Plug into ‘A Useful Ghost,’ a quirky, deep Cannes winner about a possessed vacuum

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“A Useful Ghost” is a sharp and funny satire that blends the style of the film “Brazil” with the vibrant setting of Bangkok. This award-winning film from Ratchapoom Boonbunchachoke begins with a simple moment – a sneeze – and quickly unfolds into a story about the problems with government bureaucracy, the rush to modernize, and the decline of ethics. It’s a truly captivating and energetic film.

A blogger named Wisarut Homhuan is dealing with dust and wreckage from the demolition of a memorial dedicated to Thai students, workers, and families. While a new, modern shopping mall is being built, the city is experiencing a rise in both new buildings and respiratory problems. A government spokesperson appeared on television and asked people to tolerate the pollution, stating that “progress requires some discomfort.”

The story centers around a lazy guy with a goatee who isn’t interested in activism. He just wants a working vacuum, but the one he buys comes with an unexpected addition: a ghost that haunts his nights. Luckily, a cool and attractive repairman named Krong shows up to explain the strange situation, and the vacuum owner is happy to hear him out.

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Boonbunchachoke’s script is uniquely humorous and built like a set of nested stories – it’s similar to how my vacuum cleaner has a smaller, handheld version that gets into tight spaces. The main story centers around a haunted electronics factory where a worker who died has come back as a mischievous ghost, continuing to ‘work’ even in the afterlife. There are actually many ghosts causing trouble, not just one!

A ghostly presence causes disturbances with factory equipment, briefly merging with an air purifier. Madame Suman (Apasiri Nitibhon), the factory owner and a widow, asks with a weary sigh if the affected item can still be sold. Nitibhon, who is also a famous Thai model, portrays the wealthy owner as intentionally unremarkable, using her pale features to highlight the character’s inner emptiness.

The movie soon introduces Nat (played by Davika Hoorne), the recently deceased daughter-in-law of Madame Suman. Nat, who died from lung disease and misses her husband March (Witsarut Himmarat), returns in a surprising way. She appears both as her former self – a strikingly composed woman with dramatically wide shoulder pads – and as a vacuum cleaner, its burgundy casing matching her hair color. This marks the second appliance-based reincarnation in the film.

The movie’s intentionally cheesy effects and playful, suggestive moments create a surprisingly sweet and funny vibe. There’s a memorable scene where a robotic vacuum cleaner playfully ‘kisses’ her husband’s shirt, initially startling him before he starts to enjoy it. But believe it or not, that’s not even the most memorable intimate scene in the film!

Mrs. Suman has never accepted her son’s wife, partly because they share similar humble origins, and consistently creates difficulties for the couple. These obstacles range from religious objections and family interference to bureaucratic hurdles – even at the hospital, a nurse informs Nat that, as a spirit, she no longer has the right to visit her husband. The nurse delivers this news without sympathy, simply telling her to ‘follow the rules and don’t cause problems.’ Despite defying the natural order, Nat is treated as if she has no rights and must conform to the system.

Nat is trying to show everyone she’s a helpful ghost, not a troublemaker. It’s important to pay attention to how much she wants to please others and follow the rules.

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The story takes surprisingly complicated turns, especially considering its main character is designed to bring order. Ordinary, even unremarkable, people rise to become heroes, while those who suffer can unexpectedly become the ones causing harm. A seemingly harmless character might turn out to be a cruel and powerful figure. The cruelty we see isn’t always intentional or consistent; it often stems from a lack of foresight, which is a more realistic portrayal of how most people do wrong.

The story introduces unexpected themes, including issues of social class, global economic systems, and government surveillance. It’s notable that both Thailand and the United States are currently led by individuals with backgrounds in wealthy construction families. While the story touches on globally relevant issues, it’s helpful to know that Thailand has a history of violent suppression of progressive movements. A sense of past trauma and lingering history permeates the narrative.

I was completely captivated by this story! A monk tells Madame Suman that spirits come back because they haven’t been forgotten, and because someone remembers them. But the people in power? They’d prefer we all just forget the past. It’s like this exclusive group is trying to erase their wrongdoings so they can sleep soundly. The film takes you inside people’s memories, which are beautifully shot to look like old, fading home movies – you can almost hear them crackle and pop as they decay. And then it takes a really dark turn, showing this horrifying chamber where they use electroshock, and the whole place is lined with these huge, tooth-like blocks of soundproofing. It’s a wild ride!

The film’s music is playfully over-the-top, like a whimsical, slightly tipsy choir of angels. However, director Boonbunchachoke’s strong vision keeps the overall style surprisingly subtle. The visuals are simple and pastel-colored, and the actors deliver very subdued performances. This is the director’s debut, and it feels similar to the early work of Yorgos Lanthimos, before he became known for relying on charismatic actors. It’s as if the director is prioritizing the script and visual style over showy performances.

The film’s measured pace fits a story about humans and machines becoming increasingly intertwined, haunted by societal expectations and shocked by modern life. The story takes a while to develop key emotional conflicts subtly, requiring close attention. However, when the tension finally releases, it’s almost overwhelming, with bursts of energetic music and sudden, somewhat unjustified violence.

Despite a few minor flaws, the film is remarkably clever and original – the kind of movie that immediately makes you want to share it with everyone. I loved “A Useful Ghost” so much, I’d do anything to promote it – consider this my enthusiastic recommendation.

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2026-02-04 22:01