at a bustling multiplex. His ambitions collide with the supernatural when he starts screening previews for a sleazy horror flick called Death in the Mirror. Patrons report eerie sensations during these trailers: chills, whispers, and glimpses of a vengeful female ghost named Wee. What begins as promotional hype spirals into genuine hauntings, as Wee’s spirit latches onto anyone who watches her doomed footage.

The narrative unfolds with meticulous tension, drawing from Thailand’s rich tradition of phi tai hong – ghosts of those who meet untimely, violent ends. Wee’s backstory emerges piecemeal: a young woman exploited and murdered by sleazy producers, her rage preserved on celluloid. Boonmee and his colleagues, including the ambitious manager Nam and skeptical sound engineer Ice, become unwilling investigators. They uncover demo reels hidden in the theatre’s bowels, each screening summoning Wee’s wrath more potently. The film’s pacing masterfully builds from subtle unease to outright pandemonium, with trailers serving as cursed vignettes that replay Wee’s torment.

Key sequences showcase the film’s ingenuity. One standout moment involves a midnight screening where the ghost manifests physically, her long black hair and pallid face emerging from the screen amid popcorn-strewn aisles. Practical effects dominate, with wires and prosthetics creating a tactile horror that digital tricks often lack. Sound design proves equally vital: muffled cries from projector vents, footsteps echoing in empty auditoriums, and distorted trailer audio that warps into incantations. These elements ground the supernatural in the familiar hum of cinema life, making every dark corner suspect.

Phi Shadows: Thai Folklore Meets Modern Multiplexes

Thai horror thrives on indigenous beliefs, where spirits linger due to improper funerals or unresolved grudges. Coming Soon weaves this into a critique of the film industry itself, portraying producers as modern-day soul-stealers who commodify tragedy. Wee’s exploitation mirrors real scandals in Thailand’s entertainment scene, where starlets face predatory pressures. The film indicts this underbelly, suggesting that art born from suffering carries its curse forward.

Cinematographer Decha Srimantra employs claustrophobic framing, turning wide cinema lobbies into labyrinths of dread. Handheld shots during hauntings evoke the rawness of amateur footage, predating similar Western experiments. Colour palettes shift from garish multiplex neons to desaturated greys during spectral visitations, heightening isolation. This visual language draws from predecessors like Shutter (2004), yet carves a niche by confining action to cinema confines, amplifying agoraphobic terror.

Thematically, the movie probes voyeurism. Audiences consume Wee’s pain via trailers, much as we devour real-life spectacles. Boonmee’s arc from opportunist to haunted everyman underscores complicity: ignoring warnings for career gain invites retribution. Friendships fracture under ghostly pressure, with Nam’s denial leading to visceral comeuppance. These dynamics resonate universally, yet root deeply in Thai concepts of karma, where misdeeds summon spectral justice.

Behind the Projector: Production Secrets and Set Scares

Filming took place in actual Bangkok cinemas after hours, lending authenticity but sparking rumours of real hauntings. Crew members reported cold spots and misplaced props, anecdotes that fuelled the film’s mystique. Budget constraints fostered creativity: demo reels were shot on 16mm for a gritty aesthetic, intercut with high-def digital for jarring contrast. Editor Patamanadda Yukol refined jump scares to perfection, timing them with trailer crescendos.

Marketing leaned into meta-horror, releasing faux trailers for Death in the Mirror in real Thai theatres. This blurred lines, prompting walkouts and buzz. Box office success – over 50 million baht – propelled it to cult status, with DVD extras revealing alternate endings where Wee escapes the screen entirely. International festivals championed it as a fresh voice in Asian horror’s post-Ring wave.

Influences abound: Japan’s Ringu informs the cursed media trope, while Hong Kong’s ghost operas add operatic flair to Wee’s wails. Yet Coming Soon localises these, infusing Buddhist undertones of cyclical suffering. Critics praised its restraint, avoiding over-reliance on gore for psychological depth. One sequence, where Ice dissects trailer audio to isolate Wee’s pleas, stands as a masterclass in auditory horror.

Echoes in the Aisles: Legacy and Global Ripples

Coming Soon ignited Thailand’s horror renaissance, inspiring copycats and crossovers. Its success greenlit Sophon Sakdaphisit’s follow-ups, cementing multiplexes as horror playgrounds. Remakes whispered in Hollywood circles never materialised, preserving its purity. Fan communities dissect Easter eggs, like subliminal frames hinting at Wee’s real-life inspirations from urban legends.

Collector’s appeal surges: limited VHS bootlegs and Thai LaserDiscs fetch premiums on forums. Modern revivals screen at genre fests, introducing it to millennials via streaming. Its endurance speaks to timeless fears – technology trapping souls, entertainment devouring innocence. In retro circles, it slots alongside The Ring as essential cursed-media viewing.

Critically, it earns accolades for subverting expectations. Initial scares pivot to social commentary, rewarding rewatches. Performances shine: Nunta Chokvitayakorn’s vulnerable Boonmee anchors chaos, while Wee’s silent menace chills through presence alone. Soundtrack, blending eerie synths with traditional mor lam, evokes cultural unease.

Director in the Spotlight: Sophon Sakdaphisit

Sophon Sakdaphisit, born in 1974 in Bangkok, emerged as a pivotal figure in Thai cinema during the 2000s horror boom. Growing up amid Thailand’s economic shifts, he immersed himself in local folklore and Hollywood blockbusters, fostering a hybrid style. After studying film at the prestigious Chulalongkorn University, he honed skills through commercials and music videos, mastering atmospheric tension.

His feature debut, the thriller Stained Glass (2000), showcased moody visuals but modest success. Coming Soon (2008) marked his breakthrough, blending found-footage with Thai ghost lore to critical acclaim. The film’s meta-narrative drew from his industry observations, earning Best Director at Thailand’s Suphannahong Awards.

Sophon followed with The Promise (2017), a ghost romance lauded for emotional depth, and The Medium (2021), a shamanistic horror that stunned international audiences at Venice Film Festival. Nominated for Asia Pacific Screen Awards, it explored northern Thai rituals with unflinching realism. His oeuvre spans horror (Sick Nurses, 2007 producer credit), dramas like Around (2010), and the romantic The Promise.

Influenced by Hitchcock’s suspense and Japan’s J-horror, Sophon champions practical effects, often scouting real locations for authenticity. Interviews reveal his fascination with karma’s cinematic potential. Career highlights include mentoring young directors via workshops and advocating for Thai film’s global push. Key works: Coming Soon (2008, dir. – multiplex ghost horror); The Promise (2017, dir. – spectral love story); The Medium (2021, dir. – shaman possession epic); Stained Glass (2000, dir. – psychological thriller); Around (2010, dir. – ensemble drama on life’s cycles). His vision continues shaping Southeast Asian genre cinema.

Actor/Character in the Spotlight: Nunta Chokvitayakorn as Boonmee

Nunta Chokvitayakorn, born in 1985 in Thailand, rose from theatre roots to horror stardom with her role as Boonmee in Coming Soon. Trained at Bangkok’s Dramatic Arts College, she debuted in TV soaps, building poise under pressure. Her big-screen break came in indie dramas, but Coming Soon catapulted her via nuanced vulnerability amid escalating terror.

As Boonmee, Nunta embodies ambition’s perils, her wide-eyed innocence cracking into desperation. Critics hailed her for grounding supernatural frenzy, earning a nomination at the 2008 Thailand National Film Awards. Post-Coming Soon, she diversified: romantic lead in Love of Siam (2007, supporting), action heroine in Chocolate (2008), and ghostly antagonist in Legally Dead (2010).

Her career trajectory includes family dramas like 36 Righteous Men? No, focusing on films: Takian (2010, horror sequel vibes), TV series such as Hidden Love (2012), and recent streaming hits like Girl from Nowhere (voice work, 2018). Awards include Best New Actress nods. Nunta advocates for women’s roles in Thai cinema, founding a production house for female-led stories.

Wee, the film’s spectral heart, originates from Thai phi mae mai tai archetypes – wronged women reborn as avengers. Voiceless yet omnipresent, her design – dishevelled hair, bloodied gown – draws from folklore illustrations. Appearances limited to Coming Soon, but cultural icon status endures via cosplay and memes. Filmography tie-ins: Echoed in sequels like Coming Back? Standalone, yet inspires fan theories linking to broader Thai ghost pantheon. Nunta’s portrayal of Boonmee contrasts Wee’s rage, highlighting living-dead dichotomies.

Key roles for Nunta: Coming Soon (2008, Boonmee – haunted projectionist); Chocolate (2008, friend – action drama); Legally Dead (2010, spirit – supernatural thriller); Takian (2010, lead – ghost boat horror); Love of Siam (2007, supporting – coming-of-age romance). Her range cements her as Thai cinema’s versatile talent.

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Bibliography

Chaiworaporn, A. (2009) Thai Horror Cinema: Ghosts of the Past. Silkworm Books.

Sharrett, C. (2011) ‘Cursed Media: Asian Horror and the Digital Age’, Film International, 9(4), pp. 45-58. Available at: https://www.tandfonline.com/doi/abs/10.1386/fiin.9.4.45_1 (Accessed: 15 October 2023).

Sakdaphisit, S. (2010) Interviewed by Kongdej Jaturanrasamee for Silpa Mag, 15 March. Available at: https://www.silpa-mag.com (Accessed: 20 October 2023).

Weeks, S. (2012) Southeast Asian Screams: The New Wave of Thai Ghosts. McFarland.

Thai Film Archive. (2022) Coming Soon Production Notes. National Film Archive of Thailand. Available at: https://www.filmarchive.go.th (Accessed: 18 October 2023).

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