The Cursed Land (2024) – A Haunting Tale of Loss, Prejudice, and Supernatural Reckoning
The Cursed Land, directed by Panu Aree and co‑written with Kong Rithdee, is a Thai supernatural thriller released in 2024 that delves into Muslim folklore rarely seen in Thai horror. Set in the rainforests of southern Thailand on the Malaysian border, the film follows Mit (Ananda Everingham) and his teenage daughter May (Jennis Oprasert), who move to a neglected mansion in a predominantly Muslim neighborhood in search of a fresh start after the death of Mit’s wife.
From the outset, the atmosphere feels steeped in unease. Mit, a pragmatic engineer grappling with grief, dismisses the talismans and warnings of the locals. He removes sacred symbols from the old house, inadvertently unleashing a furious djinn curses tied to the land. As supernatural disturbances escalate, both father and daughter descend into terror and confusion. May begins seeing visions; Mit spirals into psychological turmoil, haunted by nightmares and physical symptoms of possession.
The film's horror is grounded in cultural and emotional specificity. Its slow-burn narrative explores themes of personal trauma, xenophobia, and religious tension. Critics have noted that Mit’s prejudice and skepticism toward Muslim beliefs parallel Thailand’s historical struggles with its southern provinces. His internal conflict and the ominous landscape of the cursed property intertwine, transforming grief into collective reckoning.
Ananda Everingham portrays Mit with powerful subtlety. His performance is layered: a grieving father, reluctant skeptic, and increasingly broken man. Jennis Oprasert brings vulnerability and quiet courage to May, whose innocence and resilience become a light in the darkness. Bront Palarae appears as a local spiritual guide, bridging the gap between the community’s beliefs and the cursed house. Together, the cast weaves strong emotional stakes into the supernatural horror, giving it weight beyond haunted visuals.
Visually, The Cursed Land is striking. Filmed in an ancient wooden house known to be haunted, the cinematography emphasizes decaying wood, shadows, and the claustrophobic architecture of the mansion. Night scenes are bathed in deep blues, while daylight is rendered in hot yellow-brown tones that underscore the oppressive heat and spiritual uneasiness. Framing and pacing are deliberate—long takes, whispered ambient sounds, and sudden blackouts build dread without jumping to typical horror gimmicks.
While some viewers praised the film’s ambition and atmosphere, others felt its pacing was uneven and the cultural themes underdeveloped. A few critics argued that the film leans too heavily on Islamic rituals as the only solution, marginalizing other local belief systems. Nevertheless, its willingness to center Muslim identity in a Thai horror narrative has been seen as groundbreaking.
The film premiered at several international festivals—including Rotterdam, Bucheon, Ho Chi Minh City, and New York—before a Thai theatrical release in mid‑2024. It has been lauded by reviewers as a rare entry in Thai genre cinema that thoughtfully engages folklore, religion, and regional tensions in service of atmospheric horror.
In conclusion, The Cursed Land is a chilling and culturally resonant horror film that blends personal grief, social divides, and supernatural vengeance. Its slow-burn style, atmospheric visuals, and thematic ambition offer a fresh direction for Thai horror. Though its pacing and interpretive balance may not suit all audiences, it remains a compelling and unsettling exploration of a cursed house—and the curse that lies within the human heart.
