The Medium [ร่างทรง] (2021)
I never want to hear the name ‘Mink’ uttered ever again. This film more than met my quota, screamed out, intoned, shouted, cried, you name it. All of these calls go out to the lost soul and victim-cum-antagonist of the film, a young woman who appears to be the next chosen shaman for the local deity Ba Yan, but is instead the vessel for something much darker. This disproves the enlightened centrism of The Exorcist: Believer—while ceremonies to rid a body of demons may be common the world over in a superficial sense, the procedures required to carry that out are incredibly culturally and spiritually specific. When The Medium gets to its pivotal ceremony, it’s incredibly intricate and chaotic and direct, all webs of white threads and sigils and gongs. This, along with the more formal documentarian style of the opening stretch was what filled me with hope for this film. It didn’t seem to want to resort to cheap, corny found footage nonsense that’s been rehashed infinite times before by this point. It’s disappointing that the film wants to have its cake and eat it too. The immediate leadup to the exorcism is a ClifsNotes version of Paranormal Activity, all spooky scares presented like flash cards, and when things go south with the ceremony it quickly becomes just more shaky-cam chaos as people get killed left and right due to poor decision-making and listening skills. Horror can be pulpy and visceral, but it should still feel original. Tropes are a shorthand tool, not a crutch.
In a way, the film doubly slights the viewer. A central through-line seeks to comment on the conflict between religions in Thailand. In the Isan region, as the opening narration notes, the handling of spirituality is very specific, upheld since time immemorial. Buddhism intertwines with this for many, performed in reserved fashion as the titular shaman Nim favors, or with a more tent-revival flair as fellow practitioner Santi prefers. But Christianity exists, too, and a facet of this trauma emerges from Nim’s sister rejecting her faith for another. This factors into the tragic outcome, Noi repeatedly asked to take Ba Yan back into her heart but never fully accepting. But this operates on a purely surface level. Where a film like The Wailing uses a conflict like this not only on an aesthetic or plot level, but also to comment on social conflicts through a lens of horror, The Medium simply points to a disparity and says “this exists.” Thanks, I kinda noticed that before.
THE RULES
SIP
Someone says 'Mink'.
Someone is standing menacingly in a scene.
Intertitles appear in a scene.
BIG DRINK
Nim cracks an egg.
The documentarians are told to stop filming.
The film needlessly repeats itself.
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Alex really said: In my first season of Dimension 20, I played the tiniest little boy who was the physical embodiment of a man’s conscience. What would be a good character to choose for my second season? Ah yes. An absolute unit of a mob boss. The logical next step.
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How to play Joy to the World on those bells
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