As my friend recalls, it wasn't a special occasion or anything. As a child, her mother only wanted to take a picture of her sitting on the stairs with the instant camera. Shutter pressed, shot captured. But when my friend asked to see the photo, her mother said no before making a beeline for the fireplace to feed the photo to the heat. She also calmly asked my friend to move to a different spot to retake the photo.
The mystique and horror aside, that was, and is still, a compelling story to hear. In a way, her experience was validating the premise of Shutter, the Thai genre hit from directors Banjong Pisanthanakun and Parkpoom Wongpoom (who also co-wrote the script, with Sopon Sakdaphisit), turning 20 this year.
For the uninitiated, the film follows young lovers Tun (Ananda Everingham) and Jane (Natthaweeranuch Thongmee) finding out why the ghost of Natre (Achita Sikamana) keeps appearing in the photos they take, many with a Polaroid camera.
Redeveloping a hit
Based on translations from Vietnamese actor Công Dương (also a Shutter fan), the filmmakers weren't continuing the “new tech is freaky” pattern à la Ringu with VHS in 1998 or Kairo with the internet in 2001. Rather, they were simply cinematizing an idea that had the essence of urban legends, those “have you heard…?” anecdotes their community would circulate.
“I was more concerned with answering whether technology can prove the existence of souls, of spirits,” Wongpoom says. “From there, I thought about how karma and consequences could come into play, exploring why photos can ‘trap' the dead.”
Pisanthanakun believes that gripping idea, combined with that hair-raising ending, made Shutter a special creation. Like Wongpoom, he feels elated that the film got the attention of other markets (“I was only joking about receiving an email about remaking our idea, but, exactly a week after the film's release, that's what happened”) and people around the globe are still seeking it out.
In fact, the guys' decision to remaster Shutter in 4K came about after they saw it at a screening in a theater in Japan. They noticed the images weren't crisp, and the sounds lacked “oomph.” They then decided to travel to India to upgrade the film's resolution, scanning the frames, digitizing and recoloring them, and then — using AI — working out any remaining flaws.
Wongpoom also added that the audio for this release will be Dolby Atmos-optimized, as “some of the sound effects used have become dated.”
“I'd say that it's about time for this new release,” Pisanthanakun said, “since we filmed Shutter on film, and theaters have now gone digital or are exhibiting films via DCPs. We would also like to show the audience that we really appreciate them.”
“I remember seeing many viewers commenting that watching the film was like eating a bowl of noodles,” Wongpoom said. “They thought there were so many elements worth watching and capturing.”
Double exposure
For those keeping score, it's been a while since the filmmakers have reunited — on a project, that is. After Alone in 2007, they've continued down their own paths both within and outside of the genre, sometimes in a different medium. For example, Pisanthanakun would score a major hit in Thailand (and even Southeast Asia) in the comedy-horror Pee Mak; Wongpoom's latest is a thriller series streaming on Netflix called Delete (and also has to do with a camera).
“We hated each other when we came on set, you remember?” Pisanthanakun joked, causing Wongpoom to smile. “But the thing is, both of us have grown so much since Shutter as filmmakers, as storytellers. I'd say that I have reached the point where I won't need a co-director unless it's a co-production.”
“We were very different in terms of visions and approaches,” Wongpoom added. “We remain so after all that time. Co-directing isn't as easy as one thinks unless everyone has made it a point from the very start or has a specific reason to collaborate.”
“Well, making the 4K version of this film was sort of a reunion!” Pisanthanakun said.
Ultimately, the guys had only fondness for their film. They described themselves then as not knowing how to swim but choosing to jump into the pool anyway. Pisanthanakun cited Wongpoom, a second brain, as the reason Shutter has “solid storytelling.” Wongpoom said had it been just him at the helm, the film “wouldn't have been good.”
Both men are now recognizable names: Pisanthanakun was one of the main selling points of 2021's The Medium; In 2022, Wongpoom gave Apple a horror short that was filmed entirely on an iPhone (that you can watch here, do turn on captions).
According to the production company GDH 559, many countries will be showing the 4K 20th anniversary release of Shutter. Some have been dated (Nov. 15 for a special event in Singapore and Vietnam, Nov. 22 in Cambodia, and Nov. 27 in the Philippines), with additional screenings reportedly making their way to the US soon.
Special thanks to Công Dương and his team for translating and transcribing.
