At this year’s Cannes Film Festival, Southeast Asian storytelling took center stage as A Useful Ghost, a genre-defying film from Thai director Ratchapoom Boonbunchachoke, clinched the prestigious Grand Prix at Critics’ Week (Semaine de la Critique). This unexpected yet deeply original narrative—part folklore, part satire, and entirely unforgettable—not only marks a major win for Thailand’s emerging filmmakers but also highlights the growing impact of “made-with-Singapore” cinema on the global stage. Co-produced by Singapore-based Momo Film Co., the film is one of three projects backed by Singapore talent and funding at Cannes 2024, reflecting a bold, regional cinematic voice now capturing international acclaim.
A ghost story reimagined
Inspired by Thailand’s legendary Mae Nak ghost story, A Useful Ghost offers a darkly whimsical and modern take on supernatural folklore. In Ratchapoom Boonbunchachoke’s debut feature, a woman dies from dust pollution and returns not as a specter in white robes, but reincarnated as… a vacuum cleaner. What follows is an unconventional love story between the ghost and her grieving husband, layered with satire, ecological commentary, and sharp observations about urban life and grief.
Starring Thai actors Davika Hoorne and Witsarut Himmarat, the film blends surrealism and the absurd with emotional depth—qualities that set it apart in a sea of predictable ghost narratives. Ratchapoom, who previously made waves with his short films, channels his penchant for experimental storytelling into a feature-length format that captivated Cannes audiences and critics alike.
Southeast Asian cinema in the spotlight
The Grand Prix Ami Paris award, the top prize at Critics’ Week, is a major endorsement for the region’s burgeoning creative voices. Held annually as part of the Cannes Film Festival, Critics’ Week is known for spotlighting first- and second-time filmmakers with bold, singular visions. Previous honorees have included now-celebrated directors like Alejandro González Iñárritu and Wong Kar-wai.
In this context, A Useful Ghost’s win is more than symbolic—it positions Southeast Asian stories as not only worthy of global recognition, but also vital to the future of cinematic innovation. “It’s incredible to have A Useful Ghost selected for Cannes Critics’ Week, which has always supported strong directorial voices, originality, and bold storytelling,” said Tan Si En, the film’s co-producer and founder of Singapore-based Momo Film Co.
“I’m proud to see Southeast Asian storytelling resonate on such a global stage,” she added in a press statement released by Singapore’s Infocomm Media Development Authority (IMDA), which supported the project through its Southeast Asia Co-Production Grant.
Singapore’s creative footprint at Cannes
A Useful Ghost is one of three “made-with-Singapore” films featured at this year’s Cannes Film Festival, a testament to the island nation’s growing investment in the global film industry. In addition to Momo Film Co., the production involved Singaporean sound designer Lim Ting Li and product designer Sim Hao Jie, further showcasing how local talent is shaping international narratives. IMDA’s Media Talent Progression Programme has been instrumental in supporting Singaporean involvement in international co-productions. Through initiatives like the Southeast Asia Co-Production Grant and Go-Global Grant, the agency fosters collaboration between Singapore creatives and international studios.
The other two Cannes selections supported by Singapore include Renoir, a Japanese feature by Chie Hayakawa co-produced by Singapore’s Akanga Film Asia, and Before the Sea Forgets, a short film by Vietnamese director Le Ngoc Duy produced by Singapore’s 13 Little Pictures and WBSB Films.
Renoir is competing for the prestigious Palme d’Or in the festival’s main competition, while Before the Sea Forgets is featured in the Director’s Fortnight section—an equally influential platform for emerging auteurs.
A region rewriting the rules
Southeast Asia’s cinematic voice has grown louder in recent years, moving beyond traditional genres to embrace experimentation, hybridity, and layered storytelling. From Philippines’ Lav Diaz to Indonesia’s Joko Anwar and now Thailand’s Ratchapoom Boonbunchachoke, the region’s filmmakers are asserting their place not only as cultural commentators but as artistic innovators.
A Useful Ghost’s Cannes triumph is a reflection of that evolution. The film is simultaneously humorous and haunting, playful yet provocative. While the absurd premise invites laughs, its commentary on pollution, death, domesticity, and emotional repression hits hard. And in choosing to tell that story through a vacuum cleaner—a modern domestic symbol—the film cleverly challenges both horror and romance tropes.
Its cross-border production model—spanning Thailand, Singapore, France, and Germany—also exemplifies the new normal in global filmmaking, where collaboration trumps borders and innovation flourishes through diversity.
What’s next?
While the international accolades are pouring in, Singapore audiences will have to wait just a bit longer. The local release date for A Useful Ghost has yet to be announced, though anticipation is high following its Cannes win. Given the film’s genre-bending appeal and growing buzz, a regional theatrical run or streaming deal may be imminent.
In the meantime, the success of A Useful Ghost serves as an inspiring reminder: Southeast Asian stories, when given the right platform and support, can travel far, shake expectations, and redefine the global cinematic landscape.
